Managing audio performance and clearly communicating player important information in the audio mix is a challenge for every game. In Jurassic World Evolution 3, that challenge is amplified by:
User-generated content:
Players can shape the world however they like.

Dynamic camera movement:
Players can shift freely between close-up and wide aerial views.

Unpredictable sound environments:
Depending on how parks are built, sound sources (like dinosaurs or vehicles) can be tightly packed or spread out.

The goal is to ensure that the most relevant sounds are always prominent in the mix, regardless of how far they are from the camera. It’s not just about distance, it’s about what matters most to the player in that moment.

It was an absolute pleasure to co-host the audio track with Adele for the second year in a row!

🔊 Suddi Raval - Finding an Angle: How to Boost Your Audio Creativity and Originality
🔊 Paola Velasquez - Reading Between the Lines: Integration of Sound, Narrative and Design into Dialogue
🔊 Graham Best, Nainita Desai, ACY - Playing The Long Game: How Composers Can Build Sustainable Careers
🔊 Peter Hanson, Ciaran Walsh, Ben Pickersgill, Simon Haines - LEGO Horizon Adventures in Sound Design
🔊 Siddhant Ravi - Making the Lives of Audio Designers Easier in Senua’s Saga: Hellblade 2
🔊 Kenneth Young - Optimising the Music Commissioning and Creation Process For Games
🔊 Jacob Coles, Martin Weissberg - Behind the Sounds of Star Wars Outlaws
🔊 Nick Wiswell - 20 Years of Forza Motorsport - An Audio Retrospective
🎙️ Open Mic 2025 - Nick Wiswell, Kenneth Young, Daan Hendriks, Pete Ward, Rebecca Parnell, Tessa Verplancke

Since 2024 I have supported Elite: Dangerous with updated audio for ships, weapons and features. The challenges were an existing 12 year old frame work, minimize disruptions for ongoing projects (ie. not spend more time than strictly necessary) and maintain the high bar for audio established.

The Buur Pit Ship Review seems to acknowledge this has been working out:
"... I do have to take a moment to mention the boost sound for the behemoth ship. Frontiers' always excellent sound design team have once again absolutely smashed it out of the park ….please wrap your ears around this ..."

As the Head of Audio at Frontier Developments I find it very important to maintain my audio design skill-set and contribute to ongoing projects. I've worked on all the new ships released: Mandalay, Caspian Explorer, Kestrel MKII, Lynx Highlighner, Type-II Prospector and the Panther Clipper MKII.

Using the studio as an instrument can transform a dull or lifeless sound into a thundering bass to describe a cavernous underground structure.

Watch this step by step tutorial and learn how I’ve used processing and layering to create an atmospheric ambience from basic sounds.

The video contains a 45 minute breakdown of a single 6 minute track with before and after comparisons and full demonstration of all plug-ins and settings used.

This ambient music creation tutorial and breakdown is intended for viewers of all experiences with detailed explanations of intentions, changes and examples of what each plug-in contributes.

Album available on Bandcamp:

The goal of mixing is to achieve storytelling that clearly highlights the core emotional context of a presentation, while consistently communicating player relevant information.

I wrote a guide to shed light on common pitfalls and lessons learned from mixing games. I've kept examples and solutions high-level as to be broadly useful on diverse projects.

Hopefully a helpful read for your #gameaudio mixing projects!

When creating UI audio, I think of user interaction as a means to organise specific tasks, into particular sequences. The user will associate between actions and the UI screens that accommodates them over time. Sonic branding can reinforce learnings and underline those connections. I've designed all of Elite Dangerous' UI around such principals.

Using spectral analysis, players of the game have discovered signals in the debris fields of recently destroyed Thargoid-Titan ships.