Finding My Frequency: My Journey into Game Audio

Hi! I’m Milo Curran, a freelance sound designer and live sound engineer, currently focused on branching into the game audio space. I’d like to share a bit about my journey so far, and what it’s been like navigating the path into the games industry.

Early Inspirations

I’ve been obsessed with games ever since firing up my PS2 for the first time. The Lord of the Rings: The Two Towers and Simpsons: Hit & Run were the titles that started it all – and I’ve been hooked ever since! As I got older, I found myself paying more attention to the soundtracks, atmospheres, and the little details that made games feel alive. That fascination with sound naturally led me towards a career in audio.

Building a Foundation

When it came time to choose a university course, I enrolled in Broadcast and Audio Technology at the University of the West of England, largely because of the Audio for Games module they offered in the final year. The course was fantastic. I learned good recording practices in the studio and on location, got hands-on experience in post-production for film and TV, and developed strong skills in Foley recording, sound design, and music production. Unfortunately, by my third year, the Audio for Games module had been discontinued. A setback at the time, but one that pushed me toward developing a broad skill set as a sound and lighting engineer.

Redundancy & Reinvention

Over the years, I’ve had the privilege of working with amazing artists and producers in both live sound and post-production. But that pull towards game audio never really went away. When my last studio went through downsizing and I was made redundant, I decided it was time to finally make the leap; to stop thinking one day and start actively pursuing my place in the games industry.

I began teaching myself audio middleware like Wwise and FMOD, taking part in Game Jams, and collaborating with small teams to build prototypes. Those experiences completely reshaped how I thought about sound. Unlike film or music, game audio is interactive and non-linear; the player’s choices drive how the sound unfolds. Working with talented developers on sound implementation, taught me how creative and technical this field really is. Despite the steep learning curve, I’ve loved every minute of it.

The Harsh Reality of Breaking In

Once I felt ready, I started applying for junior sound design roles. That’s when reality hit. I became starkly aware how incredibly competitive the industry is right now. One junior position I applied for received over 900 applications! When longstanding industry professionals with 10+years of experience are facing redundancy, it’s tough to stay optimistic. I’ve thought to myself ‘If they are struggling to find work, how am I going to manage?’

The fire is still burning, but at the end of the day, the rent still needs paying! To fund the development of my game sound skills, I’ve had to find a day job, bolstered by any freelance sound design or engineering work I can get my hands on. This is the reality so many of my creative friends are facing across most, if not all, creative industries.

Attending events like the GEA Insight Forum has given me a valuable perspective on the current state of the industry and helped validate my own experiences trying to break in. I volunteered to help the production team and met some incredible people in the process, many of whom were generous with advice and encouragement. The recurring theme was portfolio, portfolio, portfolio, but also a shared recognition that this is an especially tough time for newcomers.

In these unprecedented times, I think the main thing that’s kept me sane is the hope that things will get better – and when they do, I’ll be better equipped for any role I apply for.

The Indie Inspiration

Lately, I’ve been really inspired by the indie scene. Games like MegaBonk, Peak, and RV There Yet have shown that small teams can make huge waves alongside AAA titles. That’s motivated me to start a small project with a friend, where I’m handling the sound design and implementation. It’s been an incredibly rewarding creative challenge, and whether or not it finds commercial success, it’s deepened my love for what I do.

Final Thoughts

Breaking into game audio hasn’t been easy, but I’ve learned that progress comes from persistence, collaboration, and keeping the passion alive, even when things get rough. There are so many talented people out there set on doing what they love, and I’m excited to keep meeting and working with them. When feeling deflated and imposter syndrome sets in, I’ve found reaching out to fellow aspiring developers and artists can really help.