email: joshadambell@live.com
Bio
Hi, I’m Josh, a sound designer for video games, originally from Newcastle upon Tyne, UK. Thank you for listening to my work!
I'm passionate about creative audio, storytelling, and immersive design, and consider myself a true game audio generalist, with an equal love for the creative, technical and collaborative aspects of our craft.
I am currently living in Finland, where I am a Senior Technical Audio Designer at Remedy Entertainment, where I have worked on Alan Wake 2, and currently on an unannounced project as Lead Sound Designer. Previously, I worked at Cloud Imperium Games as a sound designer.
You can find my CV here.
Main Skills: Sound Design, Wwise, FMOD Studio and Studio API, Lua, Python, UE4, CryEngine, Cinematic Sound Design, Reaper, Field Recording
Additional Skills: MaxMSP, basic C# and C++, Unity, Da Vinci Resolve, Blender
My Favourite Games for Sound:
The Last of Us: Part 2
Hell Let Loose
Ghost of Tsushima
Red Dead Redemption 2
Bioshock
I'm Looking Forward To:
Star Wars: KotoR Remake
Routine
Mass Effect
Starfield
Company of Heroes 3
My Favourite Games Lately:
Ghost of Tsushima
Rainbow Six: Siege
Rimworld
Mass Effect Legendary Edition
It Takes Two
Work
The Last of Us: Part 2
Gameplay Sound Redesign
A sound redesign of a fight with the infected in The Last of Us Part 2. I wanted to try to do justice to one of my favourite sounding games of all time.
Battlefield V
Cinematic Sound Redesign
A sound redesign of an excerpt from the Battlefield V Pacific trailer.
Ghost of Tsushima
Gameplay Sound Redesign
A sound redesign of Sucker Punch Productions' Ghost of Tsushima.
Metro Exodus
Gameplay Sound Redesign
A sound redesign of 4A Games' Metro Exodus.
Halo 2: Anniversary
Cinematic Sound Redesign
A sound redesign of an excerpt from a Halo 2: Anniversary in-game cinematic.
Mass Effect 3: Legendary Edition
Cinematic Sound Redesign
A sound redesign of the beginning of the final fleet battle in Mass Effect 3: Legendary Edition.
Star Citizen
Citizencon: Shipsounds Presentation
At CitizenCon, Cloud Imperium Games' annual convention, audio programmer Yogi Klatt and I were very lucky to be given the chance to give a presentation on our work on the technical tricks and creative processes that go into crafting the sound of Star Citizen's ships. Unfortunately, the audio on the various clips in the video is the sound captured from the mics in the auditorium, so doesn't represent how our work sounds in-game. Some of the clips in the video can be heard properly in the video on the right.
Star Citizen
Spaceship Sound Design
On Star Citizen, I was responsible for most of the sound design and implementation for the game's spaceships. This included the thruster and cockpit audio for the ships, their fly-by sounds, vibration and strain sounds when the ship is under duress, and additional sweetener layers for atmospheric flight.
Star Citizen
Weapon Sound Design
In my time at Cloud Imperium I worked on some FPS and spaceship weapons. You can see these in the video above. I was responsible for the sound design and implementation of all firing sounds, weapon tails and reload/handling sounds.
Skull and Bones
Cinematic Sound Redesign
A sound redesign of Ubisoft's Skull and Bones E3 trailer.
Star Citizen
Ambient Audio Design
This is some footage of my work on the ambient audio of Star Citizen's Persistent Universe. GrimHex is a space station nestled deep in the icy moon Yela's asteroid belt. Originally built to house workers, it has now fallen under the control of criminals.
Star Citizen
Inside Star Citizen: Ship Sound Design Interview
In this episode of Inside Star Citizen we focused on the then continuing work on the ship sound design in our quarterly releases. I spoke alongside our Senior Audio Programmer, Yogi Klatt. We looked at the vibration component, the environmental feedback component and improvements to the general flight experience from an audio point of view, directly comparing old to new.
Survival Island
UE4 and Wwise DEMO LEVEL
A short demo game I made myself from scratch in Unreal Engine 4 using assets from the Unreal Marketplace, with audio implementation in Wwise. Inspired by games like The Long Dark and Firewatch, it was developed to showcase some procedural audio techniques, including adaptive foley, and a dynamic weather audio system, which you can hear more about in the breakdown videos above.
Cave
UE4 and FMOD DEMO LEVEL
An in-engine sound redesign of the Unreal Engine Cave example project. I created a system in UE4 to adjust FMOD's reverb parameters in real-time through a series of line traces and calculations to determine the characteristics of the in-game acoustic space and the player's location within it. You can see both an extended gameplay video and a video with walkthrough commentary explaining the implementation of the realtime reverb system.
Custom Occlusion
UE4 and FMOD Experiment
A quick video explaining a work-in-progress custom occlusion system I've been working on in UE4 and FMOD. It can detect partial occlusion of a source, assign different attenuation levels to different in-game surface types, and has a user-definable sound source radius for working with large diffuse sounds.
Substance Atlantis
UE4 and Steam Audio DEMO
An in-engine sound redesign of the Unreal Engine 'Atlantis' example project. I used the Steam Audio plugin for UE4 to be able to use geometry-based spatial audio features. I also used the Unreal Engine synthesiser in real-time alongside traditional sound design and implementation to create the ambience in the level.