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
The game has tons of audio and several instances of rather complex audio behaviour; therefore, Wwise was an obvious choice for audio integration software due to its versatility and ability to mix, monitor, and optimize performance via remote connect and during gameplay. Additionally, for me as sound designer and composer, one of the greatest benefits of using Wwise is the massive amount of control ...
So when and where music and sounds occur, stylistic/artistic decisions, branding and trailer music, systems and solutions for implementation, memory and optimisation, recording mixing and mastering, occasional overwhelmed panicking…I’ve been using the word “holistic” a lot recently to describe how I approach music and audio design. To me this means thinking about the complete interactive audio experience ...
There is no need to wait for any integration to be done to have a great sounding mix (hence the choice of User-Defined positions and auxiliary sends when possible)! You can simulate an entire playthrough of the game by using the core Events you created and by mixing the game. This way, you can set up your ducking system, fine-tune your RTPC's curves, and deliver fully functional and mixed SoundBanks ...
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 ...
Wwise version 2021.1 has evolved to provide a comprehensive authoring environment that fully leverages audio objects while enhancing the workflow for all mixing considerations. Finally, the third part will share a series of methods, techniques, and tricks that have been employed by sound designers and composers using audio objects for recent projects. Encoding Spatialization - An Historical Overview ...
I also work with the orchestration and live production team (around 80% of our score is live recorded) and collaborate with our music mixer. AoE IV is a real-time strategy game, the fourth major release of a much-loved franchise that goes back 25 years. AoE IV shipped in October 2021, with eight unique civilizations (‘Civs’) - French, English, Chinese, Mongols, Holy Roman Empire, Abbasid, Delhi Sultanate ...
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 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 ...
SONORUM
音频人脉网
Studio Lab SONORUM is a turnkey complete audio solution, or a la carte audio production, recording, sound design, integration and mixing services studio. We are here to serve Video games, Interactive Medias and Films producers SONORUM leader is a 3D audio hands-on surround sound specialist since 15+ years. We are VR, AR and 360 video ready for recording and post/integration. We are here to be your ...
Hammer & Spark are an audio production company primarily focused on delivering soundtracks for linear VR experiences and 360 video. This incorporates dialogue and Foley recording, editing and mixing as well as audio implementation via Wwise.
CONNECT+ECHO
音频人脉网
Sound Design / Audio System Integration 3D Audio Design / Mixing / Recording Audio Production / etc...
El Zorro Azul
音频人脉网
Our team works composition, sound design, audio implementation, foley, field recording, dynamic mixing, dialogue recording and audio programming. We are innovative team from Argentina that is working in the industry for years now. Dont doubt in contact us.
Luca Fusi
音频人脉网
Luca is an independent Technical Sound Designer with about five years' Wwise experience whose past clients include Microsoft, Wabi Sabi sound and PopCap Games. He's available for end-to-end consultation and design including systems design, implementation, asset creation, mixing and general troubleshooting.
Lydplaneten studio
音频人脉网
is an Norwegian based company which involves several professional freelancers coming from all media. Music (recording, mixing mastering), Videogames and Film.
Syndicate 17
音频人脉网
Syndicate 17 specializes in sound design, music production, dialogue production (full voice over services), and audio implementation for Location-Based Attractions and Virtual Reality, Augmented Reality, & Mixed Reality products. Some of Syndicate 17’s most recent work includes audio for MediaMation’s REACTIVR, first shown at IAAPA 2015; Intel's/5D Global's "Leviathan", featured at Sundance New ...