Hi, I’m Josh, a sound designer for video games, originally from Newcastle upon Tyne but currently living in Manchester, UK! Thanks for checking out my showreel!

I'm passionate about both the creative and technical sides of sound design - I love finding creative solutions to complex implementation problems, and designing high-level audio systems.

I'm currently working as a junior sound designer at Cloud Imperium Games on Star Citizen and Squadron 42.

You can find my CV here.

Main Skills: Sound Design, Wwise, FMOD Studio, UE4 Blueprints, CryEngine, Lumberyard, Procedural Audio, Reaper, Pro Tools, Field Recording.

Additional Skills: Adobe Illustrator and Photoshop, Final Cut X, MaxMSP, basic C++ and C#.


My Favourite Games for Sound:

No Man's Sky



The Last Of Us

Darkest Dungeon

I'm Looking Forward To:



The Last Of Us 2

Metro: Exodus

Days Gone

My Favourite Games Lately:

Death Road to Canada



Invisible Inc.

Endless Space 2




Star Citizen

Around The Verse: Audio Team Special

Around The Verse is a weekly broadcast from Cloud Imperium that gives our backers a glimpse into the development of Star Citizen. This episode focuses on the audio team, showing ship sound design, ambience design and a dive into the adaptive music system. I was lucky enough to be asked to speak about my ongoing work prototyping the adaptive power and weather audio systems used in the game's planetary outposts.

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.



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.

Metro: Exodus

Sound Redesign

A sound redesign of 4A Games' Metro: Exodus E3 2017 trailer. This is a sound re-skin purely to showcase my own sound design abilities. I had no part in the original work.

Simple Space


A demo level I created myself in Unreal Engine 4, using assets from the Unreal Marketplace. FMOD was used to handle the implementation. My goal was use UE4's physics engine to directly drive sound in the game. There is a breakdown video above showing the implementation of the physics-driven 'grav-gun' FMOD event, as well as an extended gameplay video.

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.

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