I have over ten years of gaming audio experience working as an Interactive Music Specialist and Sound Designer along with expert knowledge in Implementation and Mixing/Mastering. I’ve been pushing AAA film quality interactive sound innovation since my first shipped title. I enjoy designing workflow methodologies and tools for exciting interactive sound experiences. My particular interest is exploring the grey area where music and sound design intersect. I create sound from concept and iterate on the idea with stakeholders in order to push the sound forward until the goal has been achieved, and I instinctively know how to make content not only sound exceptional but also create impactful sound experiences. I problem solve audio issues both technically and creatively establishing new tools and creating new processes, sharing best practices and mentoring. I have previously worked as an Audio Artist III (as both a Sound Designer and Interactive Music Specialist) on the games UFC, Star Wars Squadrons, Need for Speed The Run along with other AAA titles. I have also worked with Source Sound and Charles Deenan. I have been involved in the full gaming cycle from the ideation/pre-production phase to the finaling process. I have created SFX for picture or to spec and I have created new sound design experiences and prototyped workflows to improve the experience or realize the creative vision. I have a soundproof, acoustically treated mixing space as my remote space where I am able to provide valuable mix insight and maintain a high level of production value.


  • idea to concept AAA level sound design creation and implementation
  • fluent with current game engine pipelines and technology
  • have managed teams including sound design and composer teams ensuring they kept on schedule and that we received the best work from each artist using open and iterative communication
  • mixing and mastering of all types of assets
  • work collaboratively with audio teams, external vendors and audio artists i.e. composers, licensed music teams, recording studios for dialogue etc.
  • extensive experience using Pro Tools, Logic and Ableton, Reaper
  • ability to articulate vision of audio team into concrete audio works
  • high level experience in managing creatives
  • excel in a team environment
  • thrive under pressure with tight deadlines
  • skilled in implementing interactive music and audio design using Frostbite 2 Engine, Harmony, GC


Gaming Audio Designer, Sound Designer, Mixing, Mastering, Interactive Music and Sound Design Implementation


FIFA 23 // ELECTRONIC ARTS [latest release of Fifa soccer game]

  • manage external contractor
  • set the bar for quality and ensure the pipeline keeps on schedule and maintains benchmarks
  • track assets flow between EA and contractor
  • chant mastering, mixing and implementation
  • high quality stadium atmospheres
  • overall asset tracking
  • mix, edit and master in surround

Demo reel will update upon game release. Over the last 1.5 years at Electronic Arts, I was working as an Audio Artist III on FC with a focus on sound design where I provided realistic world-ized stadium broadcast sound design treatments. Specifically for stadium chants/crowds as well as creating original SFX for picture. In FC, chants are a crucial sound design feature in the game. I also worked on other sound design aspects like crowds, SFX props, walla and pipeline implementation tools.


STAR WARS – Squadrons // ELECTRONIC ARTS [space combat game]

  • worked collaboratively with Audio Director, Music Director and interactive music team
  • maintained established style and tone of brand and the creative intention
  • provided detailed feedback on audio tools and recommendations for feature and design considerations for development
  • music cue selection, edit, mix / master and implementation of music assets maintained set levels for loudness and quality
  • in-game-Interactive music implementation and editing



UFC 4 // ELECTRONIC ARTS [mixed martial arts fighting game] Sound Designer, Cinematics, Mixer and Editor

  • mixed, edited and mastered gold master cinematics for story moments, including creation of SFX and all elements of the mix dialogue, SFX and Music
  • created and mixed SFX and foley elements for cinematics
  • created new assets for high impact moments
  • mentored junior sound designers on the team, provided feedback and helped troubleshoot quality improvements to maintain quality control for the game
  • edited, implemented and mastered all music assets for the game
  • ensured the audio visions of the title were being met by composer through communication and feedback
  • music supervision selection of library music, provided feedback on high profile licensed music candidates
  • communicated and reported to Audio Director, Music Director, and Producer on work in progress
  • sfx support for mobile version
  • edited with Pro Tools
  • mixed in surround 5.1



SOURCE SOUND, LA (Charles Deenan)                

UNDER NDA – general description of work   

  • sfx creation
  • interactive audio implementation
  • audio editing
  • communicate with Senior Management on production issues and suggestions for improvements
  • keep track of schedules, audio assets and ensure work is completed on time
  • review audio work from composing teams and licensed music, provide specific feedback
  • work in both the development cycle as well as production cycle _integral part of the team from concept to implementation


MEDAL OF HONOR – Warfighter // ELECTRONIC ARTS – BLACK BOX [Driving levels in Game]

