Implementation of Spatial Audio can be done in parallel with other Level Design phases that come after the blockout (like dressing) and shouldn't be a dependency to any other department. Ideally, their job of implementing Spatial Audio would start after the level's Final Blockout, when all the meshes, blocking volumes and other geometry is placed that allow us to have a full playthrough of the level. The purpose of the simulation is to enhance the feeling of realism in the game, to help players orient themselves in space and to provide important information about actions taking place around the player.Ī Sound Designer designated for Spatial Audio implementation should be thoroughly familiar with its workflow. Using these tools, it is possible to faithfully recreate many acoustic properties of sound such as reflections, propagation, diffraction and other acoustic phenomena, with the purpose of simulating a realistic acoustic environment as a supplement to a physical environment of a game level. Spatial Audio API is a part of the Wwise API which contains a set of tools for emulation of an acoustic environment of a game. For the sake of simplicity, and since it was our main source of reverberation processing, I will be using the Wwise RoomVerb plug-in in all examples. We did not use Wwise Reflect and we packaged our sounds using the legacy SoundBank system (no Event-Based Packaging). Scars Above is compiled using our custom engine based on the Unreal Engine version 4.27.2 and will be shipped with the Wwise integration for Unreal Engine version 2021.2311. This article is written with Scars Above in mind, so some details might not apply to all projects. Having said that, anything that might be missing from this document can be found in the online documentation, so I believe that even beginners can find the information provided here to be useful. A moderate proficiency in Wwise and Unreal Engine is expected from a Sound Designer dedicated to Spatial Audio implementation. I won't be going into detail about setting up the project or what's going on behind the scenes of Wwise Authoring tool and Unreal Editor. I will focus on the technical side of that implementation, aimed at a Sound Designer, with a goal to present a clear and concise guide on how to get the most out of Spatial Audio in the game, followed by advice regarding troubleshooting and optimization and the work we at Mad Head Games had done to further improve the Spatial Audio implementation workflow. Spatial Audio API provided by Audiokinetic as a part of the Wwise integration has proven to be more than capable of providing such experience to the player, if implemented correctly. In Scars Above, there are many different areas and spaces that we traverse during the gameplay, each with their physical and acoustic characteristics that would ideally impact the soundscape in such a way that the immersion and realism conveyed to the player is heightened and never broken. In this article, I will try to delve into the intricacies of Spatial Audio and how it applies to Scars Above, our soon-to-be-released third-person action-adventure game. Turning off Diffraction on fully convex volumesįinal thoughts What is this article about? Optimization of AkGeometry by associating with a Room Asset organization and naming conventions
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