> Currently responsible for all audio for Marvel Strike Force and Avatar: Pandora Rising. Provide assets for both games. > Work with engineering to retool, rebuild, and maintain audio pipelines for both games.> Manage outsourcing for audio, working with external sound designers and composers to meet the studio's needs.> Handle hiring and budgeting for audio department.> Communicate frequently with studio leadership to raise studio awareness of audio and to better integrate audio into game pre-production and feature planning.

> Managed 5 person audio team responsible for champion skins and other monetized assets on League of Legends, delivering new products on a bi-weekly cadence.> Built and managed outsourcing pipeline, including sourcing of contractors and negotiation of contracts.> Worked with senior Personalization leadership to develop product strategy and tactics that enabled us to hit high-level goals.> Cut development time of fully-featured champion skins by 50% while maintaining team health and happiness through the use of agile practices and iterative development.> Worked with China based audio team on early development of Wild Rift. Also provided audio support for new maps and game modes, as well as several new product lines.> With support from engineering, revamped and rebuilt LoL’s audio build pipeline, almost eliminating build breakages caused by audio development.> Began to increase clarity in LoL’s mix by introducing HDR (via Wwise) to sound designers’ workflow.> Hired, mentored, and developed junior sound designers to grow as game developers and collaborators, as well as sound designers.

> Grew the audio team from a 1 person team to a 5 person team, with additional external resources. Developed a network of external sound designers and composers to increase and decrease bandwidth to meet the demands of development. > Responsible for all audio for Red 5, including in-game assets for Firefall, cinematics, marketing, and branding. Received a strongly positive reaction to the audio in Firefall, with many reviewers listing the sound and music as one of its strengths.> Developed audio pipeline to enable audio team to meet tight deadlines with maximum quality. Worked with programmers to develop procedural solutions to streamline audio designer workflow.> Mentored and developed junior sound designers into capable, highly productive team members. Only one sound designer has left during my tenure at Red 5, and that was to take an audio lead position at another developer.> On multiple occasions, I have led large multi-disciplinary teams (30+) tasked with developing critical content. These teams were responsible for the majority of content in Firefall on launch in 2014.> I have led the audio team through several launches of Firefall, each of which required the development of dramatically different features and content: Open Beta (2013), Steam Launch (2014), and China Launch (early November, 2015).> During this time, I have also served as the Narrative Director for Red 5, addressing an area of need for the development team,

> Created and implemented sound effects and music for Firefall. Also provided all audio assets and services for various marketing and multimedia projects by Red 5.> Worked with external composers and sound designers to supplement the capacity of the Red 5 audio team.> Was the principal contact with senior management for the audio department. Managed the workload for the audio team, and provided direction and training to junior sound designers.

> Created and implemented weapon, ability, and ambient sound effects for Firefall. Worked with Red 5’s Audio Director, designers, and animators to establish the initial soundscape for Firefall.