![]() ![]() The goal was to find a comfortable and natural space for each element with as little need for brute-force compression and EQ just to make things fit.īecause the music was composed and mixed in stereo, it needed to be up front in the left/right mains. Because we were using every tool and trick for populating content into the spatial landscape, the mix phase was spent almost exclusively tweaking and manipulating 3D attenuations, emitter locations on game objects, and bus dynamics. It all needed to work with the amazing music being a central component of the mix. I wanted the game to sound very dynamic, with the big stuff hitting hard and the environment to be enveloping but not intrusive. Using these as a rough skeleton of the mix, we created busses and structures within Wwise to dynamically adjust the mix according to what was happening in the game, both sonically as well as design or gamestate driven. ![]() Early in the process we established some loudness guidelines for classes of content such as music, character sounds, environmental audio, cinematics, etc. As systems came online or content was implemented, we were always mindful of how it impacted the soundscape and the relative mix. Mix goals and toolsĪs with most game projects, while there was a mix phase near the end of the development cycle, the bulk of the mix work started early in the development process and continued every step of the way as the game came together. We ended up finding a nice middle-ground for our panning that still provided good directionality on speakers or virtualized, but without sounding too hard-panned over stereo headphones. Because of natural crosstalk in acoustic spaces, whether virtual or physical, our left/right panning sounded a little too extreme when monitored in headphones without virtualization. The only thing that did come up a few times was related to panning spread when comparing speakers or virtualized spatial renders to regular non-spatialized stereo headphones. Overall, the translation of the mix into different configurations was excellent and we did not need to make many changes or compromises. Additionally, during the mixing stage of development, I ran compatibility testing in 7.1, 5.1, and stereo in various professional and consumer environments. Between myself and my two audio leads, we were constantly going back and forth between 7.1.4 Atmos speakers, stereo speakers, and headphones (with and without spatial virtualization). Naturally throughout the entire project we needed to be able to monitor the audio to ensure that our work was translating well in all of the common formats and devices. In the first two installments of this series I talked a bit about some of the whys, whats, and hows, let’s look at how it all came together. ![]()
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