Wwise 版本
- Sample Project
- Wwise SDK
- Wwise Unity 集成
- Wwise Unreal Integration
- Wwise 基础知识
- Wwise 帮助文档
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
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?
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 ...
Alberto Sanchez Nue
音频人脉网
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 ...
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
博客
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.
Panning Keyboard Shortcuts Changes Shortcut Menu Updates WAQL WAAPI Plug-ins Reflect Workflow Simplification 3D Audio Bed Mixer Plug-in Time Stretch Improvements Integrations Unreal Support for Auto-Defined SoundBanks Unreal Engine 5.0 SDK Third-Person Listener Spatial Audio Geometry Performance Improvements Large World Support RTPC and Switch Performance Improvements Improvements to Custom Scheduling ...
The growling sound and the dark color of the spinner mix together, which highlight the coldness of machinery. Then, the camera rises along the trajectory of the spinner. The visual movement and sound variation of the spinner draw the audience's attention to the distance, which strengthens the depth of the screen. On K's way back to the police station at the end of the mission, the screen shows a panoramic ...
Studio X Labs had the distinct privilege of providing comprehensive sound design, audio programming, in-game mixing, and playback systems for Reverse Collapse: Code Name Bakery. This project marked our first long-term collaboration with a Chinese developer. Leveraging Wwise as our audio engine was crucial to delivering an optimal audio solution. The challenge and enjoyment of creating audio for games ...
Wwise Is Only for AAA Studios When I tell fellow indie developers that we used Wwise on Inventorix, the response is often a mix of surprise and curiosity. Middleware has a reputation problem in the indie space: it’s seen as too complex, too resource-heavy, or something that only makes sense for AAA productions with branching, adaptive soundtracks and huge asset libraries.That myth keeps a lot of small ...
We produced almost 4 hours of large scale orchestral and choral based music for the project (excluding alternative mixes). The live ensemble recordings were produced in Budapest through early-mid 2017 and consumed a total of 47.5 hours of orchestra time and 21 hours with the choir to complete the sessions. Creatively, our goal was to bring alive this multicultural world, a world brimming with differing ...