You are now at a point where you’ve imported, implemented, and tested all of the musical assets composed for Cube. Your work is nearly done, but there’s still a final step you need to consider in order to polish your work to perfection. That consideration is regarding the mix. As you’ve added more and more layers to the Cube music, you haven’t had to really worry about the relational volume between instruments, like the drums being too loud or the cello being too quiet. This is because the overall relative mix of the sounds was determined when the music was still in the DAW. Those relational levels were preserved when the parts were exported because the composer delivered each of the musical elements as a post-fader asset—meaning that the files’ output was based on the signal leaving the fader.

While the overall balance of the music mix should be preserved, there are some mix considerations that simply can’t be addressed in the DAW. For example, a composer won’t know exactly how their music will sound when played with the sound effects. In fact, the composer won’t necessarily even know how different combinations of musical elements might be heard once they’ve been fully integrated, especially with the randomization approaches you’ve implemented thus far. To address these considerations, you’ll use the mixing features within Wwise to put the final touches on your implementation of the music for Cube.