Wwise Convolution Reverb Offline Settings
These properties are applied offline to the converted IR file. They cannot be modified at runtime.
|
Impulse Response Settings
|
Filename
|
The impulse response file (WAV or AMB) selected to be used for the convolution.
|
(Browse)
|
Opens a load dialog box, where you can browse to and select the impulse response file (WAV or AMB) to be used for the convolution.
|
Channel Config
|
A list of possible channel configurations for the source, which will impact how the channels are transformed.
Wwise can interpret the source channel configuration according to the following file ordering varieties:
SMPTE: By default, Wwise understands the file order to be SMPTE (the Microsoft standard), unless it has an ambisonics header. For 5.1, it would appear as 5.1(L,R,C,LFE,SL,SR). However, the default is indicated in the list with Detect [channelconfig], where “channelconfig” indicates the detected configuration. For 5.1, it appears as Detect [5.1(L,R,C,LFE,SL,SR)].
FuMa: By default, for Ambisonics Component Ordering, Wwise understands the file order to be FuMa. For ambisonics 1-1, it would appear as 4(Ambisonics) (FuMa). However, the default is indicated in the list with Detect [channelconfig], where “channelconfig” indicates the detected configuration. For ambisonics 1-1, it appears as Detect [4(Ambisonics)(FuMa)].
Anonymous: The anonymous Channel Config options simply number the channels in order of appearance. So, an ambisonics 1-1 file would just be 1 + 2 + 3 + 4, while a 5.1 file would just be 1 + 2 + 3 + 4 + 5 + 6.
Film: Apart from ambisonic files, the alternative file orderings in the list are Film. For 5.1, it appears as 5.1(L,C,R,SL,SR,LFE).
AmbiX: For ambisonics, the alternative file orderings in the list are AmbiX (ACN ordering with SN3D normalization). For ambisonics 1-1, it appears as 4(Ambisonics)(AmbiX).
Default value: 0
|
(Pin/Unpin)
|
Determines whether a property curve will remain in the graph view when another curve is selected.
When the Pin icon is selected, the curve will be displayed in the graph view whether the curve is selected or not.
|
(Color block)
|
Displays the color of the corresponding property curve in the graph view.
|
Volume
|
A volume offset to compensate for different recording levels for different impulse responses. When using curve automation this is a powerful tool to create an amplitude time envelope to modify the characteristics of the impulse response. For example, fading in the impulse response can result in a more diffuse reverberation.
Default value: 0 Range: -96.3 to 24 Units: dB
|
LPF (Low-Pass Filter)
|
With curve automation, LPF can be used to control the cutoff frequency of a low-pass filtering effect with time-varying characteristics. This can be used to simulate different frequency-dependent damping characteristics. For example, a decaying LPF envelope results in a darker room typical of more absorbing material.
Curve Range: 20 to 20,000 Units: Hz
|
Automate
|
Enables automation of the property values over the duration of the original impulse response using user editable curves.
When this option is selected, you can edit the automation curve for the corresponding property in the graph view.
Default value: false
|
Impulse Response Transformation
|
IR Stretch
|
Impulse response resampling factor. This applies a pitch shift effect through resampling (thus affecting its duration). This can be used to simulate smaller or larger spaces by shifting the resonances of the impulse response in frequency. A value of 100 results in no change in duration and frequency. A value of 50 yields a converted impulse response twice as short and with higher resonance frequencies (typical of smaller spaces). A value of 200 yields an impulse response twice as long with lower resonance frequencies (typical of larger spaces).
Default value: 100 Range: 50 to 200
|
IR Channels
|
Downmix options available for multi-channel impulse responses:
As Input: Uses all channels of the impulse response to perform a multi-channel convolution.
Stereo: Uses a stereo downmix of the impulse response to perform a stereo convolution. Ignored with anonymous channel configurations (falls back to As Input).
Mixdown: Uses a downmix of all channels of the impulse response to perform a mono convolution with all channels. Anonymous configurations and ambisonics take the first channel / W.
Left only: Uses the left channel from the impulse response to perform a mono convolution with all channels. Anonymous configurations and ambisonics take the first channel / W.
