• DANNY ARMSTRONG

WELCOME


TECHNICAL GAME AUDIO DESIGNER, LOCATED IN MELBOURNE, AUSTRALIA. CURRENTLY WORKING FREELANCE AND IN-HOUSE WITH PLAYSIDE STUDIOS. PREVIOUSLY WITH 2K AUSTRALIA, THQ, & FRONTIER DEVELOPMENTS.

EXPERIENCED IN BOTH CONSOLE AND MOBILE DEVELOPMENT, WITH EXPERTISE IN TECHNICAL INTERGRATION.

Portfolio

THE VIDEO BELOW IS MY UP TO DATE SHOWREEL. FEEL FREE TO BROWSE FURTHER IF YOU HAVE MORE TIME

CREDITS

PC/CONSOLE

 

Inversion Zombies (VR) – Zero Latency (2015) – Sound Designer

Borderlands : Claptastic Voyage DLC – (2015)  – Sound Designer + 2 Music Tracks

Borderlands : Pre Sequel – 2K Australia/Gearbox (2014) – Sound Designer

Mass Effect 3 – Straight Right (2013) – Wii U port, and Weapon Audio

WWE Brawl  -THQ/Bluetongue Entertainment (2011) – Sound Designer

De Blob 2 – THQ/Bluetongue Entertainment (2011) –  Sound Designer

The Outsider – Frontier Developments (2010) –  Sound Designer

Moshi Monsters – Mind Candy (2009) –  Sound Designer

iOS/MOBILE 

 

Train Conductor World – The Voxel Agents (2016)

Batman Vs Superman – Warner Bros (2016) – Producer/Audio Designer

Pan “Escape To Neverland” Warner Bros (2015) – Producer/Audio Designer

Fishy Bits – Playside Studios (2015) – Producer/Audio Designer

PopDash – Max Play / Playside Studios (2015)

Bouncy Bits – Playside Studios (2015)

Spongebob – On The Run – Playside/Paramount (2015)

Boulder Jack – Playside Studios (2014)

Jeopardy- Twiitch (2014) – Additional SFX

Heroes Of War : Orcs Vs Knights -Twiitch/Nexon (2014)

Attack the Ark – Playside Studios/Mobage (2014)

QED Cosmo’s Casebook – Robot Circus/ABC (2014)

Moshi Karts – Playside Studios/Mind Candy (2014)

Rickshaw Dog – RoviPix (2014)

Catch The Ark – Playside Studios/Chillingo (2013)

KartWorld – Twiitch (2012)

 

  • We needed someone to help us close out Borderlands TPS and as soon as I met Danny I knew he was the right fit for the job. He learnt all our systems literally in a week. This is hard to believe when you’re working with customised engines but it’s true and the technology was no barrier for him. Not only that but he worked seamlessly with our designers and artists to get everything working beautifully. This is all great but what’s really important as a sound designer is does he make great sounds? Well oh my gosh he blew us away with the quality of his work and to have him get it working in engine was a great bonus!  After coming in house we had him working remotely for us and I can not recommend Danny highly enough for his work ethic and ability to get things done with minimal supervision. He also did a great job optimising our game for consoles. We got him back to help out with our DLC and he did loads of even more mind blowing sound effects and even composed some music. This guy is an all-rounder!

    — Justin Mullins - 2K Australia —
  • Daniel is by far the best ‘Audio Guy’ I have ever had the pleasure of working with. His attention to detail and the quality of his sounds always result in a AAA quality product

    — Gerry Sakkas - PlaySide Studios —
  • Daniel is a really talented and extremely resourceful guy. Not only did he punch way outside his weight with sound design at Frontier, he also contributed a great deal to raising the audio quality bar within the dept by way of his knowledge and skills gleaned from a rich mix of previous experience.
    On top of all that he is also a great bloke, so working with Dan was always a positive experience

    — Alistair Lindsay - Frontier Developments —
  • Dan was a tremendous addition to the Blue Tongue team.Balancing creativity with technical knowledge, he always had solutions to any sound challenges and worked tirelessly to get the best possible result for our project.Dan’s ability to enhance the game playing experience through sound was a critical factor in Blue Tongue developing high-quality, entertaining video games.His good nature and easy going attitude made him a great addition to the team and culture of the studio. I have every confidence that Dan will bring the same incredible work ethic, craftsmanship and creativity to any team that is lucky enough to count him in their ranks.

    — Art Curry - Bluetongue Entertainment —

ABOUT

BIO

My career in game audio started in 2008 working with Mind Candy as a contract sound designer on Moshi Monsters. Previously to this I studied music technology in college, and then a BSc (First Class Hons) in Creative Music and Sound Technology at Leeds University, England. I was lucky enough to learn fundamental skills of game audio in my final years of university with Richard Stevens who was my game audio tutor. After university I worked in a number of recording studios as an engineer and technician. I worked at the renowned Angel Studios in London where I got to work with a wide range of clients including the BBC on a variety of recording sessions for film and tv including large orchestral recordings.

My first full time sound design position was with Frontier Developments in early 2008 working on “The Outsider”. I then had the opportunity to move to Melbourne, Australia in late 2009 working for THQ/Bluetongue Entertainment on “De Blob 2″, and also “WWE Brawl” until late 2011. THQ then ceased to exist which led to a move into the freelance world and I worked for a number of large and small studios on mobile and console games. In March 2014 I started working with 2k Australia as a contract sound designer on “Borderlands – The Pre Sequel”. At the same time I am also employed in house with Playside Studios in Melbourne working on a large number of high budget mobile games.

 

SKILLS

I have shipped numerous titles with both FMOD and Wwise, and have extensive experience with Unreal and also Unity. I have worked with numerous in-house engines and pride myself on being able to learn new tools/technologies promptly. I enjoy working with programmers creating and improving toolsets. I have created weapon, physics, vehicle and animation tools from scratch on a number of projects. I have experience with integration and scripting using both visual GUI and a small amount of C++. I enjoy the profiling stage of development and have shipped numerous large titles across multiple SKU’s with minimal audio issues.

From a sound design point I have experience working with a large variety of styles, on everything from weapons, vehicles, cutscenes, character design, mixing, ambience/3d markup to pickup sounds. I have experience with location recording, and have also spent time on foley stages. Aside from this I am comfortable working from library content to create high quality content.

I am a sound designer through and through and do not count myself as a musician at all but I do enjoy creating electronic music. I have created music for Borderlands DLC and a number of mobile games. I previously used to create house music signed with numerous labels.

 

 

 

Contact

I'd love to hear from you so why not drop me an email dan at dannyarmstrongaudio.com , or join me on Twitter or LinkedIn?

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