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FRONTIER DEVELOPMENTS

(2022)
HEAD OF AUDIO DESIGN
  • Audio Direction, Mix and Department Strategic Direction on all current projects.
  • Managing the Creative Audio Design Team, working with leads and audio managers.
  • Working with Leads on project definition, project pillar definition, audio direction, management of teams and the game mix.
  • Working with cross-disciplinary stakeholders during the conceptual phases of projects to define audio direction, milestones, technical / design work and project scope.
  • Involved in audio pipelines, future technologies and high level technical systems.
  • Create audio for ongoing projects in conceptual and pre-production phase, with a focus on efficient use of technology, modular- and data-driven design and optimal wwise project layouts.
  • Hiring audio designers and managing their career progression.

(2018)
PRINCIPAL AUDIO DESIGNER
  • Warhammer Age of Sigmar RTS - Project Audio Lead
  • Formula 1® Management Game - Co Audio Lead
  • Jurassic World Evolution 2 - Additional Sound Design
  • Planet Zoo - Project Audio Lead
  • Elite Dangerous Odyssey - Principal Audio Designer
  • Focus on best practice project implementation and execution: implement once in one place, prevent asset duplication, separate game wide mix from interactive implementation, simplify complexity, define project standards and explore innovative ways to optimise an audio project for games as a service type longevity.

(2015)
AUDIO LEAD
  • Jurassic World: Evolution - Project Audio Lead
  • Planet Coaster - Project Audio Lead
  • " ... Matthew's broad experience in game development has helped shape him as an extremely communicative and inclusive leader. His multidisciplinary experience has helped inform his successful transition from generalist developer to outstanding audio lead ... " - Jim Croft, Head of Audio @ Frontier Development

(2014)
SENIOR AUDIO DESIGNER (2014–2015)
  • Elite Dangerous - Senior Audio Designer
  • Creation of sound effects and implementation (Wwise & custom tools)
  • Additional music (stellar ambiences)
  • "​ ... it deserves any award going. ‘Best Sound’ especially ..."​
SUMO DIGITAL

(2014)
SENIOR AUDIO DESIGNER / FREELANCER
  • Creation of sound effects.
  • Foley recording.
  • Implementation (fmod & game engine & Playstation 3).
  • Dialogue editing.
  • Trailer audio and mixing.

MEDIA MOLECULE

(2013)
AUDIO DESIGNER
  • Creation of sound effects, creature effects and ambiences for Tearaway.
  • Implementation of audio, including event based scripting (fmod and proprietary game engine).
  • Training of new sound designer.
  • Creation of audio-planning.
  • Research, documentation and debugging of new features and worked with coders to implement.
KHAEON GAMES

2005
AUDIO DIRECTOR
  • Responsible for all sound, music and voices
  • Creation and implementation of sound for combat, effects, animation, creatures and environment
  • Hiring and managing of external parties
  • Budgets and planning
  • Creation and implementation of ambiences
  • Additional music
  • Sound effects
  • Designed a streaming 3d audio-system and an animation triggered audio-system for Unreal engine and worked with audio coders to implement and refine the system for production environment.
  • Ambient and dramatic music plus adaptations based on compositions by composer Jesper Kyd

2003

PROJECT MANAGER
  • Scrum and agile (assisted) project management
2001
LEVEL AND GAME DESIGNER
  • All outdoor and half of all the indoor environments on Alpha Black Zero
  • Lighting Overhauls on Alpha Black Zero
  • VFX on Alpha Black Zero
  • Level and Gameplay design on Negative Space
  • Gamedesign document and Narrative Design on Negative Space
  • Gameplay and LEvel Design on EuroCops
  • Gameplay on FightGame
  • UI Design on FightGame
  • Gamedesign, overhaul and polish of majority of outdoor gameplay on Spellborn
  • Gameplay balance of creatures, assets and resources on Spellborn
  • Overhaul of starter area (part of task force) on Spellborn
  • Overhaul of tutorial (with Dennis Zoetebier) on Spellborn
2001
ADDITIONAL GAME DEVELOPMENT
  • Marketing video's, pr press trips and website on all projects
  • Community management (initial period) on all projects
1995
CD CONTACT DATA // ACTIVISION

