I find that audio assets sound different when they are in the mix and heard during play. While I work, I often need to play the game and revise assets multiple times before I am happy with them and consider them final. I prefer to own the entire audio stack because it allows me to make the game sound the way it should. By getting under the hood, rather than just delivering assets, I can be as detailed as I need to be when it comes to game feel and the mix. It ensures that nothing gets lost in translation between disciplines. I really consider myself a part of the game design team, looking at the player experience from an audio perspective. 

Previously, I worked as the Program Manager of Music Production for the Los Angeles Film School, remotely managing a team of around 20 instructors and creating curriculum covering a wide variety of music production topics. This job was about the student experience. I had to design engaging assignments and curriculum that allowed them to practice and be creative while still achieving education outcomes. Since it was remote, I would often have to build and maintain relationships with students and faculty through video chat or email only, ensuring that the person on the other end would still feel seen, heard, and supported.

I still DJ and produce electronic music semi-regularly. It’s a passion of mine that I’ve had for 20+ years and it is where I formed my foundation in sound design, audio engineering, and music theory. I have a few projects I release music under and recently I was able to DJ at Burning Man which was an unforgettable experience.

You can contact me via email at RomanPerryAudio@gmail.com.