Hey, I’m Robbie. Your friendly neighbourhood audio engineer. I’m a sound designer with 6 years of experience in studio and live sound, and over a year focused on game audio. I specialize in sound effects and audio implementation, primarily using FMOD. I’m proficient in both Ableton and Reaper and will adapt quickly to new workflows and tools as needed.
Mentored by Adrian Carroll of Abbey Roads Studios in London and Guy Grey from Studios 301 in Sydney during my time at SAE, however now I currently freelance for Zander Hulme at Supertonic. I find my formal training at SAE Institute in Brisbane has provided the foundation, but my adaptability and passion for continuous learning have shaped my career.
Clear communication and attention to detail are the cornerstones to my success in sound design. By listening carefully and focusing on the details from the outset, project expectations can be met with minimal revisions.
I recently had the opportunity to collaborate with PlaySide Studios on the sound design for their upcoming release, Dumb Ways to Die: Free For All. My role focused on delivering clean, crisp, and playful soundscapes to complement the game’s appeal to a younger audience. I enjoyed working with the team and expanding my skill set across new genres.
The project is set to be a great success, and I’m excited to see it launch on November 7th, 2024, for the Meta Quest 3.
Working on The Gardens Between as it transitioned to VR platforms was an exciting challenge, particularly as a sound designer tasked with creating lush, subtle, yet impactful synthetic sounds. The game’s dreamy environments and time-manipulation mechanics required a soundscape that could enhance the surreal, nostalgic atmosphere without overpowering the delicate, emotional storytelling. My focus was on crafting sounds for user interactions that felt organic within the whimsical setting while still delivering a sense of engagement and immersion. The VR adaptation allowed these audio elements to come alive, adding depth to the experience as players explore the vivid, memory-inspired worlds in a fully immersive way.
Sound design for the latest Earn to Die installment proved to be an enjoyable challenge. Having amassed over 100 million downloads in it’s previous editions I was lucky enough to be on the team of sound designers of the post-apocalyptic landscape. In this game you level up your equipment by playing, unlocking more interesting and powerful weapons and upgrades in order to fight more challenging bosses.
You can find a link to the game here on the App Store or here on the Google Play Store.
The game to date has over 56 thousand reviews and is about 4.1 stars among players.
With Supertonic, I worked closely with the solo developer, Martin, who’s brain-child is this sci-fi, quantum-based, brain-tickler of a puzzle game. In it you’ll find yourself entangled between having a solid state and an uncertain state where you exist in two places. A recipe for a great puzzle game.
Working on the sound for this game was just as exciting as the concept. It included heavy use of synthesisers for force fields, lots of foley recordings as Mittens, who you play as, knocks over cups from the desks, and some clever use of FMOD parameters to make the game dynamic in its design. A really fun project and I hope to do some more work on it in it’s next design cycle.
Check out what Martins up to here.
A few blogs about some of the things that interest me
Poly-rhythms, the simultaneous presence of multiple contrasting rhythms, have long been acknowledged as a powerful tool in music creation. Surprisingly, the intricate patterns of poly-rhythms find echoes in the rhythms of the natural world. By exploring scientific findings and expert opinions, we can uncover the presence of poly-rhythmic phenomena in nature and leverage this understanding […]
Robbie - 28/02/2024
Sound design is the heartbeat of audiovisual experiences, influencing our emotions, perceptions, and overall engagement. However, opinions on what constitutes good or bad sound design can vary widely. In this exploration, we gather insights from diverse sources to shed light on the elusive question: What makes sound design good or bad? Defining good versus bad […]
Robbie - 28/02/2024
What makes an organic element emotionally riveting? Something that resonates? I’d argue something that resonates with part of me without needing frills is the idea of taking something naturally human, and making it inorganic. Such is found in the way of Sci-Fi. Movies like Terminator and RoboCop did this. Take something human, make it unfeeling […]
Robbie - 28/02/2024Feel free to reach me on any of my contacts. Let's chat about your project.
0479 177 265
Brisbane, Queensland, Australia
robbie.jd.little@gmail.com