I’m a Lead Game Audio Designer / Audio Director with 6+ years of experience building and scaling interactive audio systems across mobile, PC, and console games. I specialize in audio system design, implementation, and optimization within Unity and Unreal Engine 5, using FMOD and Wwise to tightly integrate sound into gameplay, UI, narrative, and live-service content.
I’ve led audio directions on large-scale projects, mentored teams, and implemented reusable audio frameworks to improve performance and consistency across platforms. I’m open to relocating to join a new team and continue delivering immersive, accessible audio experiences.
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Work Experience
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Industry Experience
- maintaining clarity during chaotic gameplay
- delivering impactful feedback for player actions
- reinforcing pacing and intensity
- Led audio direction and implementation across the project
- Designed sound for abilities, combat interactions, and enemy behaviors
- Built systems for handling overlapping audio events in high-intensity scenarios
- Established audio priorities and mixing logic for gameplay clarity
- Defined the overall sonic identity of the game
- Prioritized readability in fast-paced gameplay
- Designed layered feedback for player actions and abilities
- Controlled audio density and mix under heavy load
- Balanced impact vs clarity in combat-heavy scenarios
- Multiple simultaneous sound sources during combat
- Need for real-time prioritization and mixing
- Maintaining clarity without reducing intensity
- Supporting diverse gameplay situations and edge cases
- Middleware + in-engine integration
- Real-time mixing and prioritization systems
- Scalable audio setup for evolving gameplay
- Delivered a clear and responsive audio experience under high gameplay load
- Maintained impact while avoiding audio clutter
- Established a scalable audio foundation for further development
Dissonators
Audio Leadership for High-Intensity Action Systems
Audio leadership for Dissonators — a fast-paced action game focused on chaotic encounters, player abilities, and moment-to-moment gameplay intensity.
Overview
Dissonators is built around high-density gameplay, where multiple systems overlap: player abilities, enemies, effects, and environmental interactions.
Audio plays a critical role in:
As Lead Sound Designer, I defined how audio supports both readability and immersion under pressure.
Key Contributions
Approach
Audio was designed to manage chaos without losing clarity
Challenges
Tools & Implementation
Outcome
Role
Lead Sound Designer
- survival mechanics
- automation systems
- base building and management
- exploration and combat
- Designed sound for a first-person survival and crafting system
- Built audio for resource gathering, crafting, and automation pipelines
- Developed sound identity for a moving train base (core gameplay feature)
- Created feedback systems for exploration, combat, and environmental hazards
- Ensured clarity in complex, multi-layered gameplay scenarios
- Focus on player feedback during resource management and crafting
- Designed audio for persistent, evolving environments
- Supported both solo and co-op gameplay readability
- Balanced immersion with functional clarity in survival scenarios
- Highly dynamic gameplay: player constantly switches between exploration, combat, crafting, and management
- Need for modular and scalable audio systems
- Supporting a mobile base (train) as a central gameplay element
- Maintaining clarity across automation and production chains
- Middleware + in-engine integration
- System-driven audio architecture
- Iteration within ongoing development (pre-release production)
- Delivered a coherent audio layer for a complex survival sandbox
- Supported gameplay readability across multiple interconnected systems
- Enabled scalable audio design for future content and expansion
Steel Ark
Audio Design for a Systemic Survival Sandbox
Sound design for Steel Ark — a first-person survival sandbox set in a post-apocalyptic world, combining exploration, crafting, automation systems, and a mobile train base as the core gameplay mechanic.
Overview
Steel Ark is a system-driven survival experience where the player must explore, gather resources, build production chains, and maintain a moving base under constant pressure. :contentReference[oaicite:0]{index=0}
The game combines:
Audio needed to support a highly dynamic and systemic gameplay loop.
