Jose Luis Gonzalez Castro Email & Phone Number

Pontevedra, Galicia, Spain

subROV: Underwater Discoveries is an upcoming PC game where you control a remotely-operated submarine and embark on dives to explore the oceans all around the world.I am developing subROV entirely by myself. It started as a project for me to hone my skills with the audio middleware Wwise, and over time it has evolved into a full-fledged game. The project has been awarded an EU-PRTR NextGenerationEU grant, has participated with NSF-funded research, and has scientific support from both the Bermuda Institute of Ocean Sciences and the Schmidt Ocean Institute.

Pontevedra, Spain

I have been in charge of everything related to sound in the two latest games of the company game, including:-Defining sound specs and working out implementation in Unity (no middleware) with the main programmer-Making and implementing all the game's sound assets-Composing, recording and implementing all the game's music

miniMO is a stand-alone mini modular synthesizer made of identical modules that take on different functions depending on their programming.This is a personal project where I've taken an idea all the way to a finished product, involving a broad set of skills such as-MCU programming (C++)-Electronics (circuit design, PCB design)-3D modelling and printing-Website design and SEO

Pontevedra, Spain

I work adding sounds and music to projects of all kinds and sizes.

Cambridge, United Kingdom

I was in charge of audio for the game from the very beginning to the first release. Key tasks included:-Creating the game's Wwise project (sound structres, buses, states, switches, parameters, banks)-Working alongside programmers (core, gameplay, and audio) to design and implement audio features and systems-Creating all the first pass sound assets (some made it to release, while others were gradually replaced as audio team members were assigned to specific areas) -Managing, organizing, and documenting work (meetings, schedules, reports)-Managing and organizing the audio team as the project ramped up -Working on auxiliary materials, such as promotional videos

Cambridge, United Kingdom

As part of the Audio Team I was assigned tasks covering all aspects of sound creation and audio systems design, using Wwise and a number of internal tools:-Kinectimals: Took on complete animal "sets", including vocalizations and sfx for gameplay and cutscenes; minigames; collision system; vehicles-Disneyland Adventures: Supervised VO implementation for the whole game; took on complete audio design and audio systems design, plus music editing, for several rides (eg. Space Mountain); created and added all animation-related audio for the characters in the park; took on audio design and audio systems design for several of the park's minigames-Zoo Tycoon: I didn't work in the project but was kindly credited in it, as the Audio Team reused some of my work from previous projects

Barcelona Area, Spain

I was the sound designer for the Barcelona office and took charge of all sound aspects for the game Wanted: Weapons of Fate, being the only designer assigned to it for more than half of its development. Key tasks included:-Revising legacy audio systems (internal audio engine and tools) with gameplay programmers to suit the specifics of the game -Defining and adding audio for key game features (bullet time, quicktime events, enemies' reactive VO)-Creating and adding first pass sfx for gameplay (weapons, animations, impacts, ambiences...). The audio team in Stockholm revised key sounds such as weapons, and further iterations were made using the original movie's assets-Writing VO for gameplay incidentals and reactions; Overseeing VO recordings alongside with the VO director -Adding audio for cutscenes (shared with the team in Stockholm)-Adding music (assisted by the team in Stockholm)-Managing work and liaising with the main audio team (meetings, schedules, reports)-Overseeing the construction of a sound booth in the Barcelona office (liaising with contractors to make sure everything was built to spec)I'm also credited as a composer in the Bionic Commando Soundtrack, as I composed, performed, and recorded the piano version of the Main Theme heard in the game's Main Menu. It was a significant but small role, which is why I include it as an aside of my main work as sound designer

Vigo Area, Spain

I was hired to help developing small games and prototypes for the company and third parties. Key tasks included:-Assisting the game director and liaising with programmers and artists to ensure a good workflow -Creating documentation and reports per project-Designing game mechanics and features with gameplay programmers-Creating music and sound assets as required Unfortunately almost none of the work I made during this time was made public, except for the tutorials I wrote at instructables for SQR, a game I codesigned and built prototypes for

I was in charge of all audio-related aspects of the game. Key tasks included:-Defining audio specs and systems with the main programmer (custom engine)-Making and adding to the game all the game's sound assets-Composing, recording and adding to the game all the game's music Glest was awarded First Prize in the Playstation Art Futura Video Game Design Award, sponsored by Sony

El Cid was an (unreleased) adventure game based on the animation movie of the same name. Except for VO, which I edited but didn't record, I did all music and sound work for the game, including several cutscenes that I scored and added sound effects to.

Titulo Superior, Music Composition

Electroacoustic Composition

Titulo Superior, Piano Performance