MARKETING AND PR MANAGER (1995 - 1999)
  • Contact for game companies such as GT Interactive, Activision and Eidos.
  • Contact to the Dutch gaming press such as PC Zone and Power Unlimited
  • DTP work (Quark eXpress)
  • Graphic design (photoshop, illustrator)
  • Sound design and music for in-house promotional video productions
Age of Sigmar: Realms of Ruin // Matthew Florianz = Head of Audio Design / Pre-Production Lead //
F1 Manager // Matthew Florianz = Head of Audio Design / Pre-Production Lead //
Elite Dangerous: Odyssey // Matthew Florianz = Princiapl Audio Designer //
Planet Zoo // Matthew Florianz = Project Audio Laad //
Jurassic World Evolution // Matthew Florianz = Project Audio Lead //
Planet Coaster // Matthew Florianz = Project Audio Lead //
Elite Dangerous // Matthew Florianz = Senior Sound Designer //
Little Big Planet 3 // Matthew Florianz = Freelancer //
TearAway // Matthew Florianz = Audio Designer //
Phoenix HD // Matthew Florianz = Audio Designer + Music //
MonsterCry // Matthew Florianz = Audio Designer + Music //
Cognition: An Erica Reed Story // Matthew Florianz = Audio Designer + Music //
Fight Game Heroes // Matthew Florianz = Gameplay + Audio Designer + Music //
Follow // Matthew Florianz = Audio Designer + Music //
The Chronicles of Spellborn // Matthew Florianz = Audio Designer + Music + Game Designer + Level Designer//
The Chronicles of Spellborn // Matthew Florianz = Audio Designer + Music + Game Designer + Level Designer//
F1 MANAGER 22
  • TIGA Games Industry Awards 2023: Best Educational, Serious or Simulation Game
  • TIGA Games Industry Awards 2023: Best Audio Design

  • F1 Manager 2022’s audio design is fantastic. I could almost close my eyes and imagine myself back at Silverstone. The cars sound just like the real thing ... It’s truly immersive when sitting onboard- GameByte

  • It’s really nice to hear actual radio exchanges between the race engineers and the drivers - USA Today

  • During a race, there is a bevy of real-world commentary clips (selected from over 25,000) used between driver and engineer, which all add to the authenticity - AutoSport.com

  • The constant chatter between race engineer and driver while you work is a wonderful touch, and without an analog in games like this I've played before. Frontier's going for authenticity above all else, and on race day it's certainly pulling it off - PC Gamer

  • By far and away the best part of the game in my opinion is the sound design. You go into practice, the race engineer asks Daniel for a radio check, Daniel replies saying "Yep, radio check" and it's immersive as hell. You set a run plan for him and send him out, the initial release has a little in game engine cutscene of the car being fired up and holy hell it sounds better than TV or the actual F1 Game, he comes out and releases the limiter and it's absolutely glorious. The first practice session I did in race 2 I watched FP1! I did this mostly offboard, the cars just sound epic, the way they flick past when there's a camera in the kerb is spot on; you can hear the engine, the tyres, the wind noise. I didn't put much stock in the video Frontier released about how they did the sound but I should have, they knocked it out of the park here. Love it, between the actual visuals and the sounds from the cars it's very easy to spend a lot of time at 1x speed just watching from the offboard. - F1 Manager Early Access Review

  • The pleasant hum of a race car is an integral part of any racing game, but F1 Manager 22 adds another layer of realism: real team radio exchanges between drivers and engineers - Polygon

  • F1 is full of unique sounds, and F1 Manager 2022’s audio feels nicely authentic thanks to some awesome trackside and onboard engine sounds, plus the inclusion of real driver and race engineer chatter for some added immersion - IGN


PLANET COASTER
  • Music Design Nomination | Develop Awards 2017
  • Sound Design Nomination | Develop Awards 2017
  • New Games IP Nomination | Develop Awards 2017
  • Independent Studio Nomination | Develop Awards 2017
  • British Game Award Nomination | BAFTA Games Awards 2017
  • Audio for an Indie Game | 15th GANG Award Nominees
  • Sound Design in a Casual/Social Game | 15th GANG Award Nominees

  • Sound Architect | Planet Coaster
    "... Let's begin with saying that this is probably one of the best games I've heard in a while. As you build your park, you navigate extensively through menus, selecting and manipulating objects to taste. These menus have their own flavor and intricacy that makes them satisfying to navigate. The level of detail and how clean everything sounds is incredible. The mix on Planet Coaster is phenomenal. Everything sits just right, not too loud and not too soft. If you were to crank the volume up, there isn't a single sound that is jarring or in your face; everything is where it should be ..."
    - written by Derek Brown.


  • Eurogamer | Planet Coaster
    "... That's no more apparent than when you switch to first-person view and begin to explore your park at ground level. It's here that Frontier Development's exceptional audio-visual design and slavish attention to detail truly shines. Wandering among your elaborate creations as the sun slowly sets, hopping aboard any one of the wonderfully distinct rides, and watching as punters giddily emote at the world around them is utterly magical; everything comes together with such joyful precision that it's hard not to be spellbound ..."
    - review score: recommended


  • LGR Review | Planet Coaster
    ... a game crafted with care. The interface feels familiar yet modern. The graphics look promising. And there is this soothing soundtrack by Jim Guthrie and JJ Ypsen playing in the background which instils a sense of focus and calm ... Planet Coaster is also just a gorgeous game, which of course it isn't necessary for to the business side of things but it is a great plus for a 3d park like this.

