Main Skills: Creative Sound Design, Logic Pro, Reaper, Game audio: Wwise + Unreal Engine 4, Scripting with Blueprints, Foley/ Syncing, Field Recording, Sound Editing, Mixing,

Additional Skills:  Scoring for Film, Production Music, Underscores and Themes for podcasts, and visual media, Pro Tools

Favourite Games for Sound: The Last of Us I & II, Little Nightmares I & II, No Mans Sky, Crash Bandicoot Trilogy

Currently Playing: Returnal, Days Gone, Dead by Daylight

Hi I’m Sarah Sherlock

A sound designer, musician and field recordist from Dublin, Ireland, focused on creating compelling audio for video games. I come from a mixed world, with a range of sound + music production skills, In depth knowledge of the creative and technical requirements of bringing games and media to life with audio! I’ve an eclectic background in music production and performance before getting into audio design. I have always been interested in creative media, music, film & video games, and as I started to experiment with producing and recording my own music, collecting instruments to create my own sounds, I found my passion in game audio. Designing audio for games is the most rewarding experience for me!

I recently completed a post graduate in Sound & Music for Interactive Games at Leeds Beckett University, UK. Here I acquired the skills of implementation of audio into game engines to compliment my music and sound design skills. Currently I am looking for full time work , whilst freelancing. In my spare time I am also solo developing a first person indie horror game AmpHead, a game created for my masters final project where I programmed an interactive music system to break players expectancy of the threat of immediate danger in a horror game. Spooky stuff!

Additionally, I studied for 4 years at Pulse College, located in Windmill Lane Recording Studios in Dublin. Having graduated on their (C.M.P.G.) Diploma in Music Production for Games and a further BA (Hons) in Music Production, I learned my production skills over a range of sound and music creative and technical modules. During this time I also attended many guest lectures and masterclasses from established film and game composers and music producers. I became an Intern for the studio for short time after completing my studies here. For my undergrad dissertation, I chose to focus on scoring for visual media and rescored Frankenstein (1931) with an experimental soundtrack, whilst exploring the history of horror film soundtracks. I was lucky to present this project at Horror Expo Ireland in 2017! This led me to pursue freelance projects as a composer for visual media before finding my calling in video game sound design.

When I’m not working on audio projects, I can also be found playing games, swimming, kayaking, socialising, watching films, painting, and spending time with my dogs! If you have any queries or think I’d be a good fit your project or studio, please do get in touch!

Equipment and Proficiencies

I record my sounds mainly with a Tascam DR-40x field recorder, with an additional shotgun mic and kontakt microphone for more perspectives.

I am running on both Mac and Windows. Logic Pro X, Reaper, UE4, Wwise, Izotope, soundtoys, fab filter, Kontakt, Omnisphere, MAX/MSP and more

One reason I object to being called an engineer is that designation reinforces the notion that I’m mainly an operator of equipment. A sound designer should be more like a cinematographer and less like a camera operator.” -Randy Thom