Spain
Audio Expert and Game Developer with 19+ years of international experience. My sound design is built on original field recordings and deep creative exploration, crafting distinctive sonic identities from the source up. Expertise includes audio direction, sound design, game audio implementation, mentoring, and leadership. Selected credits: 2025 - Destiny Renegades 2025 - IRE: A Prologue 2025 - Destiny Rising 2023 - Avatar: Frontiers of Pandora (Ubisoft) 2020 - Far Cry 6 (Ubisoft) 2019 – Destiny 2 – Black Armory (Bungie) 2018 – Destiny 2 – Forsaken (Bungie) 2018 – Destiny 2 – Warmind (Bungie) 2017 – Destiny 2 – Curse of Osiris (Bungie) 2016 – Destiny 2 (Bungie) 2016 - De-Formers (Ready At Dawn) 2016 - Lone Echo (Ready At Dawn) 2014 - The Order 1886 (Ready at Dawn) 2011 – Hitman 5: Absolution (IO Interactive) 2011 – Wolfenstein: The New Order (ZeniMax)
Palm Tree Audio is an independent sound design studio built around deep collaboration and true co-development. At its core, Palm Tree Audio is a sound design company—driven by originality, creative intent, and craftsmanship. Audio is treated as a first-class design discipline, shaping player experience from the earliest prototypes through final polish, rather than being layered on at the end. Design and technology are the studio’s driving forces. Palm Tree Audio not only focuses on expressive, intentional sound design, but also deeply understands the technical foundations required to make great content work in real-world production environments. This balance allows audio to meaningfully influence gameplay feel, emotional impact, and player feedback—while remaining robust, scalable, and production-ready. Rather than operating as a traditional handoff-based vendor, Palm Tree Audio works as a co-development partner, embedding closely with game teams and contributing throughout production. Audio is developed alongside gameplay, animation, and narrative, enabling sound to actively inform design decisions and elevate the overall experience. The studio is intentionally structured to remain small and hands-on. This ensures consistent quality, clear creative ownership, and direct involvement from start to finish—while retaining the flexibility needed to adapt to evolving designs and production realities. Palm Tree Audio partners with teams who value exploration, technical excellence, and creative depth over high-volume output, and who see audio as an integral part of building distinctive, memorable games.
Oversaw worldwide operations of Ubisoft’s Central Audio Department in Düsseldorf, supporting Ubisoft studios globally with sound design, Foley production, and audio implementation services. Led and contributed to audio production across multiple AAA titles including Avatar: Frontiers of Pandora and the Far Cry franchise, maintaining audio quality standards and supporting large-scale gameplay audio system implementation. Served as Sound Supervisor for Far Cry DLC content, guiding audio direction, reviewing deliverables, and coordinating external audio partners to ensure consistency with the franchise’s sonic identity. Additionally acted as Audio Director on an unannounced project, defining the overall sonic vision and leading audio development in collaboration with the core development team.
I joined the Bungie audio team to help shape Destiny’s production roadmap as it moved further into a live service model. A big part of my role has been leading a team of sound designers — doing regular 1:1s, supporting growth, and making sure everyone is set up to do their best work. At the same time, I’ve been working closely with production and other discipline leads to define scope, priorities, and what “good” actually looks like for each release. I’ve also taken ownership of key areas of the game, setting goals and helping drive them through to completion — always with the player experience in mind. That includes a fair amount of coordination across teams, making sure audio is aligned early and stays integrated throughout. On the operational side, I’ve been involved in planning and resourcing — figuring out what we can realistically deliver, how to prioritize, and how to keep things moving without burning people out. A lot of that comes down to communication, clarity, and removing blockers so the team can focus on the creative work. Creatively, I’ve stayed very hands-on. Designing and implementing audio for weapons, abilities, creatures, activities, and raids, as well as supporting cinematics and marketing content. Everything gets integrated using Wwise and our internal tools, always aiming for a high level of polish and consistency across the game. I’ve also been working with external partners, especially around cinematics, and contributing to the growth of Bungie’s audio library through field recording and source gathering. Overall, the role sits somewhere between leadership, production, and hands-on sound design — making sure the team is aligned, the work is strong, and the experience holds up at scale.
When I joined Ready At Dawn, I was the first audio hire, so a lot of it was figuring things out from scratch and building the audio side as we went. Early on, I focused on setting up the overall audio framework for the game and making sure we had a solid foundation to build on. A big part of that was working closely with an audio programmer — we even ended up customizing Maya for audio workflows, things like ambient systems and portal setups. At the same time, I spent a lot of energy making sure audio was actually part of the conversation across the team. Not just something that comes in at the end, but something that supports design decisions early on. So I worked quite closely with different disciplines to keep that alignment going. On the creative side, I covered a pretty wide range — ambient worlds, weapons, creatures, cinematics — and also supported some of the Sony service groups with creative direction when needed. I stayed pretty hands-on throughout. Did field and foley recording, built and implemented systems in Wwise, wrote some Python tools for tagging and workflows, and generally kept improving the pipeline so things didn’t get messy as the project scaled. I also helped out on the marketing side with trailers and music licensing, and in the end brought everything together through both linear and interactive mixing. Overall, it was a mix of building systems, shaping the sound, and making sure audio had a proper seat at the table.
I joined IO Interactive in Copenhagen as part of the audio team working on Hitman: Absolution. It was a pretty intense phase of development, and I came in right when things needed to come together. Most of my time was spent implementing sound directly in the engine using their in-house tools, making sure everything worked properly in-game and felt responsive. I also got quite involved in field recording — organizing trips and capturing material for things like bullet impacts and physics interactions, which was a great hands-on experience. On the design side, I worked across a range of content — ambiences, weapons, animations, UI — basically wherever support was needed to help bring the world together. And outside of work, it was also my first time living in Denmark, so I picked up a bit of the language and culture along the way.