Wwise Versions
- Sample Project
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- Wwise SDK
- Wwise Unity Integration
- Wwise Unreal Integration
Other Documentation
- Strata
- ReaWwise
- Audiokinetic Launcher
- Wwise Audio Lab
- Wwise Adventure Game
- GME In-Game Voice Chat
- Meta XR Audio
Certification Courses
- Wwise Fundamentals (2024.1)
- Wwise Interactive Music (2021.1)
- Wwise Performance Optimization (2023.1)
- Wwise Unity Integration (2023.1)
Other Sources
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- Creators Directory
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AudioNext
Creators Directory
With over 20 years of Film and Tv Post Production Experience, Dialogue Editing & Mixing, ADR & VO Recording & Mixing, Sound FX editing and Sound Design covering over 40 feature films and numerous television shows and commercials. Entering the Game Audio sphere with extensive experience in the creative cinematic field.
BØLT
Creators Directory
Experience: -Mixing & mastering music in stereo and Dolby Atmos -Recording music & voice overs -Field recording -SFX and dialog editing -Sound design and mixing
I'm on 2023.1. I can get spatialisation working but I get no obstruction. I've played around with most of the settings in the UE attenuation file and I've unchecked the base soundmix so there's only sound from Wwise. The "Adventures..." blog post mentions that some features for this aren't implemented yet and I can't find any mention of updates in the release notes apart from "Combining Unreal 5 and ...
Rotating Ambisonics As we have seen in Ambisonics as an Intermediate Spatial Representation (for VR), ambisonics is a multichannel audio format that can favorably represent the spatiality of an audio mix. An ambisonic audio file/mix/signal can thus be regarded as a sound field, a mixture of different sound sources coming from different directions and arriving at a listener's ears with different angles ...
How did you technically approach the mix with this “node-based” mechanism? NICK: Blade Runner Revelations’ node-based navigation system offered some peace of mind knowing that the player is set to a fixed position at a fixed height, and the only variable that really comes into play is which way they are looking. In some cases, we were able to set up a per-node mix using RTPCs, States, and “unique ...
VII REMAKE, as a Supervising Sound Editor, I was in charge of managing and directing Foley in general for this work, and mixing cutscenes in general. As for the achievements of the FINAL FANTASY series in the past, I was in charge of FINAL FANTASY XII series trilogy, FINAL FANTASY XV, and the movie FINAL FANTASY XV KINGSGLAIVE." (Suganuma) Music Introduction: The Music of FINAL FANTASY VII is beloved ...
It offers a streamlined workflow and supports every phase of audio development, from the creation of audio structures to mixing and monitoring of audio performances in real time on the Nintendo 3DS system. Users will enjoy a very stable audio solution while being supported by a professional, customer-oriented organization. Pricing for Wwise for the Nintendo 3DS system will be $5,000 US. Maintenance ...
It offers a streamlined workflow and supports every phase of audio development, from the creation of audio structures to mixing and monitoring of audio performances in real time on the NGP system. Users will enjoy a very stable audio solution while being supported by a professional, customer-oriented organization. From smaller teams with limited resources and budgets to larger AAA teams with large ...
Wwise 2013.2 introduces new features and enhancements, including new 7.1 audio mixing support, secondary device output, improved support for PlayStation®4 and Xbox One, as well as the release of new plug-in partnerships with GenAudio (AstoundSound) and Crankcase Audio (REV). "This version focused on the full support of the next gen platforms and proudly added two new partners to our ecosystem ...
Instead, sounds that need a certain reverb effect are routed to a so-called auxiliary bus that submixes them and applies the desired effect once. The reverb intensity for each sound is controlled simply by scaling the sound by a certain volume, the so-called send value, as it gets submixed into the bus. This is the standard practice in most games. In Wwise, the routing is done on sound emitters using ...
Why Wwise?
Blog
For example, volume expressed in decibels, a bus mixing hierarchy, envelopes, LFOs, and visual editing of parameter curves. It’s the same language used in DAWs and samplers, which allows sound designers to work quickly and accurately. Secondly, separating audio functionality from game objects minimizes dependencies on access to files in the project - the vast majority of the work can be accomplished ...
Mobile OS' makes it difficult - and sometimes impossible - to mix the ‘call volume’, used for voice chat, and the game audio, using the ‘media volume’, as it causes peculiar artifacts. For example, in configurations where the game uses ‘media volume’ for the game audio and ‘call volume’ for the chat, the audio output is systematically downmixed from stereo to mono each time a player speaks. This ...
Alberto Sanchez Nue
Creators Directory
I am sound designer and location sound mixer both for linear and interactive media. My experience includes a variety of productions from games to commercials to independent feature films. My skills include: -Recording, Mixing & Editing in DAW's (Pro Tools, Nuendo, WaveLab, Sound Forge) -Sound creation & manipulation (synthesis, sampling, editing) -Sound Capture (Field Recording, Production ...
CAkConvolutionReverbFX::Execute(AkAudioBuffer * io_pBuffer) Line 889 C++ [Inline Frame] PROJ-Win64-DebugGame.exe!CAkVPLMixBusNode::ProcessFX(unsigned long) Line 1426 C++ PROJ-Win64-DebugGame.exe!CAkVPLMixBusNode::ProcessAllFX() Line 1387 C++ PROJ-Win64-DebugGame.exe!CAkVPLMixBusNode::GetResultingBuffer() Line 1341 C++ [Inline Frame] PROJ-Win64-DebugGame.exe!CAkLEngine::TransferBuffer(AkVPL ...
Unity Integration: Ak Environment Portal not updating reverb values while player is in contact
Q & A
I walk halfway through the corridor, then stop and jump (thereby exiting the AkEnvironmentPortal's trigger volume and re-entering it), the portal will update, and play the correct mix of both environments' reverb settings. I'm lost as to why the AkEnvironmentPortal will only update if the player exits and re-enters the trigger volume, rather than gradually increasing or decreasing while the player ...
Control over asset frequency responses must serve the whole mix, whatever categories of assets at hand, including music and dialogue. Therefore, the first step in the process is to ensure that we make room in terms of loudness and frequency response for other sounds. This is the rule of thumb for loudness control. Take music as an example, the master should have a frequency response of press quality ...
The Interactive Audio Renaissance: Bringing Sound Back to Life After a Century of Baking it on Film
Blog
Several crafts are involved in this: music composition, music editing, foley editing, sound editing, dialogue editing, and mixing. Artists, experts in these respective fields, have the luxury to be able to do this using a tool called the Digital Audio Workstation. Layers upon layers of the finest ingredients, crafted, tuned, and mixed by expert hands, are arranged to match video perfectly, supporting ...
Management (cooldowns, state driven playback behaviors, and interruption, queuing and priority logic) Localization Support Pre-mixing & Mixing All of this places our discipline firmly at the heart of the development process, from pre-production through the entire project lifecycle. Even where there is no recording to do, there is always plenty of work to be done! Creative Collaboration Being an ...
This was done to always ensure accurate sync to picture and the highest possible mix quality during cinematic moments, as well as allowing us to perform the fun offline processing/SFX interplay that you can hear in those moments.Because of this use of external sources, we could not mix individual dialogue assets within Wwise itself. During production, it was extremely important that assets were pre-mixed ...
For example, “Vertical Techniques” is also described as “Vertical Remixing” or “Layering”. Some people even use “Multi-track” as jargon to imply such techniques; There isn’t enough attention being given to the interactive music creation using mixing technologies. This is the key point that Olivier Derivière means by “hybrid” (Audio + MIDI). More complex music design could be achieved on that basis.