Now we have added all audio content areas to the game, we shall move onto to audio balancing the overall project & optimise the audio in game footprint.
As this area is quite vast, we over guidelines of how to approach the content in this chapter. The are many ways you can preform these processes, it is up to you to pick a best suited solution that fits your workflow
Chapter 16 A – Balancing – Final Mix
We focus on balancing process of global audio content in the project (based on the content this guide series has offered)
- How to track the vast amount of content that gets balanced
- Prioritise an order of the audio balancing pass
- Maximise the amount of asset variations called
- Highlight how to use Wwise’s mixing sessions
Chapter 16 B – Balancing – Optimisation
Getting a game to feel full of life can start to decrease the in game FPS (frames per second) due to the amount of audio triggers being called.
The point to optimising is to reduce the amount of audio calls to the game engine, but maintain good audio variation.
- We add voice limits so that we can individually control in game content of how much of each type of audio content can trigger
- We look at in game voice counts of how many voices on average are called
- We address the project voice cap limit
- How to globally set up conversion settings and what to what out for