Wwise 版本
2024.1.5.8803

2024.1.5.8803

2023.1.13.8732

2022.1.19.8584

2021.1.14.8108

2019.2.15.7667

2019.1.11.7296

2018.1.11.6987

2017.2.10.6745

2017.1.9.6501

2016.2.6.6153

2015.1.9.5624

  • Cube Integration
  • 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

认证课程

  • Wwise-101 (2024.1)
  • Wwise-201 (2021.1)
  • Wwise-251 (2023.1)
  • Wwise-301 (2023.1)

其他资源

  • 网站
  • 视频
  • 问答
  • 博客
Source Editor(源编辑器)声道设置 现在可以在 Source Editor 视图中变更音频文件的声道设置。比如,一个四声道的音频文件可以重新设置为 3.1(L,R,CLFE),3.1(L,C,R,LFE),4.0(L,R,SL,SR),Ambisonics(FuMa),Ambisonics(AmbiX),或 4(anonymous)。在这个选项中,也可以将单声道文件变更为 LFE,并且不需要使用 Multi-Channel Creator 工具。 回放游标 在 Source Editor 中,现在我们(终于!)可以看到伴随波形显示的回放游标了。现在可以点击波形显示的任意位置,从该处开始回放。 Wwise Authoring API Wwise Authoring API(WAAPI)允许任何外部应用直接与 Wwise 工程进行沟通和互动。它拥有核心层、声音引擎层和用户界面层。
Wwise 2016.2 提供了多项优化以及更多的 Wwise 插件选择。 McDSP - Native Futzbox 以及 ML1 用户界面 McDSP Effects 现在拥有与它们原来 DAW 版本一样的控制方式、外观和感觉。我们将声道数从 7.1 增加到了无限,使其成为了 ambisonics 和其它超越传统 7.1 的多声道格式的绝佳选择。质量一样高,使用更有趣。 Wwise Convolution Reverb 现在支持 Ambisonics IR 为了能为 3D 音频提供最佳工具, Convolution Reverb 现在支持多声道和 ambisonic 脉冲响应。 对 Microsoft HRTF 的支持 Wwise 现在支持 Microsoft HRTF 双耳声插件,该插件为 HoloLens 开发者进行了优化。 Plug-in API 优化 值得注意的插件 API ...
Wwise Recorder
Wwise SDK
Wwise SDK 2024.1.3 Wwise Recorder Plugin ID: 132 Class ID: 8650755 如需了解如何使用 WAAPI 设置属性和引用,请参阅 ak.wwise.core.object.setProperty 、 ak.wwise.core.object.setReference 和 ak.wwise.core.object.set 章节。如需了解如何查询属性和引用,请参阅 查询 Wwise 工程 章节。 如需了解如何使用 WAAPI 向列表添加对象,请参阅 ak.wwise.core.object.create 和 ak.wwise.core.object.set 章节。 属性、引用、列表 名称显示名称类型默认限制可见支持的 RTPC 类型支持 Link/Unlink AmbisonicsChannelOrderingAmbisonics ...
Topics will include Spherical, Ambisonics & Spatial Capture; Procedural Audio & Interactive Scenes; Virtual Acoustics and Augmented Experiences; and many more around developments in immersive technology, spherical stereo image capture, and head-mounted displays and mapping solutions in the context of interactive design and gaming. In the past, IX has welcomed artists, designers, researchers ...
Wwise just that much cooler.     Key features include:     3D Audio Enhancements   The Wwise voice pipeline now fully supports Ambisonics which includes file playback, rotation, real time encoding/decoding, and recording. To our knowledge, there is no other game audio engine that does this!  We set the bar even higher for the great sounding Auro-3D headphone plug-in by adapting its input to receive ...
... Wwise中的混音器插件界面是一种基于对象的插件架构,因为混音器插件需要独立的声源或“对象”来访问每个输入信号并生成双耳声音频。虽然它们看来是非常好的执行双耳声虚拟器的框架,但使用它们会导致对设计流程有所制约,因为基于对象的音频本身有局限性: 1.您不应该在双耳声信号上添加Effects(效果器)(至少不该添加非线性Effects, 如压缩器),因为它们可能会破坏您想用双耳声处理达到的空间音频感。 图2-错误地在混音器插件输出的双耳声信号下游添加压缩器Effect。   2.您不应该使用混音器插件上游的混音总线,因为缩混的结果将不再含有双耳声处理所需的3D信息。 图3-混音器插件上游的对象混音。子混音信号不携带对象,因此不能被插件所双耳声化。     折衷 那么,如果我们能结合两者的长处该多好?我们能否以不错的空间精度渲染音频,同时又免受基于对象音频的缺点所困?请继续关注我们的博客,学习更多ambisonics的相关知识,也许能帮助您做到这 ...