Right only: Uses the right channel from the impulse response to perform a mono convolution with all channels. Anonymous configurations and ambisonics take the first channel / W.
|
Note |
This control is only enabled when a multi-channel impulse response file is used. |
Default value: As Input
|
IR Balance
|
Balance control can be used to pan a stereo impulse response. This may be useful for impulse responses recorded with more emphasis in one channel, which may result in an undesirable steering of the stereo image (wet component) to one side or the other.
Because the balance control produces a re-mix of the stereo impulse response channels with different weightings, it can also be used with the ‘Mixdown’ option of the ‘Channels’ parameter to effectively interpolate between the characteristics of the left and right channels.
|
Note |
This control is only enabled when a stereo impulse response file is used and when the Channels parameter is set to Stereo or Mixdown. |
Default value: 0 Range: -100 to 100
|
Impulse Response Optimization
|
Threshold
|
Specifies the level below which energy contained in the impulse response will be discarded to save memory and CPU resources. This threshold is compared against a frequency-specific energy computation that evolves over time in the impulse response and allows for the optimization of storage and processing of the convolution at no or minimal cost in terms of quality losses. A value of -144 dB will result in the full impulse response information being processed while lower values will typically eliminate low-energy higher frequency information to obtain significant optimizations. At higher threshold values (for example, above -50 dB), artifacts due to compression will be more noticeable. It is recommended that you try to set the threshold as high as possible without noticeably affecting the audio quality. For more details, refer to Memory and CPU Optimizations.
Default value: -144 Slider Range: -144 to -30 Units: dB
|
Smooth
|
Uses Low-Pass Filtering to smooth the frequency specific truncation points detected based on the threshold parameter. Smoothing can be used to compensate for the artifacts introduced by using high threshold values. The consequence of using high smoothing values is that any optimization gains will be reduced, so it should only be used when necessary. Note that it is sometimes best to set the threshold parameter at a lower value rather than having to use large smoothing parameter values. For more details, refer to Memory and CPU Optimizations.
|
Note |
This option is only enabled when the threshold parameter is set above -144 dB. |
Default value: 0 Slider Range: 0 to 100
|
HW Accel
|
Some platforms have hardware acceleration for convolution processing. When enabled, this can reduce the CPU usage of the convolution effect.
|
Input Threshold
|
The volume at which higher frequencies of input audio will be considered too quiet to make an audible difference. By discarding information on high-frequency audio that is deemed irrelevant, CPU resources can be saved during convolution processing.
|
IR Information Display
|
Original
|
Information about the original impulse response file loaded in the plug-in.
|
Converted
|
Information about the converted impulse response, that is, after applying all offline settings to the original impulse response file.
|
Channels
|
The number of channels contained in the impulse response file.
|
Length
|
The duration (in seconds) of the impulse response file.
|
Peak
|
The peak amplitude of all channels of the impulse response file (in dB).
|
RT60
|
RT60 is an acoustical measurement used to calculate reverberation time decay. In other words, RT60 is the measurement of the time it takes a signal to decay by 60 dB.
|
Tip |
The RT60 value of the original can be used to provide a good starting point in selecting the location for the end marker truncation. |
|
Note |
RT60 is an estimation computed by slope projection, so it is possible that the RT60 time is actually longer than the length of the impulse response itself. |
|
Lower Engine Memory Usage
|
The estimated amount of runtime memory required (in kilobytes) for each playing instance using the current effect settings. This estimate is provided assuming surround sound (5.1) execution of the Effect.
|
SoundBank Memory Usage
|
The estimated amount of memory that the converted impulse response file will take (in kilobytes) when packaged into a SoundBank using the current effect settings.
|
Optimization Ratio Display
|
Determines the total memory gains (SoundBank and Lower Engine) based on optimization parameters as well as impulse response truncation using the begin and end markers. a 2:1 ratio thus means that only half of the memory is required to perform the convolution with the current settings.
|
Impulse Response Graphical Displays Controls
|
|
Zooms in towards the center of the graph view.
|
|
Resets the graph view to the default zoom factor ratio of 1:1.
|
|
Zooms out from the center of the graph view.
|
X
|
The coordinate along the X axis of the selected control point.