  • edited, implemented and tested music for the game
  • closely worked with composer Ramin Djawadi and audio team
  • ensured the audio visions of the title were being met by composing team through review and specific feedback
  • communicated and reported to Audio Director on work in progress
  • organized music assets
  • edited with Pro Tools
  • mixed in surround 5.1
  • implemented in Frostbite



Gaming Audio Designer, Sound Designer, Mixing, Mastering, Interactive Music and Sound Design Implementation


  • edited, implemented, and tested all music for the entire game
  • closely worked with composer Bryan Tyler and audio team
  • ensured the audio visions of the title were being met by team
  • reviewed and provided feedback of composer and audio work of team
  • provided detailed feedback during music license selection
  • communicated and reported to Audio Director on progress
  • worked on music content for marketing promo and demos
  • organized all music assets
  • edited with Pro Tools
  • mixed in surround 5.1 and quad
  • implemented in Frostbite
See me at Work 3:34 // Need for Speed The Run – Driving The Sound


Sound Designer, Mixer and Interactive Audio



  • worked closely with sound designer Charles Deenen
  • edited, composed, remixed and mixed music and sound design
  • edited dialogue, crowds
  • created unique sound design foley, created end of race SFX
  • organized remote recording sessions
  • edited with ProTools
  • mixed in surround 5.1




EA Sports/Monster MVP Carbon Headphone // Commercial // ELECTRONIC ARTS – SPORTS

  • Created the music, sound design, mixed and mastered the entire sound for the ad



  • Created the music for the Bot Colony Game Trailer

Facebreaker // Game // ELECTRONIC ARTS

  • Composed original music for gameplay

Fifa Street 3 // Game // ELECTRONIC ARTS

  • Composed original music for gameplay

Wednesday // Feature Film

  • Composed original score for the feature film Wednesday

Cherry Valley // Documentary

  • Composed original score for the feature documentary Cherry Valley


Andrew’s gift for cinematic intensity comes from his background as an electronic artist producing under the alias’ Ded Sheppard, Supercycle and C((o))de Blue with releases recognized around the world. He produced his earlier work in collaboration with The Panacea, “Graveyard Twist” in particular has been played by Richard D. James / Aphex Twin in a celebrated history of electronic music live set at Coachella. Aphex Twin later played it again as the finale track at his performance at the festival Forbidden Fruit in Dublin.

Andrew’s first solo EP under his new moniker Ded Sheppard, debuted in 2015, a genre bending, sound design heavy, watery EP that “showcase [his] cerebral, masterfully balanced take on bass music.” Ded Sheppard’s sound has been described by Noisia as “Evolving tribal techno stuff”. Andrew’s EP “Assembling Silence” featured a remix by Homemade Weapons and his most recent EP “You Can’t Take It With You” is a concept album that explores themes of mortality and questions our unfolding dystopian future (pre-pandemic concept). When he was creating it he continually asked the question, “what are we leaving behind?”, with the central theme being you can’t take it with you. As an artist, he wanted to give himself the freedom to explore and to go beyond his expected boundaries in dance music, in structure, form and tone. It haunts the catacombs of those long gone, looking for wisdom on where to go next.

Ded Sheppard – You Can’t Take It With You – Album (Onset Audio)

“‘You Can’t Take It With You’ is a seven-track concept album, featuring 4 dancefloor tracks and 3 tonal pieces, each musically interconnected and tightly woven with a narrative that runs throughout. Highly relevant and suitable for the dancefloor it should also appeal to more experimentally-minded listeners, featuring elements of ambient doom, drone and even a piano ballad at the end, all of which are pinned together with Ded Sheppard’s tribal techno and half-time drum and bass roots.” – Data Transmission

Ded Sheppard – Skizma EP (Onset Audio)

Ded Sheppard – Assembling Silence EP (Onset Audio)

Ded Sheppard – 1bad1 (Onset Audio) Ded Sheppard – Embers (Onset Audio) Ded Sheppard –Self Titled Album (East Van Digital)

Vinyl Releases
// C((o))de Blue and the Panacea – Graveyard Twist (Position Chrome) (released as Code Blue)
// C((o))de Blue and the Panacea – Headstone Shuffle (Position Chrome)  (released as Code Blue)
// C((o))de Blue Sign of the Times and Paranoid (Tune Inc. Recordings) (released as Code Blue)

// to Terry Frewer Dear Mr. Gracey, Feature Film / Christmas in Wonderland, Feature Film /
Slapshot 3, Feature Film / Hybrid, MOW / Elijah, MOW

// 2019 Skizma EP Charted Top 3 Drum and Bass Releases and #12 Beatport Overall
// 2018 Between Stillness Charted Top 10 Drum and Bass Releases

// 2006 GCFC/SOCAN Grant Mentorship Scholarship