Wwise 版本
- 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 (2021.1)
- Wwise-201 (2021.1)
- Wwise-251 (2023.1)
- Wwise-301 (2023.1)
其他资源
- 网站
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- 问答
- 博客
词汇表
Wwise 帮助文档
Modulation)自适应差分脉冲编码调制。一种音频文件编码方法，用于量化声音信号与根据该声音信号所做的预测之间的差异。ADPCM 量化步长是自适应的，与直接量化信号的 PCM 编码不同。基本上，ADPCM 以音质为代价，显著缩减了容量和 CPU 占用量。因此，它通常用于移动平台。AmbisonicsAmbisonics 是一种环绕声技术，可以覆盖水平面声场以及听者上方和下方的区域。通过其 B-format 声场表示法，Ambisonics 能够独立于扬声器配置发挥效果。ADSR (Attack-Decay-Sustain-Release)包络的形状由该声音的起音时间（和 Wwise 中的起音曲线）、衰减时间、延音电平和释音时间来决定。位深用于描述数字音频文件内每个采样点的位数。在 PCM 音频中，位深决定信号的最大可能动态范围。Bit Rate（比特率）每秒发送或接收的数据量（即位数）。
If we could render audio with decent spatial accuracy without the shortcomings of object-based audio? Stay tuned to learn about how ambisonics may help you out with this! Figure 4 – Objects are submixed freely and panned onto a multichannel spatial audio representation, which conveys the directional intensity of all its constituents and can also be manipulated by adding, for example, Effects.
With the release of 2016.1, Wwise launched a full ambisonics pipeline supporting playback, rotation, encoding, decoding and support for all Wwise and McDSP’s effects, and in the coming weeks, Audiokinetic will be releasing a beta version for its Wwise SynthSpace, a geometry-based reverberation project focused on spatialized dynamic early reflections, customizable reflective surface characteristics ...
Until recently, video games have mostly borrowed reverberation techniques from classical linear media. However, complex spatial panning algorithms such as binaural and ambisonics are now at the forefront of a push towards greater immersion in a way that has not been encountered in other media forms. Therefore, the time has come to rethink the existing reverberation algorithms and create new ones specific ...
Panner合作，以用于将要上市的PSVR平台。针对未知平台的基于安卓或基于Windows的VR设备，Wwise也支持第三方技术，如Auro®-HeadPhones™ 插件，它非常适用于VR体验，也善于对不同的声道配置（包括高度）制作双耳声混音。 随着2016.1的发布，Wwise也启动了完整的ambisonics管线，支持回放、旋转、编码、解码，并且支持所有Wwise和McDSP的效果器，而且在未来几周，Audiokinetic将会发布Wwise SynthSpace的beta版，这是一个几何混响的项目，专注于空间化动态早期反射声，可自定义反射表面特性以及不同房间之间的衍射。 通过极早涉足VR，Audiokinetic在VR前沿取得了迅速进展，通过快速进化的管线助力Wwise VR社群迅速占领阵地。 目前已经有400个使用Wwise制作的VR游戏已经发售或正在开发！以下是一部分这些已发售VR游戏的（字母顺序）清单： ...
Our ambisonics pipeline certainly caught the attention of the audio community and was the most talked about Wwise upgrade this year, but we have so much more that we will be announcing at GDC for our upcoming 2017.1 release . A community focused 2016 This year, we celebrated the 10th anniversary of Wwise, and it was an incredible milestone when we saw our community grow to more than 21,000 members.
For spatial audio purposes, it is possible to generate higher order ambisonics IR; but, just as with pre-recorded room impulse responses, the amount of storage space required to represent various emitter-listener positions can be prohibitive. Since accurate results at higher frequencies require small grid spacing, about a few millimeters in size to simulate all audible frequencies, we can save on ...