If more than one control point is selected, the field displays a value of 0, so that you can increase or decrease the value of all selected control points relative to their current values. For example, if you select two control points and type -5 in the X text box, both control points will move to the left by 5 units.
|
Y
|
The coordinate along the Y axis of the selected control point.
If more than one control point is selected, the field displays a value of 0, so that you can increase or decrease the value of all selected control points relative to their current values. For example, if you select two control points and type -5 in the Y text box, both control points will move down by 5 units.
|
Impulse Response Time-domain Display
|
(Waveform GraphView)
|
A graphical representation of the original impulse response is displayed. The wave shown is full-wave rectified and downmixed when the loaded impulse response is multi-channel. Automation curves of the volume and LPF properties can also be shown on the graph. The X axis represents the duration of the original impulse response sound, and the Y axis represents the value of the property to be applied at a specific time.
Only curves with the Automate option selected can be edited in the graph view. You can move points along the curve by clicking and dragging. To add a point, double-click anywhere along the curve and right-click on a section of the curve to select a different curve shape.
The graph view can display several curves simultaneously by selecting multiple properties in the list or by using the pin option.
|
Begin Marker
|
Removes the start of the original impulse response from the convolution. It can be used to obtain a different sounding reverberation (for example, a more diffuse reverberation) or to trim the impulse response file to remove unnecessary pre-delay which can result in perceived latency. For more details, refer to Memory and CPU Optimizations.
|
End Marker
|
Removes the end of the original impulse response from the convolution. It can be used to obtain a different reverberation sound (for example, shorter reverb time) or to reduce resource usage by performing a shorter convolution. For more details, refer to Memory and CPU Optimizations.
|
Impulse Response Frequency-domain Display
|
(EQ GraphView)
|
In this graphical representation view of the original impulse, you can change the frequency response to customize the tonal characteristics of the impulse response used (graphic equalizer) where the desired frequency response can be simply drawn using curve controls. The X axis represents frequency and the Y axis represents the desired gain to be applied at a specific frequency.
You can move points along the curve by clicking and dragging. To add a point, double-click anywhere along the curve and right-click on a section of the curve to select a different curve shape.
|
Note |
The response drawn is sampled approximately every 20 Hz. The gain specified at the maximum frequency (20,000 Hz) is extended up to the Nyquist frequency. Note that very sharp transitions may be effectively smoothed by the filtering process to avoid the Gibbs phenomenon because the filtering process has a small transition band and is not exactly brickwall. |
|
IR Enable EQ
|
Enables/disables use of graphic equalizer.
|
Tip |
Disable the graphic equalizer when used with the default curve only (flat line at 0 dB for whole spectrum) to speed up the audio file conversion process. |
Default value: false
|
Wwise Convolution Reverb Runtime Settings
These properties are applied at runtime by the plug-in. They do not affect the converted IR file, so they can be modified in real-time. Most of them can be controlled in-game using RTPCs (refer to Working with RTPCs for more information).
|
Reverb Effect Settings
|
Reverb Type
|
Determines the type of algorithm used.
Reverb (default) In this mode, multi-channel content is first downmixed using the controls in the Input Levels section. A multi-channel convolution is performed, and the result is upmixed back to the original multi-channel configuration using the Output Levels control. Additional processing such as spread, pre-delay application, and rear channel delay are also performed, using the optimal amount of memory and CPU.
|
Tip |
For all reverberation purposes, this mode of operation should be used. |
Filter: This mode can be used to apply a direct convolution between each channel and the impulse response channel(s). In this mode, unlike the reverb mode, there is no downmix or upmix performed, and thus the Input/Output Levels are not enabled. With standard multi-channel impulse responses, the left input channels (front, side and/or rear) are convolved with the left impulse response channels while the right input channels are convolved with the right impulse response channels.
|
Tip |
This mode can be used to apply a complex frequency response (for example, that of an electronic device, or a calibrated impulse response file to perform brickwall filtering) on all input channels. |
Default value: Reverb
|
Pre Delay
|
Specifies the time delay between the direct and the reverberated signals. While pre delay supports exclusive RTPC, it should only be used for initialization, before playback. If an RTPC is used to change pre delay in real time during playback, the delay buffer will be continuously re-initialized, which will cause sudden silences or changes in the reverb signal.
