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
Pawe? presents the initial goals for ambiance in the game, such as having: Enough content to fill this huge open world Sound variations to avoid repetition Mechanisms to mimic real world Control mixing on the fly for storytelling purposes Straightforward implementation Pawe? then shows how their global weather system has been implemented in Wwise using Blend Containers reacting to wind intensity parameters ...
WAAPI, you can do things like automating audio file imports, Event creation, large property changes, generating SoundBanks, and even creating your own custom GUIs (like your own mixer). If you’re super crazy, you can even get multiple instances of Wwise to talk to each other (if you need to compare an older version of your project to a newer one, for instance—yes, I’ve done this). Sounds pretty intriguing ...
Topics and demos will include his recent work on the Alien Descent VR experience, dynamically mixing spatial music, and non-repeating/non-linear music as a standalone format outside of games
Tutorial video in Audiokinetic Wwise showing how to create Interactive Music Stingers add. To add more feedback to your interactive music, you can play stingers at key points in the game action. Stingers are brief musical phrases that are superimposed and mixed over the currently playing music. To play a stinger, the game calls a trigger that is associated with a stinger music segment.
Topics included: setting expectations when coming onto a new project as a freelance composer, whether implementation is a necessary skill for composers today, thoughts on specialization and getting pigeonholed into that specialty, how to hang on to certain rights, thoughts on mixing sound design and composition work in your portfolio and rescoring existing games in your reels, and overall advice for ...
Wwise, Interactive Music Hierarchy 1:09:49 - In-game sequence with music while muting engine sounds in authoring 1:15:05 - Mixing 1:16:40 - Object-based audio 1:24:04 - Challenges with Event-based packaging 1:29:24 - Thank you Paolo! 1:29:50 - Shoutouts to Paolo's team Links for the Livestream: What's New Beta: https://blog.audiokinetic.com/wwise2022.1-whats-new/ Migration Guide: https://www.audiokinetic.
Router to target specific hardware channels 1:01:20 - Musical Examples from the "Mountains" environment 1:05:40 - Scupltural elements and mixing considerations 1:13:50 - Flexibilty and adaptation at the event in the space 1:22:43 - Musical Examples from the "Games" environment 1:29:17 - Summary of the project 1:34:04 - Outro Audiokinetic: https://hubs.ly/H0C1vhJ0?. Audiokinetic Blog: https://hubs.
Audio with the introduction of the object-based pipeline in 2021.1, along with the creation of workflows to help guide and adapt mixes for platforms that can leverage the precision of Spatial Audio. With the ability to inform and route sounds with positioning precision, the mix can be adapted across any channel configuration, including headphone binauralization, with high accuracy. Wwise 2023.1 continues ...
Profiling 01:03:17 Wwise 2023.1 - CPU Timeline 01:04:39 Wwise 2024.1 - Memory Allocator 01:05:45 Profiling - Metering, Mastering, Dynamic Mixing 01:06:08 Profiling - Audio Objects, Game Objects, and Acoustics 01:06:35 Focused and Iterative Realtime Workflow 01:06:49 Increased Visibility and Focused Audio 01:06:56 Summer of Beta - Redux 01:07:52 Wwise Free for Indies 01:09:10 Wwise Ecosystem 01:10:02 ...
From PC to Mobile: Challenges & Breakthroughs in the Audio Development of Naraka: Bladepoint Mobile
视频
Shanghai 2024 covers three key aspects of audio porting for mobile: adapting the game?s audio for mobile devices, implementing real-time spatial audio solutions, and designing Dolby Atmos mixing strategies. Watch as they share technical approaches, solutions, and results in Naraka: Bladepoint Mobile. 00:00:00 Project introduction 00:02:12 Mobile audio porting 00:10:49 Spatial audio solution for mobile ...
_i_ak_plugin_8h_source
Wwise SDK
... h> 40 #include <AK/Tools/Common/AkMonitorError.h> 41 #include <AK/Tools/Common/AkRng.h> 42 #include <AK/SoundEngine/Common/AkSoundEngineExport.h> 43 #include <AK/SoundEngine/Common/IAkProcessorFeatures.h> 44 #include <AK/SoundEngine/Common/IAkPlatformContext.h> 45 #include <AK/SoundEngine/Common/AkMidiTypes.h> 46 #include <AK/SoundEngine/Common/AkMixerTypes.