Supports up to 11th order ambisonics for up to 11 million drones, for complete and realistic immersion. This is 1 million times louder than anything else on the market. Support for AKAI MPC2000 for that true 97 feel and portability. Brand new Cassette Tape Emulation (CTE), for true audio fidelity. You will now be able to switch from Side A to Side B, in realtime! Available this Christmas™ from your ...
VR 中沉浸式混响的挑战
博客
VR 中沉浸式混响的挑战 人工混响是现今最为常用的音频效果之一。它最初开发出来是为了让声音设计师在声音再现时能创造性地控制空间美感。从20世纪30年代开始，人们创造出了很多不同的混响技术，包括回声室，采用扩音器和麦克风在实体空间内回放并录下声音，也有更为便携的方案，比如一些电子设备，能够复制信号，以便创造高密度的重复。最近，新的手段也不断出现，它们可以模仿声音传播的物理特性，并提供更真实的效果。 近年来，混响技术不断演进，以此来适应各种媒体载体形式。电影可以使用比较微妙的特效，更注重语言清晰度以及更好地和现场录音相契合，而音乐制作时会使用更多样的创造性方法，从单抽头延迟（tapped delay）到密集的缥缈混响。直到不久之前，电子游戏大部分都还是从经典线性媒体借用混响技术。然而，复杂的空间声相摆位算法，如双耳声和 ambisonics，已经在不断地推动沉浸式体验的前沿，这是其他媒体形式前所未见的。
For certain things like 360 videos, it’s fine to use an existing approach like ambisonics or quad-binaural; but, don’t let anyone tell you that it’s not going to affect presence in a fully interactive experience - it will. You can mitigate that by doing things like rotating a sound field around a user, which is what the new Wwise ambisonic convolution reverb does, but you simply have to render changes ...
... 在完全可听带宽的情况下，这就相当于每秒44100帧。网格的间距是根据想要的采样率确定的。确实，想要模拟高频信号，就需要小网格才能精确地模拟短波长的行为。 在FDTD法中，时间和空间的相邻点被用来计算一个点的声压【5】 在FDTD中，想要播放一个声源，我们只要在需要的时间范围内将信号设置到模型中的特定点就好。随着时间变化，信号的幅度在每一帧都会转化为声压。相似地，我们定位听者是通过读取某个点上计算出来的随时间变化的声压，来形成信号。在FDTD中，每个点的声音振动是同时模拟的，无论听者位置在哪。 根据房间的大小和需要的最小波长，最终的计算所花时间可能短至几分钟，长至几小时。所以我们怎么可能做到实时使用这个方法呢？这个模拟方法可以离线进行，使用一个脉冲作为声源来产生冲激响应（IR）（见之前文章的卷积混响）。这一过程会产生一系列IR，之后可以通过卷积来实时使用。为了空间音频目的，做出高阶ambisonics ...
Reflect，目标是高效使用CPU，我绝对愿意一试。 现场感 在VR中创造临场感的一个重要方面就是让声音实时响应用户的动作。预渲染任何声音都会对临场感产生负面影响。不过这实在是无法避免的。通过预渲染，你对于一个声音的视角就锁定了，如果这么做，用户就再也无法感觉到在环境之中的位置。对某些事物，比如360度视频，是可以使用现有方法的，比如ambisonics或者quad-binaural；但是，谁也不能保证这样做不会在完全互动的体验中影响临场感——它肯定会影响的。您可以通过将一个声场围绕着用户旋转等方法来减轻这一效应，这也正是全新Wwise ambisonic卷积混响所做的，但您只需要实时渲染声音针对用户角度的改变和周边的环境，就可以创造临场感。 预渲染混响也意味着我需要显示项目本地化的所有语言的素材。还是一样，由于台词数目很小，这不是一项艰巨的任务；但是，如果我们真有CPU周期能用来实时进行混响渲染和空间化，我早就 ...
Reflect not only enhances immersion and the sense of space, but also brings out variety and naturalness from limited audio assets by blending them with a dynamic environment. 3D Meter A new Ambisonics 3D Meter will allow users to visualize the sound field. . More & More Composers Are Learning Wwise for its Interactive Music System! We have always said that some of our super users may perhaps ...
