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I am more than impressed with how rock solid the software is, and the Wwise-101 course is beautiful. I used to shred advanced calculus exams back in high school, and I haven't really quite had that great feeling of confident learning for a long time. I used to think it was me, and that maybe I'd lost that edge; now I am certain that it wasn't so much "me being amazing" back then, nor me losing something now—it is much more dependent on the instructor/course. A good one is a rare thing and to be treasured, and I thank you for this. YES, I am going to take the Wwise-201 course, and I'm going to LOVE it! I put together a very simple little project this morning; it took me about as long to do the project as it took to think of what I wanted to accomplish. Thank you!
Audiokinetic’s Wwise has helped usher in the dawning of a new era for game audio. The ability to create and audition complex systems and establish a set of emerging standards within the community at-large has led to an incredible leap in Technical Sound Design quality in today's games. The accessibility and availability of tools, documentation, and educational resources makes Wwise an easy decision for anyone interested in pursuing the art of implementation.
When deciding which software we'd teach for our game audio course, Wwise was the clear choice because of its interface, industry adoption, and most importantly because of the incredible people at Audiokinetic who have been so helpful and supportive in our curriculum development. CRAS is proud to call Audiokinetic a partner in game audio education since 2007.
I’ve been using Wwise since 2008 and I can’t imagine shipping a game without it. It’s power, versatility, and accessibility are second to none as far as 3rd party middleware solutions are concerned. It’s one of those tools that just gets out of the way, allowing the designer to simply create.
We use Wwise on a daily basis with a team of sound designers and programmers. We found the Designer client to be stable and hugely adjustable to accomplish any audio ends we can think of, whilst the implementation and support was excellent in our experience.
On Assassin’s Creed 4 – Black Flag, we incorporated Wwise’s new HDR system, and I found it to simplify the mixing process immensely. The HDR system makes the soundscape more focused with clarity throughout the player experience and, thus, increases the overall sound quality. I’m quite proud we are one of the first projects at Ubisoft to use this system and would use it again!
I've used Wwise in numerous games and I love it. It's incredibly powerful, yet it's extremely easy to learn and use. A special mention goes to the interactive music engine: flexible and well designed, it's a game changer for composers and gives results that can't be achieved anywhere else. Wwise is also the tool I use at Université de Montréal, both in my game audio class and for my personal research.
Wwise provides a bridge between the coding and sound design worlds, establishing a common ground for those working within their respective fields. This common ground ultimately enhances the outcome of their individual efforts. The abundance of features in Wwise makes for a complete and versatile game audio solution that allows us to realize our audio-visions.
Working with Wwise has given us unparalleled control and flexibility in our creation of interactive music. Wwise’s music engine to us has become our defacto ‘DAW’ in creating our musical arrangements within the game, allowing us to create complex multi-layered scores that are completely reactive to gameplay.
The ability to integrate Wwise into your production pipeline means that your audio creators have more artistic control. Wwise features an open API and integrates easily into in-house game engines, the world's top commercial game engines, and any tool or application.
