Johan Pettersson - Audio Production for Games
Every sound has a job.
Audio that guides players, rewards them and stays satisfying over time. Sound design, implementation and music for indie and AAA games, from first ideas to final polish.
SELECTED PROJECTS
MINECRAFT DUNGEONS 2
Mojang
Sound Design
Tools: Unreal Engine, Wwise
I was part of establishing the audio foundations during the early stages of the project, helping decide on the audio tooling and set up the initial Wwise project. I was embedded in the quest and UI/UX teams as their only audio person, and some of my sound design prototyping made it into one of the bosses in the released game.
The challenge was making the sounds fit Minecraft’s universe. Its audio style is unique, and a sound doesn’t need to stand out to work. It needs to sound like it belongs.
Released in September 2026 on PC, Xbox, PS5 and Nintendo Switch.
SHAPEZ 2
Tobspr Games
Sound Design
Tools: Unity (native audio)
I was responsible for sound design in Shapez 2. As it’s a factory automation game, the challenge was balancing thousands of machines while keeping the soundscape detailed up close.
My focus was on tactile feedback, where sound alone could tell you what was happening on screen. Each sound also needed to feel rewarding and satisfying, even after hours of play and repetition.
One of the best-rated Steam games of 2024, securing its spot as the #4 in the genre.
GODBREAKERS
To The Sky
Technical Sound Designer
Tools: Unreal Engine, FMOD
I was responsible for the audio implementation pipeline for Godbreakers, working closely with developers in Unreal Engine and FMOD. I was also responsible for part of the sound design, including character abilities, pickups and loot, and ambiences.
Some of the systems I set up for the game were dynamic music and ambience systems, along with a mix priority system to decide which sounds should be heard during the game’s busy combat moments.
TIME TO MORP
Team Halfbeard
Sound Design & Music
Tools: Unity, FMOD
I was responsible for all sound design, music and implementation, from the project’s beginnings through early access and final release.
The challenge was creating an engaging soundscape in a sandbox world where players can do anything at any moment, while keeping the experience cohesive in both single-player and multiplayer modes.
MINECRAFT DUNGEONS
Mojang
Sound Design
Tools: Unreal Engine (native audio)
As part of the audio team, I worked on sound design and implementation for the Cloudy Climb update.
Working in cross-disciplinary teams and using Unreal Engine and its native audio system, I created sounds that fit the game’s well-established style.
Minecraft Dungeons has reached more than 25 million players.
DUDE, STOP
Team Halfbeard
Sound Design & Music
Tools: Unity, FMOD
I was responsible for sound design, music and implementation, including interactive voiceover that responded to player actions and decisions. My focus was keeping the sound minimal, fresh and responsive across the game’s short mini-games.
A particular challenge was making the voiceover feel interactive and respond to the player’s actions.
Won Best Audio at the Game Awards in Latvia.
SKYDECK SWORDS
ArtroDev
Audio Lead
Tools: Unity, FMOD
As Audio Lead on Skydeck Swords, I’m responsible for sound design, music and audio implementation.
I also work with another composer, making sure the music stays consistent with the game’s intended style and supports the gameplay.
ABOUT
I’m Johan Pettersson, a game sound designer, based in Sweden but working with teams around the world. I’m at my best when I’m close to the game and the people making it.
I prefer working as an integral part of the development team, directly in-engine, and handling as much of the implementation as I can myself, including writing code. I work in Unreal and Unity, either with their native audio tools or with FMOD and Wwise. I also write music when a project calls for it. My work ranges from indie hits like Shapez 2 and Dude, Stop to major franchises like Minecraft Dungeons.
I care about audio that does something for the player. Audio that tells them what’s happening, feels good to hear and holds up after hours of play. My process is hands-on and iterative. I like getting ideas into the game quickly, hearing them in context, and putting my effort where it makes the biggest difference. Great audio isn’t just about sounding good. It should make the game better.
CONTACT
Looking for help with audio on your game?
Curious what I can bring to your project? Or just want to connect?
Send me a message in the form below or reach me by email. I’d love to hear what you’re working on.
I’ll only use your name, email and message to reply to you.