Krishna monks, the cooking chef, and the subtle music of the club; but, the moment they choose to head towards one of these points of interest we adjust the mix to center around that section of the level leaving room for the smaller ambient sounds to shine. Can you elaborate on how you leveraged object based vs. ambisonics towards creating a cohesive spatial mix for the experience? RICHARD: For ...
Opus compares to other codecs for audio quality, see [https://opus-codec.org/comparison/] Wwise Recorder Plug-in Improvements The Recorder Plug-in can now record in AmbiX format, which enhances support of the Ambisonics file format in Wwise. WAAPI - New SoundBank Functions and Topics New commands, available through ak.wwise.ui.commands.execute and keyboard shortcuts, allows SoundBank generation and ...
Opus 在音质方面与其他编解码器的对比情况，请参阅 [https://opus-codec.org/comparison/]。 Wwise Recorder 插件功能改进 Wwise Recorder 插件现在可以采用 AmbiX 格式录制音频，增强了 Wwise 对 Ambisonics 文件格式的支持。 WAAPI – 新增 SoundBank 函数和主题 现在可以通过 ak.wwise.ui.commands.execute 和键盘快捷方式调用新增命令，便于生成 SoundBank 并在任务完成后自动关闭 SoundBank 生成对话框。 其他新增命令： ak_wwise_core_log_get ak_wwise_core_log_itemadded ak_wwise_core_soundbank_generated 实验功能 早期采用者将有机会优先使用一些实验功能。实验功能是指尚在开发阶段并将于 ...
The Opus codec has been updated to version 1.3, which brings quality improvements, especially for speech at low bitrates. Ambisonics is also fully supported now with this update. Android latency: For devices running Android 8.1 and above, Wwise now supports the AAudio low-latency API. Based on hardware, Wwise now automatically increases buffer sizes in cases of voice starvation. Wwise Command ...
Encoding Mode property associated with the ADPCM codec 迁移说明。 将 Opus 编解码器更新到了 1.3 版本，带来了品质提升，尤其是对于低比特率语音。在经过此次更新后，还将完全支持 Ambisonics。 Android 延迟： 对于运行 Android 8.1 或更高版本的设备，Wwise 现在支持使用 AAudio 低延迟 API。 Wwise 现在会在出现声部匮乏时根据硬件来自动增大缓冲区大小。 Wwise 命令行界面 (WwiseCLI) WwiseCLI 现在支持 -LoadProject 选项，允许快速加载并退出工程。在结合使用 -Save 时，可自动迁移工程。 WAAPI 改进 在新的 Logs 视图中设置了 WAAPI 专用选项卡。另请参阅 WAAPI Log Item Format 迁移说明。 ...
UI等音效,或者我们希望按照原始通道配置进行播放的声音（如Ambisonic格式的环境或Quad格式的环境），都会直接根据原素材的声道设置进行配置并播放，但不经过HRTF插件。这是由于HRTF插件在将信号转换为Binaural时会强制按照3D Position的方式对声音进行下混，导致声音无法按照原始通道设置的内容播放，比如一个Stereo的声音在经过HTRF插件下混后，原本只出现在左通道的声音，现在同样也会出现在右声道。总结来说，3D Bus下的所有子Bus，我们都使用了Ambisonics 3rd order的通道配置。对于2D Bus来说，则根据音效本身的通道设置选择Stereo，Quad或是Ambisonic等。至于HRTF插件的选择，Wwise提供了很多第三方插件支持如Auro 3D、Steam Audio、ReakSpace3D、Oculus Spatializer和Mircosoft ...
Frías, one of my friends and now business partners, told me that he had been working on a few 360 video productions with ambisonics and thought it would be interesting if we could work with those recordings in post production. After a bit of research, I found Two Big Ears (now Facebook360), and started exploring spatial audio. After talking to two other friends, Sarah Gibble-Laska and Karim Douaidy ...