Embody’s Post

I think we did some cool things with sound propagation for #AvatarFrontiersofPandora. If you want to know more, Kasparas Eidukonis, Alex Riviere and I share some details in this article! 🌿

This article about ray tracing audio is incredible

TX-SR3100 Dolby Atmos | Experience the magic of Dolby Atmos® and DTS:X® formats! Get immersed in the latest films and games, or relive your favorite classics, as the sound moves from speaker to speaker, enveloping you in a 3D soundscape.

https://lnkd.in/et5HsmKJ ^ version without the horrible LinkedIn audio quality 🤣 Did an audio redesign of some gameplay from Need For Speed Heat today, using a vehicle engine synth patch I made after watching Leon Beilmann's fantastic phase plant engine tutorial (https://lnkd.in/eDP8wC9h). I added a "turbo flutter" oscillator on top as well as a pitch-tracked sampler containing a real engine recording, allowing for tweaking between a more realistic sound and a more, well, "Need for Speed" sound 🚗🔥 Any feedback is always appreciated - full breakdown of how I made all the sound layers coming very soon! 🎧🎤 #gameaudio #sounddesign #reaper #synthesizer

Loved this piece by Elliot Callighan on adaptive menu audio - I totally concur that these tethering segments are often overlooked as to their importance toward setting tone and expectation. https://lnkd.in/ew37pe4X #AdaptiveMusic #GameAudio #UIAudio #MenuAudio

Improving general audio using calculated lowpass filters is getting my games to the next level! Long time ago I though of using lowpass with it's power calculated by raycast (sound source-to-player). But then I realised that it lacks realism, so also added a second calculation that throws another caycast (player-to-sound source), and then the lowpass power is calculated with the distance between the first raycast collision and the reversed one, making it more realistic as it uses the objects thickness in between as an actual audio blocker. Here's a sketch about the evolution of the idea, and a showcase with the results (how a subway sounds from the surface).

Sample-accurate weapon sounds... Here is a video demonstrating three instances of the same character archetype. Each has a different fire rate that precisely drives their line traces and particle systems. This is possible by using the PostMIDIOnEvent() function in the Wwise SDK and a special callback from the audio thread. Read more on my game audio blog: https://lnkd.in/gyzaxPAw #gameaudio #gameprogramming #cpp #audioprogramming #unrealengine #wwise #tehnicalaudio #gamedevelopment

New Game Audio post! This blog post shows how to register a 2D (Non-Spatial Audio) listener and a Wwise Object to post Music and UI sounds that don’t require 3D positioning in the Game World. These Wwise objects are registered using an audio Manager and don’t get destroyed on level transitions, which means that audio playback won’t be interrupted. #gameaudio #gamedev #unrealengine #wwise #interactivemedia #gamemusic

Tech Tip Tuesday: Sample Rate What is sample rate and what does it matter what you’re set to? My advice is to stick to the industry standard of 24 bit, 48 kHz for everything you do- even if the files you’re ultimately delivering are lower resolution (like 44.1 kHz MP3 for ACX). Sometimes a client might ask you to go all the way up to 96 kHz, which some of your online “expert” peers might declare is ridiculous, only proving they don’t understand why. So let’s dig into the “when and why” of sample rates! Read on… #production #recording #audioengineer #voiceover #voiceoverartist #commercials #gaming https://lnkd.in/ehbDnW7z

Pushing the boundaries of storytelling requires serious muscle.  #ZAmbassadors leverage the power of Z8 Fury workstations to create real-time simulations & render complex visuals for projects like this epic music video collab.  #MicroAccess #ZbyHP #AutodeskMaya #EmberGen #Cinema4D #MadeWithZAmbassador #MixingMedia #workstationpower #contentcreation #3Drendering #vfx #Z8Fury #madewithzbyhp #ZAdvantage #vfxbreakdown #motiongraphics #ZClassroom