Technical sound design for games and VR.
Spatial audio, occlusion, adaptive music, audio tools. Wwise, FMOD, UE5, Unity, C++.
Projects
Shadow Frames
Solo audio on a UE5 horror game built around listening. No HUD markers, players find anomalies by ear. 32-source spatial budget and a 49-page Sound Bible.
XR Labs
Sole audio designer on Unity VR and AR training sims for defence and public safety. Gunfire, radios, and threats placed and occluded so trainees can trust their ears.
Transientica
A rhythm game you play with your mouth. 45 ms latency at 92% accuracy in the SVM prototype, pure C# KNN in the Unity rebuild.
Not Today, Darling!
Only audio person on a 4-player split-screen racer. Procedural MetaSounds engines and a 32-voice mix that keeps every kart readable.
AudioQ
C++ sampler plugin built with JUCE: granular mode, filters, compressor, stutter. 18 automatable parameters, open source.
AI Audio Research
Can generative models replace procedural DSP in a running game? Thesis with 600 generated sounds benchmarked for latency, quality, and cost.
Wwise UE Fixer
Repairs broken Wwise and Unreal audio references after Perforce syncs. Backup-first workflow, repair time down from about 20 minutes to 10 seconds.
UE Rebuilder
Rebuilding a broken Unreal project by hand means cache deletion, solution regeneration, and backups. This tool does all of it in one guided pass.
Wwise Implementation Projects
Three Wwise implementations, each solving a different problem: voice prioritization at a 256-voice cap, zone-based spatial mixing, and memory budgets tight enough for Android.
Sound Design Reel
Game scenes stripped of their audio and rebuilt from scratch: combat, spells, creatures, and sci-fi spaces made with field recordings, synthesis, and foley.
Amorak
Horror animation mixed binaurally in Reaper with Dear VR Pro. The creature's voice and a basement that surrounds you are built for headphones.
Akantilado
Every sound in this 3D jungle short is hand-made: 200+ foley and ambience recordings, carried through to the final mix.
Ray
Disco-funk score written in 8 days after the composer dropped out. Full music, sound design, and mix.
Richter
Earthquake short film scored with zero commercial libraries: a Zoom H6, found objects, and synth rumble that never buries the dialogue.
Pause & Deserve
UE5 horror game built alone: code, audio, and level design. The twist: pausing freezes the enemy, but every pause makes it faster.
About
My Game Sound Integration studies at Digital Arts and Entertainment cover both production (DAWs, recording, mixing) and implementation: Wwise, FMOD, C++, Blueprints in Unreal and Unity. Most of my work lives in the overlap: occlusion, raycasting, spatial audio.
At XR Labs I do technical sound design for VR/AR training simulations used in defence and public-safety contexts. The job is practical: if a threat is behind a wall, the audio has to sound filtered, distant, and correctly placed.
- EDUCATION
- Howest DAE, Sound Integration
- NOW
- XR Labs, VR/AR training
- BACKGROUND
- Classical piano, 12 years
- LOCATION
- Kortrijk, Belgium
- STATUS
- Open to work