Technical Audio Designer specializing in Music Implementation
I help game studios implement adaptive audio systems seamlessly, bridging the gap between developers and designers through Wwise and Unreal Implementation.
With 7+ years in the gaming industry, including 4+ years at PlayStation as a music designer, I've worked on award-winning and best-selling games like Marvel's Spider-Man 2, The Last of Us Part II, Call of Duty, and Concrete Genie. I understand the technical workflows that make interactive audio systems work reliably from concept to shipment and am comfortable jumping into projects at any production stage.
REELS
Music Design Demo Reel
Adaptive Music Reel
FMOD Adaptive Music - Explore to Combat
PROJECTS
Concord
Firewalk Studios
Music Designer
Owned and built music systems in Unreal Engine 5 Blueprints from the ground up and managed the Music Hierarchy in Wwise. Responsible for systems design, implementation, editing, testing and music production support.
Marvel’s Spider-Man 2
Insomniac Games
Music Designer
Collaborated with music team to implement music systems for combat, cinematics, and menus using a proprietary engine and Wwise. Handled quality control of composer stem deliveries, Pro Tools session prep for stage recording, orchestral comping, and mix templating. Optimized music production and editing pipeline and workflow processes by creating automation tools in SoundFlow.
In 2023, I received a MPSE Golden Reel Award nomination for Outstanding Achievement in Music Editing — Game Music.
The Last of Us Part II & Remastered
Naughty Dog
Music QA + Music Designer
Responsible for testing all music systems ensuring proper playback and tuned appropriately. Providing reproduction steps for the dev team if music bugs are out of the music team scope and updating implementation documentation.
For the remaster, I was tasked with editing music systems for the No Return roguelike survival mode.
Call of Duty: Vanguard/Warzone - Seasonal Updates
Sledgehammer Games, Raven Software
Music Designer
Handled editing for gameplay and cinematic content in seasonal updates 3, 4, and 5. Also, crafted this edit for the season 4 drop. —>
Death Stranding 2
Kojima Productions
Music Designer
Created several music edits for combat systems and coordinating with music leads to ensure edits align with the games artistic vision. This project used a proprietary engine and Wwise.
Ratchet & Clank: Rift Apart (PC)
Insomniac Games
Music QA
Performed quality assurance for all music assets in the PC port for Rift Apart, communicating with developers of any bugs or showstoppers for music.
Concrete Genie
Pixelopus
Music Designer
Implemented “brush-chime” musical melodies that play when Ash uses his brush to paint. The “brush-chime” melodies play over top of sfx and music while playing in the proper musical key no matter what music cue is playing. This project used Unreal Engine and SCREAM (proprietary middleware).
Tornado Tower
Dizzy Slugs
Lead Audio Designer
Served as the Audio Lead for this project. The role encompassed designing and implementing all audio systems and assets using Unreal Engine 4 and Wwise. I also managed and directed our composer for the project and mixed and edited music cues for implementation.
Firewall Ultra
First Contact Entertainment
Dialogue Recording Engineer
I had the pleasure of working with the Firewall Ultra dialogue team recording voice lines for the character Raven.
Yokai: (Redacted)
Dragonjar Studios
Audio Designer
Currently working as an Audio Designer on Yokai: (Redacted), a 3D open world hack and slash action RPG. My role includes, providing audio direction, designing and scripting audio systems in Unreal Blueprints, as well as designing and implementing sounds and music.
When I'm not building audio systems that adapt to player choices, you'll find me playing drums with my band Pinfall, exploring San Francisco's music scene, making a mess in the kitchen, or hanging with my puppy Poppy.
I graduated from San Francisco State's Audio Production program in 2011, where my audio journey began with music recording and post-production, but my real education came from years of experimenting with how audio and gameplay intersect.
I love any chance I get to solve complex problems with creative solutions, with the game Blue Prince being my latest fascination. Currently working on Yokai: (Redacted) and always excited to connect with fellow audio professionals who share a passion for pushing interactive music and audio forward.
Feel free to connect and shoot me a line at: MattKellyGameAudio@gmail.com