What is Star Wars Outlaws?

It’s an open-world action-adventure game developed by Ubisoft Massive and Lucasfilm Games, set in the Star Wars universe.

Who created the game’s audio design?

The audio team at Ubisoft Massive, including Simon Koudriavtsev, Jacob Coles, Martin Weissberg, and Simon Klar.

What is the “scoundrel sound”?

A term coined by the devs to describe the gritty, grounded, and lived-in audio identity of the game, inspired by Han Solo-era Star Wars.

Was Dolby Atmos used in Star Wars Outlaws?

Yes, Dolby Atmos was used to enhance spatial realism, from dynamic weather to vertical sound layering during combat.

Why was the game nominated for a BAFTA?

For its outstanding audio achievement, blending cinematic storytelling with technical innovation in immersive sound design.

Star Wars Outlaws Audio Team Reveals Secrets Behind the Game’s Cinematic Sound

If you’ve ever played Star Wars Outlaws and thought, “Wow, that starship flyby gave me chills,” you’re not alone—and it wasn’t an accident. The crew behind the game’s immersive audio sat down with Dolby Creator Talks to pull back the curtain on how they made Outlaws sound like it was ripped straight from the Original Trilogy… but with just enough modern edge to make your subwoofer sweat.

Hosted by Alistair Hirst, this episode dives deep with the Massive Entertainment audio team:

Simon Koudriavtsev (Audio Director)
Jacob Coles (Lead Audio Designer)
Martin Weissberg (Principal Audio Designer)
Simon Siegfried Klar (Senior Audio Designer)

Let’s break down what they revealed—and how sound helped turn Star Wars Outlaws into one of the most BAFTA-worthy games of the year.

🎧 Three Pillars of Galactic Audio Greatness

According to Koudriavtsev, the team anchored their approach on three audio “pillars”:

1. Cinematic Experience

They weren’t just trying to make things sound cool—they were telling a story through sound. Whether it’s the hum of a speeder bike or the subtle shift in atmosphere as you move between levels, everything was layered to support the player’s emotional journey.

2. True Star Wars Authenticity

This meant pulling from original trilogy audio—yes, actual Lucasfilm archival recordings—and blending them with new field captures. Think original blaster sounds, but now echoing down a procedurally generated alleyway during a firefight in Mos Vespa.

3. Scoundrel Sound™

No, seriously. They coined it. It’s the vibe of Han Solo’s carbon-scuffed boots, the gritty hum of a malfunctioning speeder, or the low-end rumble of a bar full of bounty hunters.
It’s Star Wars, but dirty.
It’s classic, but dangerous.
It’s familiar—but not safe.

🎙️ Dolby Atmos: Immersive, Not Just Impressive

The sound team wasn’t content with simple stereo layering. They went full Dolby Atmos, giving Star Wars Outlaws that real spatial depth. You hear TIE fighters soar above you, blaster bolts ricochet behind you, and rain dripping off rooftops all around you.

They described using Atmos to literally “lift the player into the world,” giving every scene a physical sense of place. It’s not just for spectacle—it’s a tool for immersion.

🎮 Grit, Gunships, and Galaxy-Wide Audio Direction

Massive Entertainment didn’t just remix old Star Wars cues. They crafted new sounds from scratch—everything from alien languages to ambient space station noise—while staying faithful to the series’ legacy. Each audio cue is a nod to the past and a push into the future.

And that “scoundrel sound”? It’s not just a catchy phrase. It’s baked into how every gunshot, footstep, and dialogue line was handled. Nothing’s too clean. Everything’s lived in. And it works.

Conclusion: Scoundrels, Sabers, and Soundwaves

If you’ve played Star Wars Outlaws, you already know the sound design hits harder than a thermal detonator in a cantina. But hearing how it all came together—from Atmos-enhanced immersion to handcrafted sonic textures—just gives it more weight.

This isn’t just sound for the sake of Star Wars. It’s Star Wars with a soul, told through the language of sub-bass rumbles and galactic static. And that’s worth listening to.