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
Sound Array
音频人脉网
functions as a one-stop shop for all your game audio needs - from the beginning stages of designing the audio soundscape and aligning it's trajectory to the scope of your project, to the implementation and integration of audio middleware, mixing and playtesting. Please contact Jim at www.sound-array.com to receive a free consultation and get started!
D'arte Media Studios
音频人脉网
Creation and recreation of Music and Effects Sound track and background music Sound Design Mixing- 2.0, 5.1, ATMOS Foley Language Localization DIALOGUE RECORDING AND EDITING ADR DUBBING/VO Voice Talents- Focused on directing and training local and remote talents in most languages and ages.
Vlad Caia Sound
音频人脉网
Sound designer, music producer, mixing and mastering engineer and all things technology enthusiast.
Bobinger Audio
音频人脉网
is an Audio Engineering Studio & Label for Electronic Music based in Berlin Germany. I am open for new opportunities for Composition, Sound Design, Recording, Mixing, Mastering. I come from a Reaktor programming background in synthesizers and am learning Wwise right now and would love to work for a game studio to get into the Sound Design business for games and learn the workflow. My experience ...
Anggu Studio
音频人脉网
We have a fully equipped recording studio and Dolby Atmos 7.1.4 setup sound mixing studio to provide all-around professional solutions for sound production. We have designed
Cloud Productions Ltd.
音频人脉网
We are a Film, Video and Gaming Post Production company established in 2003, specialising in productions for the multi-screen world. We offer Voice Over Recording, Colour Grading, Sound Design and Final Mixing from our base in Soho, London. Our clients are some of the largest, most respected companies in the world, who trust us to make their premiere content look and sound great.
♩Mixing ♩Mastering ♩Sound Design ♩Audio Programming ♩Asset Creation and Refinement
Empty Sea Audio
音频人脉网
Empty Sea Audio can take your project beyond! Post Production Sound, Original Music Composition, Mixing, and Recording. We’ve got you covered.
How can we spatialize reverberation and how can this effect contribute to future sound mixes? Let’s explore the practical implications of some of the techniques we covered in the past articles, and examine some of the lessons learned during the development of Audiokinetic’s forthcoming dynamic early reflections technology. Hybrid reverberators With a spatial reverberator, we aim to spatialize the ...
A very simple, volume driven background loop (which sits quiet in the mix) adds a sense of ‘presence’ to the entire park. We added this layer towards the end of production when we found that the park sounded a little ‘flat’ when observed from a distance. The assumption can be made that the crowd is far away so it is filtered to diffuse sound, and this negates the need for accurate sync. It is pure ...
Recently, there has been a lot of hype surrounding spatial audio, but the truth is, “spatial audio” can mean a lot of things and the myriad of available options can be overwhelming. There are many ways to incorporate spatial audio concepts into a game, and these options are not mutually exclusive - one can mix and match various solutions to deliver a customized experience. In future articles on spatial ...
For some of the cut-scene music and ambient music which didn't require special processing, I made the choice of putting them under the Actor-Mixer Hierarchy instead of the Interactive Music Hierarchy and treating them as SFXs. In some cases, the Actor-Mixer Hierarchy’s Source Editor makes it easier to achieve certain things. Here is a simple example: Let’s say we have a piece of music called Menu_Music ...
I more or less used the legacy sound as-is with some minor mix tweaks with compression and EQ. The sound was pretty dry however, so I layered on a few environmental sounds like some flanged explosion tails and really low-pitched animal vocalizations. This was to add a bit of a sci-fi explosion to fill in the space after the warp in, and to make it feel like the Enterprise came in a bit more violently ...
I wanted to mix the MetaSound with the reverbs specified for each room, bounce the music off the walls using WwiseReflect, change the EQ based on location and material, really sell the idea of the audio-emitting objects being IN the room, while using all the spiffy spatialization features Wwise provides (and that Unreal native audio would be hard pressed to match).That's when I ran into my third and ...
State icon has been added next to the link/unlink and RTPC icons to help you identify which properties can be modified by States. Mixing Desk Workflow Enhancements It’s now possible to quickly change which State Group is listening to State changes. This makes faders move when States are changing on motorized controllers. It’s also possible to expand and collapse State Groups (and other main categories ...
In linear media, a skilled mix engineer can ride faders to dial in the perfect mix, allowing the various layers -- music, ambience, sound effects, voice -- to fill the space around one another and make room for the most interesting or important elements and details. If only a skilled engineer could be included with every copy of your game, this approach would carry over perfectly! Alas, without knowing ...
The point is, being involved early gave me the time to build generic but adaptive systems that saved me a lot of time for the integration during the production, facilitated the debug process and helped building the interactive mix along the way. Integration and interactive systems For all diegetic voices, I had two Attenuation Sharesets. One was realistic and simulated real-life attenuation. The other ...
For the most part, we had these effects already cued up in random containers with decent attenuations, which made it possible for us to place and forget these emitters until a later mix pass. Also, it was at this time when the rest of the dev team moved into the space and began to work alongside us at breakneck speed. At midnight that night, we’d caught up to all of their new content. Due to noise ...
Imagine taking a Virtual Reality experience out of its virtuality, and placing it in the real world, yet still keeping all its virtual world elements. It's a kind of a mixed reality set in a room where interactions should happen as they would in a regular VR experience, however people get into it without any goggles or headphones. This was the challenge faced by Riverside Studios/Lucha Libre Audio ...
Also, to create large configurations quickly, I optimized some editor features such as copy-paste, bulk edit, etc. (I used similar structures to organize the mixing in Wwise, but I'll get to that later.) The interaction between the Mecha and the Platform is not limited to moving and jumping. I also created swirling dust sounds for when the Mecha's glide and approach the ground to add more detail.