Igor Szuniewicz
About
I design and implement gameplay audio systems that stay readable under real constraints: voice limits, memory budgets, spatial cues, adaptive music, middleware routing, and dense moment-to-moment mixes.
My Game Sound Integration work at Digital Arts and Entertainment in Belgium sits between production (DAWs, recording, mixing) and implementation (Wwise, FMOD, C++, Blueprints in Unreal and Unity). I focus on that overlap: occlusion, raycasting, spatial audio, and audio systems that behave like they belong in the world.
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.
Projects
Selected work solving gameplay, mix clarity, latency, memory, spatial audio, and production tooling problems.
Shadow Frames
Solo audio on a UE5/Wwise horror game where players navigate without HUD markers. I built anomaly cues, a 32-source spatial mix budget, and a 49-page Sound Bible for the team.
XR Labs
Sole audio designer on selected Unity VR/AR training simulations: spatial audio, occlusion, implementation, and Perforce workflows for defence and public-safety clients.
Transientica
A rhythm game you play with your mouth. The first Python/SVM prototype reached 45ms and 92% accuracy; the current Unity rebuild uses a pure C# KNN classifier and a pre-allocated audio path.
Not Today, Darling!
Four grandmas racing for inheritance. I was the only audio person. Built procedural engines in MetaSounds, then tuned a 32-source split-screen mix so player karts, power-ups, and crashes stayed readable.
AI Audio Research
Bachelor thesis. I asked whether generated SFX can meet a game feedback budget. Raw generation was too slow for immediate playback, so the practical path was pre-generation plus caching.
AudioQ
Sampler plugin I built in C++/JUCE because I kept chaining three plugins to do one thing. Granular, filters, compressor, bitcrusher, stutter, reverse - 18 automatable parameters. Open source.
Amorak
Horror animation. The creature needed to sound massive. I stacked a lion, elephant, tiger, and hippo, pitched them down, and mixed the creature and basement layers in binaural 3D so the threat sits behind you in headphones.
Akantilado
Two cats chasing a golden orb through a jungle. Solo sound designer. 200+ custom foley samples, 5 ambience layers, delivered in both stereo and 5.1 surround. Key paw hits synced frame by frame.
Pause & Deserve
Each pause freezes the enemy for 5 seconds, then makes it permanently faster. As the threat ramps up, the forest layers and off-screen cues intensify. Built solo in 8 weeks to learn Unreal.
Richter
Student earthquake film. No commercial sound libraries allowed. I walked around with a Zoom H6 recording campus surface textures, stretched foley into drones, and spent a full day on EQ automation because the quake rumble kept masking the dialogue.
Ray Animation
The composer dropped out 8 days before the cinema screening. I wrote a disco-funk score from scratch and synced the key hits to Ray's choreography for the final DAE cinema cut.
Sound Design Reel
Mute the original. Rebuild the core redesigns from recordings, synthesis, and non-commercial sources. Four game audio redesigns: God of War combat, Baldur's Gate 3 spells, weapon sounds, and sci-fi environments.
Wwise Projects
Three solo school projects solving practical Wwise problems: 256-voice prioritization in a zombie shooter, zone-based crossfades for a platformer, and Android memory work where replacing quiet placeholder files with Wwise Silence cut those assets by 80%.
Wwise UE Fixer
Perforce syncs kept leaving Shadow Frames silent. I automated the repair path: check Wwise references, restore config, back up first, and cut a 20-minute manual fix to a roughly 10-second button press.
UE Rebuilder
One-click Unreal cleanup for stale Binaries, Intermediate, Saved, and DerivedDataCache folders. It archives source folders first, regenerates project files, and makes cache bloat visible.
Skills
Game Audio
- Interactive music in Wwise, with FMOD familiarity
- Middleware integration and debugging
- Unity & Unreal Engine
- Adaptive audio
- MetaSounds (UE5)
- Spatial audio / 3D audio
- Voice management & optimization
- Memory budget management
Production
- Music composition
- Sound design
- Mixing & mastering
- Field recording
- Foley work
- 5.1 surround mixing
- Horror sound design
Development
- Real-time DSP
- Python audio tools
- C# scripting (Unity)
- C++ (JUCE framework)
- Audio plugins (VST)
- Machine Learning for audio
- Blueprint scripting (UE5)
Tools
Contact
sound right.
Game audio, implementation, tooling, and technical sound design for teams that need sound to behave inside the game, not just sit on top of it.
Open to new opportunities
EU passport - can relocate
Remote work OK
EN (fluent) / PL (native)