Device 更新 改进后的跨平台 System Audio Device 支持针对所选平台统一设置 3D Audio，而不再需要为每个平台单独应用混音器插件。现在允许在 System Audio Device 中将发送到终端的输出设为不同的类型：Main Mix、Passthrough Mix 和 Object。终端具体能接收哪些类型的输出要看平台关联了怎样的 Audio Device 属性。对此，用户可根据需要在 Audio Device Editor 中加以配置。比如，若启用 Allow 3D Audio 选项，Audio Device 将尝试激活平台的现有 3D Audio 功能。注意，只有在平台支持的情况下才会激活 3D Audio。若禁用该选项，则将停用所有潜在 3D Audio 功能。 为帮助 Audio Device 针对工程支持的各个平台选用最佳配置，我们还额外添加了其他一些属性。
Device 允许快速设定相关属性、依据输出类型显示电平并及时更新设备信息。 改进后的跨平台 System Audio Device 支持针对所选平台统一设置 3D Audio，而不再需要为每个平台单独应用混音器插件。现在允许在 System Audio Device 中将发送到终端的输出设为不同的类型：Main Mix、Passthrough Mix 和 Object。终端具体能接收哪些类型的输出要看平台关联了怎样的 Audio Device 属性。对此，用户可根据需要在 Audio Device Editor 中加以配置。比如，若启用 Allow 3D Audio 选项，Audio Device 将尝试激活平台的现有 3D Audio 功能。注意，只有在平台支持的情况下才会激活 3D Audio。若禁用该选项，则将停用所有潜在 3D Audio 功能。 为帮助 Audio Device ...
Even！） 现存学习材料存在的问题 学习的确是快乐的，然而在试图将所学转化为实践的过程中我意识到几个问题： 许多介绍游戏互动音乐的材料，侧重点都是受游戏引擎驱动的音乐设计，在音频引擎不受游戏引擎驱动情况下的设计很少被提到； 游戏中对于不同技术的使用总是“你中有我我中有你”，这也是为什么会出现Hybrid这种称呼（而Hybrid对Kejero与Olivier Deriviere来说可能指的又是极其不同的东西）； 处理方法的称呼方式不固定——Vertical Techniques也被称为Vertical Remixing、Layering、在某些地方甚至直接以Multitrack作为“Jargon”来代表这类技术； 通过混音技术实现的互动音乐创作手法没有得到足够的关注，而这恰恰是Olivier Deriviere的Hybrid（Audio+MIDI）方法中的复杂性所在，也是更加复杂的音乐设计可能性得以存在的基础。
The correct number of audio channels can be automatically detected or specified explicitly in the plug-in's associated XML file. Channel Router The Wwise Channel Router Plug-in is a Wwise mixer plug-in that allows sound designers and developers to route and mix multiple busses with different channel configurations into a single output device. This is especially useful in LBE when a single output ...
Dynamic system uses actual team- and venue-specific audio files Original Article shared from Sports Video Group News. NFL broadcasts this season will use “enhanced” crowd sound. The league’s technology kit for this includes the Wwise platform, Audiokinetic’s authoring software for interactive media and videogames. This will let so-called audio-sweetener mixers access and mix sounds collected from ...
Audiokinetic has been a key player in the development and advancement of spatial audio, offering solutions from ambisonics, Convolution Reverb, and other mixer plug-ins, to supporting third-party binaural technologies. Today, spatial audio is quickly becoming central to the success of any AR/VR/MR project and interactive media projects at large, and our team at Audiokinetic was proud to introduce ...
Only through B-Format can we get the correct spatial position of the sounds, and then perform processing such as mixing and editing. Considering the differences in channel order, weight and quantization, B-Format can be further divided into several sub-formats. The following two are commonly used: Furse-Malham and AmbiX (ACN ordering with SN3D normalization). The former is referred to as FuMa for ...
We tried using a single asset and raising the pitch inside Wwise, pitch randomization inside a scale, and making sequences with multiple assets. We ended up with a mix of all these options, depending on the importance and the priority.For sounds that are more detailed and higher in priority, like the merges for example, we crafted unique assets for a sequence, and the sequence not only goes up in ...
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 ...