However, following on the trend to use ambisonics to record and transmit spatial audio data, it is also possible to record an impulse response using an ambisonics microphone. This will record the sound propagation coming from all directions, and later on will allow you to rotate the listener’s perspective interactively. This is a tremendous leap forward for spatial representation of reverberation.
Reflect and comparing static with dynamic early reflections, you are able to compare and experiment with sound portals, oriented reverb, occlusion and obstruction, audio LOD (level of detail), ambisonics vs. quad, binaural vs. standard stereo, etc.  Some scenarios requires connecting Wwise to the game, but most features are directly integrated in the game, and A-B comparisons can be executed in a ...
Echo Chamber(回音室)关卡具有可以实时更改的房间尺寸和声学材质,因而很适合用来测试动态早期反射。 除了用Wwise Reflect测试和对比静态\动态早期反射,你也能实验并对比声音门户,有朝向的混响,声障和声笼,音频LOD(细节程度),ambisonics 和 quad的区别,双耳声和标准立体声的区别,等等。有些场景需要Wwise连接到游戏,但大部分功能是直接集成到游戏中的,在声音选项菜单中只需几秒钟操作就能够进行A-B对比。     游戏内声音选项菜单 信息点 为了尽可能让用户沉浸其中(并减少需要阅读的文字内容!),我们在关卡中不同位置增加了信息点来标识重要的区域,作为一种游戏内的教程或导览。信息点会提供重要元素的描述,介绍如何在游戏或Wwise中与它们互动,并告知用户可能的结果。   信息点 收音机 理解空间音频现象的另一个重要方面是让声学场景变得能够预测并可以复制。为此,我们设计了一个飞行的收音机, ...
Can you elaborate on how you leveraged object based vs. ambisonics towards creating a cohesive spatial mix for this experience? RICHARD:We actually didn’t use any ambisonics in this experience, but instead used a combination of object-based sounds and more traditional 2D stereo sounds to help make the experience as ‘cinematic’ as possible. Because timings are generally locked for the experience, we ...
VR 设计中需要考虑到玩家可以自主控制各种不同的视角。 因此,我们必须确保玩家近旁的所有恐龙(以及像霸王龙这样体型庞大的恐龙)迈出脚步的动作必须有声音并且和动作完全同步。我们给左侧脚步声和右侧脚步声都使用了立体声音轨。同时,为两个音轨适当设定了散布比例,并结合了与动画同步的脚步动作。如此一来,既保证了逃窜场景中听觉体验的丰满度,又实现了空间化效果。 当然,我们也为各种其他元素(如霸王龙嚎叫声)应用了散布设置,确保在霸王龙靠近玩家时增强立体声和电影式体验效果。 能不能详细说说在基于对象的声音和 Ambisonics 录音之间是怎么取舍的?在设计空间混音时是如何实现融合的? 理查德:在这款游戏里,我们其实并没有使用 Ambisonics 录音,而是综合运用了基于对象的声音和更为传统的 2D 立体声声音,以此来竭力打造一种电影式的游戏体验。因为对这款游戏来说时机基本固定,所以我们可以采用 2D ...
The solution was building a 64-speakers array behind fake walls and implementing all audio in Ambisonics.  The fake walls were built, and the speakers were implemented by WeSound, a company based in Hamburg which delivers massive soundscapes for many projects around Europe. WeSound used ICST Ambisonics tool from Zurich’s Institute for Computer Music and Sound Technology at the Zürcher Hochschule der ...
Can you elaborate on how you leveraged object based vs. ambisonics towards creating a cohesive spatial mix for this experience? Richard:  Everything we did for the game was actually object-based—we didn’t use any ambisonics. Sometimes simple is effective, and it’s what ended up working best here for this project!Nick:  For the most part, all the sounds you heard were attached to an object in space.