Key Contributions
Approach
Audio was designed to support continuous gameplay loops and systemic interactions
Challenges
Tools & Implementation
Outcome
Role
Sound Designer
- high variability of gameplay outcomes
- layered combat systems
- exploration and narrative elements
- Led audio direction and implementation across the project
- Defined audio behavior for systemic gameplay (cards, abilities, interactions)
- Built scalable solutions for highly variable combat scenarios
- Designed audio for characters, enemies, environments, and UI
- Established pipelines for consistent audio integration in a growing project
- Focus on readability in turn-based, card-driven combat
- Created feedback for player decisions and tactical positioning
- Designed sound to support replayability and variation
- Balanced fantasy atmosphere with gameplay clarity
- High variability: each run creates different combinations of cards, builds, and encounters
- Need for modular and reusable audio systems
- Supporting both solo and party-based gameplay dynamics :contentReference[oaicite:1]{index=1}
- Middleware + engine integration (Unity) :contentReference[oaicite:2]{index=2}
- System-driven audio logic
- Iterative implementation aligned with Early Access development
- Delivered a coherent audio experience across a systemic roguelike
- Supported gameplay clarity in complex tactical scenarios
- Enabled scalable audio production for ongoing development and updates
Everwayne
Audio Leadership for a System-Driven Roguelike
Sound design and audio leadership for Everwayne — a card-based roguelike combining deckbuilding, party mechanics, and exploration systems. :contentReference[oaicite:0]{index=0}
Overview
Everwayne is a system-heavy roguelike experience, where gameplay emerges from the interaction of cards, characters, positioning, and environment.
Audio had to support:
As Lead Sound Designer, I was responsible for defining how sound operates within a complex, replayable system.
Key Contributions
Approach
Audio was designed as a system, not a linear layer
Challenges
Tools & Implementation
Outcome
Role
Lead Sound Designer
- Owned 100% of the game’s audio production and implementation
- Designed sound for heroes, abilities, UI, environments, and events
- Maintained audio consistency across frequent live updates
- Improved combat readability and player feedback through sound
- Created scalable solutions for content-heavy live operations
- Focus on clarity in high-density combat scenarios
- Fast iteration to support live ops and frequent content releases
- Balancing performance constraints of mobile devices with audio quality
- Prioritizing player feedback and usability
- Full-cycle pipeline: design → implementation → optimization
- Middleware and in-engine audio systems
- Performance optimization for mobile platforms
- Delivered consistent audio quality across a live service game
- Supported continuous content expansion without degradation of audio experience
- Enhanced player feedback and gameplay clarity
Hero Wars: Alliance
Full Ownership Sound Design
Full-cycle sound design for Hero Wars: Alliance, a globally released mobile RPG with a large active player base.
Overview
As the sole sound designer on the project, I was responsible for the entire audio experience — from concept to implementation.
This included maintaining audio quality across a live product with continuous updates, new content, and evolving gameplay systems.
Key Contributions
Approach
Audio was treated as a core gameplay feedback system
Tools & Implementation
Outcome
Role
Solo Sound Designer
- Led the audio direction and strategy during the final year of development
- Built and guided the overall sonic vision of the project
- Designed a reactive audio system reflecting player choices and branching narrative
- Established audio pipelines and workflows for the team
- Reduced audio clutter in combat, improving clarity without losing impact
- Defined sonic identity for characters, encounters, and environments
- Cross-disciplinary collaboration with narrative, design, and production
- Decision-making on audio priorities under production constraints
- Focus on player perception, readability, and emotional impact
- Balancing artistic vision with technical limitations
- Audio Director (final year of development)
- Audio Lead (previous production phase)
- Responsible for audio quality, consistency, and delivery
- Mentoring and guiding audio-related decisions across the project
- Middleware + in-engine integration
- System-driven audio logic
- Scalable and optimized audio solutions
- Replace missing visual feedback
- Drive narrative engagement
- Act as a core system, not a supporting layer
Narrative-driven sound design for Knock on the Coffin Lid, a dark fantasy roguelike focused on atmosphere and storytelling through audio.
Overview
This project explores how sound can carry narrative meaning when visuals remain unchanged.
Due to production constraints, many scenes reuse static visuals — meaning that emotional shifts, tension, and progression are conveyed primarily through sound design and narrative text.
Key Contributions
Approach
Sound was treated not as support, but as a primary storytelling system
Leadership
Tools & Implementation
Outcome
This project demonstrates how sound design can:
Role
Audio Director / Audio Lead / Sound Designer
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