LMS (Full Name TBA)

🪑 Project Overview 🪑

LMS is a PvP / PVE third-person shooter, and as a Technical Sound Designer was responsible for crafting and integrating the game’s audio within Unreal Engine 5 using Meta Sounds. My role involved designing immersive sound effects for weapons, abilities, upgrades, and in-game quest elements. These were implemented using the Blueprint visual scripting system in Unreal.

Spatialization
One of the main challenges I faced was adapting audio design to fit the third-person perspective. Unlike first-person games, third-person shooters require sound to be spatially accurate without relying on the player's direct point of view. For instance, making weapon sounds feel powerful and responsive from a camera that trails behind the character demanded careful tuning of attenuation settings, stereo spread, and positional audio cues. The sounds also had to convey important gameplay information, such as ability cooldowns or incoming enemy attacks, even when the source was not visible.

Multiplayer Implementation
To address these issues, I worked closely with the programming and gameplay teams to refine the audio systems. One specific problem we solved involved syncing audio events with animations and gameplay triggers in a networked multiplayer environment. I developed custom logic using Blueprints to ensure that sounds played accurately and consistently across clients, maintaining immersion and gameplay clarity in both local and online sessions.

Priority System
To manage the dense and dynamic soundscape of the game, a custom audio priority system was implemented using "MetaSounds" and sidechaining techniques within Unreal Engine 5. In a fast-paced PvP / PVE environment, multiple sounds such as weapon fire, ability activations, character movement, and enemy cues often compete for the player's attention. To ensure clarity and avoid auditory clutter, I implemented a system where high-priority sounds could dynamically suppress or reduce the volume of lower-priority ones in real time. Using MetaSounds, I set up logic-driven routing and control parameters that allowed key audio events to momentarily lower the presence of less critical sounds through sidechain compression. This system preserved the impact and readability of important gameplay cues, improved the overall mix balance, and helped maintain immersion without overwhelming the player. It was especially valuable during intense combat sequences, where managing auditory hierarchy was essential for gameplay responsiveness and player feedback. 

3rd-person camera
Another challenge involved helping players maintain spatial awareness. Since the camera is detached from the character, players often rely heavily on sound cues to orient themselves in combat. I implemented adaptive audio systems that layered sounds based on distance and player context, ensuring feedback was always clear and responsive regardless of camera position.

Summary
This project demanded a blend of technical expertise and creative problem-solving. I frequently prototyped and iterated on audio systems to ensure that the sound design not only supported gameplay but also deepened player immersion. All solutions were developed with performance and multiplayer functionality in mind. From a sound design perspective, one of the early challenges was defining the overall audio identity of the game. Establishing the right tone and aesthetic was a collaborative process, often guided by team feedback. There were instances where a sound asset either resonated with the team or didn’t quite fit the evolving vision, requiring quick iteration and adaptation. Over time, I became increasingly confident in the sonic style the project demanded. With each round of feedback, I refined my approach and aligned more closely with the game’s creative direction. This growing familiarity allowed me to work more efficiently and effectively, delivering sound design that complemented the gameplay and matched the team’s expectations.

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