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1.0PMB Sound Studiohttps://pmbsound.com/en/Majahttps://pmbsound.com/en/author/maja/rich600338<blockquote class="wp-embedded-content" data-secret="N4slTKsSmP"><a href="https://pmbsound.com/en/about-me/">About me</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://pmbsound.com/en/about-me/embed/#?secret=N4slTKsSmP" width="600" height="338" title="“About me” — PMB Sound Studio" data-secret="N4slTKsSmP" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://pmbsound.com/wp-includes/js/wp-embed.min.js </script>Who I am My name is Piotr Bień I help game teams get audio in order so it doesn’t come back as a problem during production. I come into projects as Audio Lead – the person responsible for the decisions, direction, and quality of the audio layer. Experience I’ve worked on 17 game projects Including: 7 full productions from the ground up. 3 ports. DLCs and ongoing development of existing projects. Projects where I came in at the stage of sorting audio out. My experience covers, among other things: Creating and implementing audio. Working with development teams. Stepping into projects at different stages of production. Solving problems related to audio implementation. This is best seen in the projects where an existing system had to be sorted out – the ones where audio had already started to become a problem. View portfolio Background I have over 18 years of experience working with sound and music education, including 3+ years in game projects and audio implementation. A degree in music for multimedia. Further specialization (music therapy). Experience as a multi-instrumentalist. This is backed up by technical credentials: A degree in software engineering. AVID Certified User certification (Pro Tools). Working knowledge of audio from both the production and implementation sides. This combination gives me a technical and musical foundation – but above all, a way of thinking about audio as part of the whole project, not an add-on. How I work Or: who I am inside a project I make sure audio doesn’t just sound good – but actually works inside the project: technically, in production, and for the player. In practice, that means: I understand how audio functions inside a game engine. I can talk to programmers and the development team. And I make sure audio decisions don’t come back as a problem during testing. I don’t come into a project as someone who executes individual tasks. I come in as someone who sorts out how audio is being thought about. How this looks in practice In most projects, audio isn’t a problem at the start. It becomes one when: There’s no agreed approach to implementation. There’s no single person in charge. Decisions get made by accident, or too late. The result? ❌ Audio starts blocking the team’s work. ❌ Problems only surface during testing. ❌ And fixes cost more than they should. These are things that can be set up earlier -if someone takes ownership of them. My role in those situations I come into projects as someone who: Bridges the creative and the technical perspective. Helps the team make decisions instead of postponing them. And makes sure audio stays cohesive from the start of production to the end. As a result: ✅  Audio doesn’t come back as a problem at later stages. ✅  The team doesn’t lose time putting out fires. ✅  And the game sounds the way it should – and lands that way with players. Technical setup I work from a professional, acoustically treated workstation, with the setup needed to operate in more demanding conditions (5.1, VR, and others). I work across different environments (Pro Tools, Reaper, Nuendo, Logic), so I can adapt to the project’s pipeline instead of blocking it.   That lets me: Test solutions in real conditions. Roll out changes faster. And avoid problems that only surface at the end of production. If you’re starting a project and want to avoid mistakes at the start, or you can feel that audio is starting to slip out of control, this is the moment to get it in order. During the consultation, we walk through how audio is set up in your project. I point out the specific things that can cause problems – and what needs to change so you don’t have to come back to them during production. Book a consultationhttps://pmbsound.com/wp-content/uploads/2026/03/zdj-2.jpg800800