Wwise 版本
其他文档
- Strata
- ReaWwise
- Audiokinetic Launcher
- Wwise Audio Lab
- Wwise Adventure Game
- GME In-Game Voice Chat
- Meta XR Audio
认证课程
- Wwise Fundamentals (2024.1)
- Wwise Interactive Music (2021.1)
- Wwise Performance Optimization (2023.1)
- Wwise Unity Integration (2023.1)
其他资源
- 网站
- 视频
- 插件
- 音频人脉网
- 问答
- 博客
Mark Simpson
音频人脉网
Hi. I am a West London based composer and multi-instrumentalist who creates original and bespoke music. I have an ability for writing memorable melodies and producing complex and involved musical concepts and ideas. I can offer a wide range of styles and genres to compose the right music to support your story, whether for screen or live. mark is a versatile composer with a very strong sense of originality ...
Jake Fortner
音频人脉网
Recently Graduated Student from Belmont University with a Passion for Video Games and Storytelling via Sound Design
Sergio Vasquez
音频人脉网
I am a seasoned audio post specialist now branching into game audio. Based in Bogotá, I operate a fully equipped studio specializing in sound mixing and design. My studio is designed to meet the complex demands of both traditional media and interactive entertainment, ensuring top-quality soundscapes for a diverse range of projects. Whether enhancing cinematic experiences or crafting immersive audio ...
Marco Porrà
音频人脉网
, ASCAP composer; 10 years in a band as songwriter and singer, a degree in experimental music, many gigs with different bands (punk rock, acoustic, rock). Mark Willput music project is for videos, presentations, in-store. Instrumentals and songs. Other projects are : Kimo Shabi : experimental,relaxing, lo-fi beats; MPM Producer: Punk Rock- Trap; Virgo's Revenge: EDM. I believe every emotion can be ...
Andrew Daniel
音频人脉网
Ignatius Air Abhipraya
音频人脉网
Whether I'm recording in the challenging terrain of Labuan Bajo or mixing in the studio, my background in film directing and writing gives me a unique perspective on how sound shapes narrative. Making waves in Indonesia's audiovisual landscape, one project at a time.
Joshua Darby
音频人脉网
Hi. My name is Josh Darby and I am a professional musician and a web application developer. I attended university at UHCL in Houston, Texas where I graduated with two degrees: a BA in Marketing and a BS in Computer Science. Some hobbies I enjoy are music production and video game design. Also, I like cats.
Duarte Silva
音频人脉网
I'm a Sound Designer & Mixing Engineer with a passion for creating captivating sonic experiences. With a background in music production and a keen ear for detail, I aim to establish myself as a trusted professional on every project I work on. Being also a Voice-Over Editor and a Sound Designer, I have a vast experience in refining voice and other recordings and sounds. The focus is on delivering ...
Aaron Cloutier
音频人脉网
I’m a composer, producer, multi-instrumentalist, and educator with a diverse creative background. My work spans a wide range of styles — from intense, high-energy metal to introspective ambient and singer-songwriter compositions — allowing me to adapt to a variety of musical projects and storytelling needs.
Gabriel Gomes
音频人脉网
I am a producer and mixing engineer based in São Paulo, Brazil. Started my career in 2015 as a deejay, always loved music, especially in videogames.
Eléa Lecoq
音频人脉网
Audio Designer & Composer based in Paris
Ajanya Kaul
音频人脉网
Innovative sound designer and music producer with 5+ years of experience in audio post-production, soundscape design, and electronic music composition. Passionate about immersive storytelling through sound. Adept with industry-standard DAWs, and skilled in Foley, mixing, and mastering. Thrives in collaborative environments and unconventional creative challenges.
John Kuhn
音频人脉网
Hello. I'm a fledgling audio engineer with a keen interest in game audio and application. I really enjoy the tracking and mixing process and adding that final layer of mastering polish is an honor. SSL!
Justin Bojan
音频人脉网
I'm a Chicago based music producer with a passion for learning new ways to create. My origins in music started with metal vocals and guitar about 14 years ago. I later transitioned into the electronic and recording scene about 11 years ago. The past 2 years have consisted of working with multiple musicians in Japan, finding ways to combine Western and Japanese writing styles to create unique and inspirational ...
bobby halsey
音频人脉网
Just graduated from Full Sail University, Got my Bachelors in Audio Production, Feel in love with the Wwise program and wanted to learn more and get certified
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 ...
Why Wwise?
博客
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 ...
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 ...
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 ...