Audio plays an intrinsic part in our creation of authentic worlds here at Frontier. We care about both the macro and the micro, delving into the fine details. Putting the player into the centre of the experience and allowing their decisions to drive the audio-scape. Creating data driven audio that is always changing and evolving; informing the player, and creating a tangible sense of agency in the virtual worlds Frontier creates.
The department is made up of two parts: design and technical. Within the technical team we have audio coders, audio riggers, audio tools and build/test engineers, acting as a service resource for the audio design team and associated project teams. The team has grown from just a handful of people in 2013, to nearly 40 passionate people.
We have some incredible audio facilities at our studio, with two custom built 7.1 mix spaces, a foley pit and two live recording rooms. All of our in-house audio designers have their own treated rooms with large glass frontages and outside views. To us, sunlight is just as important as a treated space!
Professional empowerment and career growth is hugely important to us. We want people to take ownership of their work; take pride in it, and make it the best it can be. Our focus is on quality, experimentation, collaboration and peer review; we do not fear failure. It is a necessary stepping stone in the exciting process of creative problem solving.
Link us to reels that really show your design skills. It’s fine to choose game trailers or scenes from movies and re-design them. Annotate the work you did. Show us how good you are at storytelling with audio and your attention to detail.
Our Technical Audio Designer roles expect applicants to have a great understanding of audio implementation and optimisation methods in Wwise, as well as being comfortable scripting and working in proprietary, and off the shelf engine tools.
We pride ourselves at having developed a powerful audio code framework that sits between Wwise and our proprietary Cobra engine, which enables us to contextualise and streamline events and other data sent to Wwise. This has enabled us to free up the audio design team to focus on artistic considerations and not have to worry quite so much about the technical constraints of a platform. It also frees up coders to focus on more interesting and technical solutions both cross-project and any unique system requirements within projects themselves.
We’re always on the lookout for super-talented, passionate people - if you've developed games for console or PC then we'd love to hear from you. Drop us a line at email@example.com
Hello! I’m Dylan and I’m a Senior Sound Designer in the Audio team we have here at Frontier. My role involves creating and implementing sound effects for our games using a variety of different tools and creative processes. I first joined the company in 2017 and have been lucky to work on Elite Dangerous, Jurassic World Evolution and its sequel, Jurassic World Evolution 2.
It can be a very rewarding process, from researching and conceptualising ideas right at the start, to organising huge weapon recording sessions at Pinewood studios. It’s an incredibly creative role which always enables me to find interesting ways to implement audio into the variety of games we develop. As well as working alongside our audio code team, I really enjoy collaborating closely with designers, animators and VFX artists. As a very gregarious person, I really enjoy this part of my job.
The team is continuously growing and because there’s quite a few of us, we’re able to jump on different projects at different stages of development. It’s great to be part of an audio team that’s really good at sharing knowledge and ideas, giving constructive critique, and supporting each other during the development cycle.
Hi there, I'm one of three Technical Audio Designers and part of the larger Audio Code team. It's a very broad role and hard to specify exactly what it entails, though a lot of the work involves profiling, testing and optimisation. We often work cross-project filling the gaps between the Audio Design and Audio Code creating, maintaining and optimising systems, mainly using the audio middleware Wwise. I love how dynamic the role is, my work can change daily - I could be working on room geometry one day and hooking up music the next, before optimising and balancing what happens when 20 people are firing automatic weapons at the same time.
I started in 2019 as part of the Audio QA team working closely with the audio team to profile, test and report bugs. We have an amazing QA team that value and treat each other as family, and it really showed me the value of good communication and planning within and across departments. I then had the opportunity to move into the Audio team, where I've since been able to work on almost all of the projects in development. It’s been great learning from the stellar audio team we have here and other departments throughout Frontier.