Logan Hardin

Work Hard, Play Hard.

I joined the Meta Creative Audio team in 2024 to help implement audio, improve tools, and empower my fellow sound designers working on Horizon. Much of my work involves TypeScript, JavaScript, and C#, as well as using Unity and a handful of in-house tools.

I was a crucial part of Horizon's transition from Facebook Audio360 to FMOD Studio, helping shape workflows and best practices to achieve the most functionality we could while also doubling audio performance.

See you at the starting line!

I joined the Turn 10 audio team in 2021, shipping Forza Motorsport 2023 as my first AAA title. I had a hand in almost everything except car engines (examples below).

In so doing, I became familiar with practically every tool in Turn 10's chest, including FMOD Studio, 3DS Max, Perforce, and a plethora of in-house tools.

Audio Description

Track Audio

...may be closer than they appear.

A top-down horror rally-driving game about escaping the dark country roads and the things that live in them. It formed my entry to the Acerola Jam Zero game jam. I took the opportunity to use Godot 4 and Wwise, using and contributing to Alessandro Famà's Wwise integration.

It was both fun to work with Godot and freeing to focus on a small scope.

Prioritize, Produce, Playtest: Iterative Audio Systems Design in Modern Video Games.

For my thesis, I practiced and wrote about the process of Technical Sound Designers. To do so I expanded on Unity's 2018 FPS Sample project, re-implementing the audio via FMOD Studio and augmenting certain systems using C#.

Arcade-style, 1v1 Robot boxing.

This project was made with my friend Tyler Eichten in collaboration with Husky Game Development at Michigan Tech University. Originally built for an arcade cabinet, we later adapted it to work with Xbox-style controllers. The game was written in Unity, integrated with FMOD Studio, and used Github for version control.

Games for education and research.

During my undergrad, I worked with the Learning Interactive Visualization Experience (LIVE) Lab, an educational research lab focused on game-based learning. I additionally was contracted to do pre-production music composition work for Triseum LTD, a close developer partner of the LIVE Lab in Bryan, TX, known for their higher-level education game series.

The House Where They Dwell

Half-Brain Games | Audio Director

The horror was supposed to be staged.

The House Where They Dwell is a first-person cooperative game where you and your ghost-hunting TV show crew escape the house, built in Unreal Engine 4 (native audio engine and Blueprints) and version controlled with Git. I was the Audio Director and audio dev, working with a team of 5 to produce and implement the score, VO, sound effects, and audio vision.

The largest challenges we faced were from sheer audio scope, with the variety of enemies, items, and interactions (let alone split-screen). I'm most proud of the physics and the VO.

Sumra

DASE Games | Sound Designer

Spring will come again.

Sumra is a first-person atmospheric puzzle game, developed completely in Unreal Engine 4 (native audio engine and Blueprints) and version controlled with Perforce. As one of two sound designers, primary focus was environment and item interactions, as well as general implementation and rough attempts to work with linear in-engine cinematics. For our efforts, we won an award for Best Game Sound at SCAD's 2020 Entelechy Awards.

FooFarYall

The Good, The Bad, & The Howdy | Audio Person

Crying over spilled milk.

A silly Western game, made for Chillennium Game Jam with Unity and played on one keyboard. All music was recorded & edited on-site. For our efforts we won the award for Special Recognition in Sound.