    The Sound design is also right on point, giving you all the screams, coaster whooshes, crowd chatter and rickety mechanical audio cues ones needs to suspend disbelief. You can also customize this further with ambient sound generates and music customisation. And yes this also lets you drop in your own music tracks to fine-tune your parks audio visual theme.


  • GameSpot | Planet Coaster
    ... one of my favourite things about the game, so far, that I have discovered is the sound design ... Joey on GameSpot's Planet Coaster Live Stream ...
    - review score: 9/10


  • High Def Digest | Planet Coaster
    "... authentic, rich soundscape. The coasters are especially good, with all of the clicking, whooshing, and screaming you'd expect ..."
    - review score: recommended


ELITE DANGEROUS
  • Best Sound Design in Gaming Finalist - Music & Sound Awards 2022
  • Best Music Nomination | Game Audio Awards 2019
  • Best Audio Nomination | Develop Star Awards 2019
  • Best Gameplay Nomination | Develop Star Awards 2019
  • Best Audio Design Nomination | Golden Joystick Awards 2018

  • Travel is what Elite, in all the builds I've played, does best. The core sensation of being in space is something I've written on before, and Elite does it so very well that it deserves any award going. 'Best Sound' especially - its combination of sciencey noises and Eno/Apollo-like celestial moans is comfortably the most affecting thing my headphones have done this year, if not longer. To focus solely on how good it feels to boost and pivot around an asteroid field, or the yawning immensity as you fly into the enormous metal cave of one of its stations, would be to overlook the pleasure of the long-haul voyage. - Rock Paper Shotgun
  • Best Audio Accomplishment Nomination | Develop Awards 2015

  • Travel is what Elite, in all the builds I've played, does best. The core sensation of being in space is something I've written on before, and Elite does it so very well that it deserves any award going. 'Best Sound' especially - its combination of sciencey noises and Eno/Apollo-like celestial moans is comfortably the most affecting thing my headphones have done this year, if not longer. To focus solely on how good it feels to boost and pivot around an asteroid field, or the yawning immensity as you fly into the enormous metal cave of one of its stations, would be to overlook the pleasure of the long-haul voyage. - Rock Paper Shotgun


  • EDGE | Elite: Dangerous
    ... Even at this early stage, Elite: Dangerous is already living up to its subtitle. Your ship creaks and groans under stress, its engine and weapons sounding at once identifiably mechanical yet unfamiliar ...


  • Rock Paper Shotgun | Elite: Dangerous
    ... The core sensation of being in space is something I've written on before, and Elite does it so very well that it deserves any award going. 'Best Sound' especially - its combination of sciencey noises and Eno/Apollo-like celestial moans is comfortably the most affecting thing my headphones have done this year, if not longer ...


  • The Guardian | Elite: Dangerous
    ... Beautiful visuals, absorbing audio and super-smooth controls ...


  • PC Gamer | Elite: Dangerous
    ... utterly extraordinary sound design ...


  • Mmorpg.com | Elite: Dangerous
    ... VISUALS AND SOUND - 10 ...


  • Ign | Elite: Dangerous
    ... superb graphics and sound ...


  • Eurogamer.de | Elite: Dangerous
    ... eines der besten Sounddesigns des Jahres ... ...


  • PC Gamesn | Elite: Dangerous
    ... Elite: Dangerous is glorious simply to listen to, chucking out sci-fi's tired standard of pew-pew tropes for an original and remarkable style all its own ...


PHOENIX HD
  • quartertothree | Phoenix HD
    While most games like this tend to play action music - or J-pop interpretations of action music - Phoenix HD plays a soothing almost Vangelis style theme. "Just relax," it seems to electronically intone. 'Breathe, take your time, have fun...' Thanks, soundtrack! I think I will!
    - review score: 4 stars


THE CHRONICLES OF SPELLBORN
  • EuroGamer.net | The Chronicles of Spellborn
    ... (The Chronicles of Spellborn) Combined with the truly lovely environmental art, the unique setting makes for a game that's a joy to explore. Soft edges and diffuse lighting abound, with beautifully composed incidental music and background sound giving the whole game an evocative twilight feel ...
    - review score: 8/10


ADDITIONAL ACCOLADES
  • IGN | Star Defense
    ... Star Defense benefits from superlative visuals and sound ...
    - sound: 8.5 Great effects and music
    + editor's choice & best of 2009 award.


  • Birmingham Post and Mail | Album GrijsGebied
    ... (GrijsGebied) Florianz makes truly immersive sound art which owes everything to the European tradition of early Tangerine Dream and the pure aesthetics of Brian Eno at his most abstract. ...
    - Rating: 5/5