VR / MR / XR / 5D / 7D Production

🕶️ About My Work in Spatial Audio

I blend spatial precision with emotional storytelling intersecting it with technical know-how.

With a deep passion for immersive sound and a strong technical foundation, I bring years of experience designing and implementing audio for VR, XR, and MR experiences.

My work focuses on technical audio systems that support full-body tracking, hand gestures, haptics, and responsive environmental soundscapes. From Wwise-driven behavior trees to Unreal Engine blueprint integration, I ensure that sound enhances the gameplay experience without ever getting in the way. I designing spatial-ready assets to support the systems and compose/mix spatial music to provide a full narrative experience.

I’ve contributed to high-profile commercial titles including:

🎮 Commercial & Platform Projects:

    • 🍍 Super Fruit Ninja (Apple Vision Pro Launch title) – Gesture-driven audio for spatial computing.

    • 🥊 Thrill of the Fight 2 (Meta Quest 2 & 3) – Full-contact boxing audio with dynamic spatialization.

    • 🍉 Fruit Ninja VR 2 (Meta Quest 2) – Fast, reactive slicing audio layered with environmental feedback.

    • 🌐 Horizon Worlds (Meta Quest) – Social VR audio systems for world-building and avatar interaction.

    • ✋ The World Beyond (Meta Quest – Hand Tracking Demo) – Reactive hand gesture audio and spatial feedback.

    • 🎭 Quill Theater (Meta Quest) – Immersive audio for 6DoF animated storytelling.

    • 🎢 360° Ride Videos – Directional and motion-based audio for theme park-style experiences.

    • 🧟‍♂️ Bloody Zombies – Audio content creation and mix for side-scrolling brawler action.

Beyond commercial projects, I explore VR audio in personal experiments — including a lightsaber-style interaction demo built in Unreal Engine, where I developed physics-driven audio that responds dynamically to swing speed, collisions, and user movement.

Whether it’s a fully immersive room-scale game or a mixed reality showcase for spatial computing, I design audio systems that feel intuitive, reactive, and real.

Get In Contact

Super Fruit Ninja – Apple Vision Pro

VR Spatial Audio Director (Technical & Creative Audio Lead)

Audio lead responsible for stakeholder management, directing three sound designers, and delivering the complete spatial audio experience. Took ownership of technical audio implementation in Swift using Apple RealityKit (no middleware), driving audio tech, sound design, music, testing, and final mix.

Expanded internal audio tooling around RealityKit, worked directly with Apple’s RealityKit team to provide feedback and support, and stepped into implementation to unblock the critical path thus freeing the lead programmer and producer to focus elsewhere. Structured audio work by system and designer strengths to ensure smooth delivery and on-time launch.

I was responsible for:

  • Driving audio tech
  • Implementing audio tech in XCode/Swift and Apple Reality Kit
  • Managing a team of 3 other sound designers
  • Mixing
  • Sound Design
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Wolves In The Walls – VR Interactive Story

VR Immersive Technical & Creative Sound Designer

I was hired as a technical/creative audio designer on the FaceBook Immersive audio team working with the acclaimed Fable Studios . My ability to learn quickly and solve problems, and code/implement logic in Unreal 4 Blueprints and WWise gave the team a boost across creative and technical needs to complete the project.

I stepped into onboarded and integrated quickly into already existing team in the third and final chapter milestone of this project. I was able to quickly resolve long standing audio implementation bugs with new perspectives and supporting other technical sound designers with suggestions and bouncing ideas off one another.

Both developer and audio team won an Emmy Prime Time Award!

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Bee Ride – Central Park – VR Ride

VR Spatial Audio Director (Technical & Creative Audio Lead)

I was brought onto this project after initial placeholder audio had already been implemented, with the brief to evaluate the experience and elevate it to a finished, showcase-ready standard.

After reviewing the existing material, I identified several key areas for improvement. These included casting and recording real actors to strengthen emotional connection with the audience, designing a full spatial soundscape to bring the world to life, and sourcing and editing four distinct music pieces to guide the emotional arc of the journey. These musical elements were anchored both diegetically and non-diegetically within the experience.

I also composed bespoke musical moments, including a short violin performance near the end of the ride, to bridge diegetic and non-diegetic elements and provide a cohesive emotional transition.

On this project I worked across multiple roles, including spatial sound designer, audio director, music director, composer, voice talent scout and supervisor, and spatial mix engineer.

My approach began with understanding the existing ride material and identifying where it fell short. A key issue was the lack of distinction between head-locked and spatial audio, which was reducing immersion. I re-authored the audio pipeline to support both head-locked and world-based spatial audio simultaneously, preserving clarity while maintaining immersion throughout the experience.

Late in the schedule, during hardware testing, the team discovered issues with the video playback. With only three days remaining before a major VR expo, the audio needed to be revisited despite months of locked timing. I re-authored spatial pathing, re-edited and re-timed the music, and delivered a new final build in time for the showcase. The revised experience was successfully presented at the expo.

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Jolly Roger  – Central Park XD Ride

I was hired to help create spatial audio and a spatial audio mix for this fun physical XD/7D theme park ride blending 5.1 audio with 3D audio and visuals

I was responsible for:

  • Spatial Music Mix (Music provided by Daniel Sadowski)
  • Spatial sound design, pathing and animation
  • 5.1 Final mix and master

Horizon Worlds – VR Metaverse 

Metaverse Tooling Technical Audio & Experience Audio Lead

I was responsible as:

1st Party Game Audio Lead

– Co-ordination & collaboration with other team members in a fully remote environment to create bespoke experiences and advancing the platform.

  • Audio on multiple experiences
  • Sound Design 
  • Music including editing, composition
  • Implementation
  • Feature Technical Designs
  • Optimizations and debugging
  • Scripting using visual scripting language

World Builder – Audio Technical Designer

  • Audio tools feature design & programming (C#, Unity)
  • Audio debug tools programming

 

The World Beyond

Hand Tracking Demo for Quest 2. – Meta

I was responsible as:

Technical Audio Designer

– Programmed a light weight custom event-based audio engine in C# with no middleware in Unity.

– Implemented audio into the expereince.

– Authored audio systems for pooling and randomizing emitters.

 

Quill TV

Realtime Animated VR Shorts – Meta

I was responsible as:

– Assist in establishing mix standards 

– Mixing and mastering my and other designer’s content

– Implementation of audio assets

– R&D new techniques on spatial perspective to share with the team

UNREAL 4 – VR – Personal Project

Currently a WIP v3 – There are improvements coming!

I was responsible for:

  • Creation of original SFX for all audio.
  • Replacement of New UE4 Audio Engine with WWise Integration.
  • Scripting audio and bot behaviors in Blueprints Programming
  • Real time saber audio – movement, rotation, interaction with ground, interaction with turret bullets.
  • Variable Saber starting sounds (not using single shot sounds)
  • VR audio setup & mix
  • Modeling and Scripting of Bot Behavior including randomized targeting and tracking player with ‘eye’
  • Audio Mix & Master.

Bloody Zombies : PC, PS4, XBox 1, Switch, Steam VR

I was responsible for:

  • Sound Design

I was brought on to replace most of the sfx and create new assets for combat, destruction, zombies creature design, game props and some ambiances.

 

Music was composed by Daniel Sadowski