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7 articles by this author
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Sound Design
Spatial Audio
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A Wwise Approach to Spatial Audio - Part 3 - Beyond Early Reflections
Part 1: Distance Modeling and Early ReflectionsPart 2: DiffractionPart 3: Beyond Early Reflections In the previous blogs, we looked at how designers may hook into acoustic phenomena that pertain to...
27.8.2020
A Wwise Approach to Spatial Audio - Part 2 - Diffraction
Part 1: Distance Modeling and Early ReflectionsPart 2: DiffractionPart 3: Beyond Early Reflections Sound propagates as a wave and is subject to its behaviors. One of them is diffraction, which refers...
6.8.2020
A Wwise Approach to Spatial Audio - Part 1 - Distance Modeling and Early Reflections
Part 1: Distance Modeling and Early ReflectionsPart 2: DiffractionPart 3: Beyond Early Reflections A lot has happened in Spatial Audio towards the release of 2019.2. One key development was the revamp...
24.7.2020
The Making of SoundSeed Grain
We have wanted to build a general purpose granular synthesizer for Wwise for a very long time due to the wide range of sounds it can produce, and the many ways it can be used in games. I remember...
11.12.2018
Using Ambisonics for Dynamic Ambiences
Rotating Ambisonics As we have seen in Ambisonics as an Intermediate Spatial Representation (for VR), ambisonics is a multichannel audio format that can favorably represent the spatiality of an audio...
20.9.2016
Ambisonics as an Intermediate Spatial Representation (for VR)
For a long time, “ambisonics” was predominantly considered as a way to create ambiences or record audio scenes and capture spatial aspects using a special type of microphone.
2.8.2016
Working with Object-Based Audio
Object-Based Sound Systems The market's desire for immersive audio experiences has propelled an array of speaker configurations that project far beyond 7.1, encompassing the height dimension alongside...
21.6.2016