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 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 and Low Level API, C#, UE4, CryEngine, Lumberyard, Unity, Reaper, Pro Tools, Field Recording.

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


My Favourite Games for Sound:

No Man's Sky



The Last Of Us

Darkest Dungeon

I'm Looking Forward To:


Fallout 76

The Last Of Us 2

Metro: Exodus

Days Gone

My Favourite Games Lately:

Death Road to Canada

Rainbow Six: Siege

Destiny 2

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.

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. Port Olisar, a station located in the trade lanes above the gas giant Crusader, offers a breathtaking view of the planet below. Port Olisar acts as a gateway to Crusader Industries' vast planetary holdings and orbital shipyards.

Skull and Bones

Sound Redesign

A sound redesign of Ubisoft's Skull and Bones E3 2017 trailer.

Titanfall 2

Sound Redesign

A sound redesign of gameplay from Respawn Entertainment's Titanfall 2. The Titan's dialogue was taken from the original game and re-processed with my own effects chain.

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.

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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