Can you elaborate on how you leveraged object based vs. ambisonics towards creating a cohesive spatial mix for this experience? Richard: This game is really an experience that takes you and three friends and throws you into a fast-paced VR world on an actual moving simulator. It goes by quick, and there’s so much going on and stimulating the players that we really didn’t have a need to use ambisonics ...
Additionally, the wet path now diffracts around geometry edges. 4th & 5th Order Ambisonics Wwise now supports the playback of 4th and 5th order Ambisonics audio sources and channel configuration on busses for runtime encoding.   Support for Meshes Unreal: No longer limited to geometry primitives, the new AkGeometry component applies surface reflectors on either static or collision meshes and ...
Factory 差不多。 事情是这样的,NEEEU 开发了一个 3D 体验项目,只不过画面并不是呈现在常规 VR 眼镜上,而是要通过八台投影仪投到展厅内的假墙上,以便参观者在现实世界中与之进行真实的互动。我们面临的第一个难题是如何针对当中所展示的 VR 元素来恰当地添加声音和音乐。最终的解决办法是在假墙后面布置 64 个扬声器,并采用 Ambisonics 格式来制作所有的音频。假墙的建造和扬声器的布排全部由 WeSound 完成(这家位于汉堡的公司曾为遍布欧洲的很多项目打造过大型音频系统)。为此,WeSound 专门使用了苏黎世艺术大学计算机音乐与声音技术学院开发的 ICST Ambisonics 工具。 在搭建好所有硬件设施之后,就该开始为工程添加音乐和音效了。这个工程当初是在 Unity 开发的,所以考虑到其本身的复杂性,我最终选择了使用 Wwise 来设计音频。借助 Wwise,我可以非常方便地管理针对每个体验 ...
Position 下添加了 Enable Diffraction 声音透射模型 声音可以穿透墙壁。房间或几何构造(由三角形组成)现在暴露了声笼系数,可对从发声体到听者的直达路径进行滤波。除此之外,湿声路径现在还会绕过几何构造边缘发生衍射。 四阶和五阶 Ambisonics Wwise 现在支持在通过总线播放采用四阶和五阶 Ambisonics 音频源和声道配置的声音以便在运行时编码。 支持 Mesh Unreal:不再局限于 Geometry Primitive。新的 AkGeometry 组件可在 Static Mesh 或 Collision Mesh 上应用 Surface Reflector,并将 Physical Material 自动映射到 Acoustic Texture。 Unity:Mesh 现在可针对每种 Rendering Material 设定一种 Acoustic ...
Can you hear it?     Audio 2 - Two binaural renderings of the first order ambisonics IR recording of the Innocent Railway Tunnel found on the OpenAir website [29]. Both have been rendered using the Wwise Convolution Reverb followed by the Google Resonance binaural plug-in, but one has undergone a rotation. Can you tell the difference? Can you guess the orientation of the tunnel? Outlook / Future Work ...
IR,那么游戏中隧道的朝向应当遵循原始的方向。听起来可能不太明显,但事实上其朝向跟画面是保持一致的,而且是动态变化的。这样可以让沉浸感得到显著提升。试试看能不能听出来。     音频 2 - OpenAir 官网上发布的 Innocent Railway Tunnel 的一阶 Ambisonics IR 录音的两个双耳渲染音效 [29]。两者都用 Wwise Convolution Reverb 和 Google Resonance 双耳插件进行了渲染,但其中一个经过了旋转。能分辨出其中差别吗?能猜出隧道的朝向吗? 未来展望/日后工作 模糊早期反射和后期混响之间的界线 根据我们的经验,每个音频团队都会采用不同的方式来在游戏中整合空间音频,并运用不同的音频功能、工作流程、美学设计和游戏系统,来设法以独特的方式开发游戏并力争将其打造得与众不同。我们希望各位能利用 Wwise Spatial Audio ...
How did you use the different spatial audio techniques available to you, like: Binaural Processing, Ambisonics, Audio Objects, Surround formats? Clay Schmitt, Senior Sound Designer : It was decided that, in order to earn the dramatic shift into these beautiful songs, we would aim to ground the user as solidly in reality as possible in the interstitial spaces then let the grounded ambience fade away ...