Default value: 0 Range: 0 to 1000
|
Rear Delay
|
Specifies the time delay between the reverberation output in the front and rear channels.
|
Warning |
This property has no effect on ambisonic sounds in Filter mode. |
Default value: 0 Range: 0 to 200
|
Input Levels
|
Center Input Level
|
Determines the amount of the center channel that will contribute to feed the reverberation algorithm.
Default value: 0 Range: -96.3 to 0 Units: dB
|
LFE Input Level
|
Determines the amount of the LFE channel that will contribute to feed the reverberation algorithm.
Default value: -96.3 Range: -96.3 to 0 Units: dB
|
Input Spread
|
Determines the amount of crosstalk between the left and right downmix channels prior to reverberation. This can broaden the sense of space of an otherwise strongly correlated impulse response by enlarging the spread of the input downmix.
When a value of zero is used, the input signal is downmixed to mono, and then convolved with each impulse response channel. A value of 180 means that the result of the multi-channel convolution is fed directly to each side.
|
Note |
On the other hand, with input spread of 180 (maximum), an incoming sound panned to the hard left will be solely convolved with the left channel of the impulse response, which does not make sense in terms of sound propagation. |
|
Tip |
With multi-channel impulse responses, it is recommended to use a mono or quasi-mono downmix (Input Spread close to 0) in Reverb mode. You should use higher values of Input Spread only with mono impulse responses, because it is the only way to “cheat” and create different signals (thus a sense of space) on the left and right. |
|
Warning |
This property has no effect on 1.0 (mono) or 1.1 channel sounds. |
|
Warning |
This property does not apply to Filter mode. |
|
Warning |
This property is ignored with ambisonic impulse response configurations. |
|
Note |
Input Spread may be used with ambisonic input signals and mono impulse responses. |
Default value: 0 Range: 0 to 180
|
Reverb Levels
|
Reverb Front Level
|
Controls the amount of reverberation applied to the front left and right channels. This property control does not affect the center channel, which can be controlled explicitly.
Default value: 0 Range: -96.3 to 0 Units: dB
|
Reverb Rear Level
|
Controls the amount of reverberation applied to the rear left and right channels.
Default value: 0 Range: -96.3 to 0 Units: dB
|
Reverb Center Level
|
Controls the amount of reverberation applied to the center channel, when present.
Default value: 0 Range: -96.3 to 0 Units: dB
|
Reverb LFE Level
|
Controls the amount of reverberation applied to the LFE channel, when present.
Default value: -96.3 Range: -96.3 to 0 Units: dB
|
Output Levels
|
Dry Level
|
Determines the gain factor that is applied to the direct path sound.
Default value: -96.3 Range: -96.3 to 0 Units: dB
|
Reverb Level
|
Determines the gain factor that is applied to the reverberated signal (reverb tail).
Default value: -20 Range: -96.3 to 0 Units: dB
|
Output Spread
|
With standard channel configurations (stereo, 5.1, and so on), Output Spread determines the similarity of the reverberation sent to the left channels (front and/or rear) and right channels (front and/or rear). This can create a stronger/lesser sense of space, by enlarging/narrowing the spread of the reverberation (wet part) of the signal.
When a value of zero is used, the reverberation output to the left and right channels is the same. A value of 180 means that the result of the multi-channel convolution is fed directly to each side.
With ambisonics, the spread is not just lateral (stereo), but instead generalizes to all directions. In effect, it weighs the directional channels compared to the omni channel W.
|
Note |
This effect is stronger when monitored over headphones because of the absence of cross-talk between speaker signals, which diminishes the Effect. |
|
Warning |
This property has no effect on 1.0 (mono) or 1.1 channel sounds. |
|
Warning |
This property does not apply to the Filter mode. |
Default value: 180 Range: 0 to 180 Units: °
|