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Andrew Hair



Location: Cambridge, United Kingdom

Professional info




Frontier Developments - Senior Technical Sound Designer (prev. Full Tech Sound Design/Audio Rigger)

April 2019 - Present


Beginning with work on Elite: Dangerous, where I spent approximately six months working on a full suite of optimizations for ships and vehicles throughout the game. I also spent some time working on systems development for the Odyssey expansion, which included mapping of audio propagation systems (portalling, obstruction/occlusion etc), and emitter management.

During the pandemic I ended up taking on the task of porting Jurassic World Evolution to the Nintendo Switch. This was a major task in optimization undertaken primarily by myself, one of our sound designers, and audio programming head.

In a similar vein, I then moved on to porting Planet Coaster to gen eight and nine consoles (Xbox, Playstation). Again this was a major optimization undertaking, which involved the implementation and refinement of both audio systems and Wwise-side assets and setup. Additionally, this version included a complete UI overhaul (to suit controllers), which I also worked on.

Most recently I worked on the F1 Manager 2022 release, having dedicated most of my working time to it since some of the earliest prototypes. Since this was developed in Unreal Engine, many audio systems needed to be developed from the ground-up. As such I became proficient with Blueprint and audio systems development within the Unreal environment. I also orchestrated the development of our unique external car audio system, which makes use of full-length passby recordings and maps them to like scenarios ingame.

Creative Assembly - Audio Implementation & Audio QA

August 2015 - April 2019


Starting as an embedded Audio QA on the console team to work on Halo Wars 2. Progressed into acting as an audio implementation specialist, to add sound design assets into the game from external studios. Additionally, I worked on balancing voice priority systems, performed markup of reverb and ambient spot systems, and balancing (and implementation of) dynamic dialogue systems.

I also acted as audio QA on the Total War team for a period, with testing and bug fixing/optimization done on the Total War: Warhammer 2 title, as well as Total War Saga: Thrones of Britannia, and Total War: Three Kingdoms.

A short period was also spent testing and assisting with the development of early prototype systems for the FPS project (now HYENAS).




- Sound Design

- Foley

- Field Recording

- Mixing

- Sound Editing

- Arrangement

- Multi-channel Composition



- Wwise(Authoring, Integration and SDK)

- Unity

- Unreal Engine 4/5

- Source Control (Perforce, git) 

- Nuendo

- Logic

- Ableton Live
- Pure Data
- Processing
- Reaktor

- Sony Vegas

- SoundForge

- Audacity



C# (Scripting)
Java (Scripting)













PDF Version of this CV:





University of Brighton - BA (Hons) Digital Music & Sound Art (First Class Honors)

2012 - 2015


At Brighton I began honing skills in sound design and composition. Initially, the work I produced whilst on this course was focused upon sound for moving image. The latter half of the degree was spent exploring audio-visual systems, games, and interaction, which led to projects such as Symbiosis, The Human Room and AVSketch. Through the experimental nature of the course, I gained an invaluable ability to develop, critique and realise creative ideas.


Lincoln College - A-Levels (Physics, Philosophy, Mathematics)

2010 - 2012


AS Levels in Physics, Philosophy and Mathematics. Subsequently went on to study Access to Science which included additional Physics, Chemistry, Biology (Human), Applied Mathematics, IT, and Academic Practice. Prior to this I had also studied a BTEC in Computing, where I began developing skills in programming (Java, HTML).

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