Joakim Enigk Sjöberg

Wwise Tour 2025 Montreal. Audio in Split Fiction: Two Listeners at Play.

Ready for #WwiseTour Montreal?

Join us Nov 11 as @hazelightgames.bsky.social Philip & @joakimenigksjoberg.bsky.social show you how two listeners co-exist in the dueling worlds of #SplitFiction & the unique audio experience behind it.

🎟️ FREE to attend
👉 RSVP: hubs.ly/Q03QWMGd0

#GameAudio #Wwise

#splitfiction #masawards | Joakim Enigk Sjöberg #SplitFiction wins Best Sound Design in a Video Game at #MASAwards We are all very happy that you agree with us on how this game sounds. Do note the fantastic individuals in the credits.

www.linkedin.com/posts/jockes...

#SplitFiction wins Best Sound Design in a Video Game at #MASAwards

#gameaudio #gamedev

#UEFest is on in Stockholm next week, and I’d love to fill up my dance card as much as possible ahead of it! I have much to share about how the #Hazelight audio team merges #Reaper, #Wwise and #UnrealEngine, and of ”SoundDefs” - our custom audio implementation sandbox in UE.

See you!
#gameaudio

They’re all built in C++, although I find pure data very fun to use it’s been many years since I last touched it. We usually prototype new plugins using the JUCE framework to take advantage of all the boilerplate that’s there, then once we feel confident about the design we’ll rebuild it in source

Happy to hear it, Damian!

✌️

Also, my audio team always gives me flac for not using dark mode. I know that the connoiseurs on here will appreciate my choice; a slightly brightness/contrast tuned version of gray!

Stutter
The pops heard when changing stutter length is a product of updating the value by moving the slider - in runtime this is eliminated by interpolation in the stutter buffer.

HazeFilter
What you’re hearing is not panning, but instead a LowPass-filter on only the left channel of a stereo output

BitCrusher

Original VO

Follow-up on yesterdays post about custom #wwise effects - with audio examples! 🧵

#audiokinetic
#gamedev
#gameaudio

Incorporating object audio was new to us for SplitFiction, and the challenge of making it run with multiple listeners sure was something. Today we have great boilerplate for InPlaceObject-effects that we use whenever we make a new one!

The plugin is indeed an IAkInPlaceObjectPlugin. If used on an object-bus it will apply the filter of the assumed output channel based on the position of the object.

Sorry - I did phrase that poorly. What I wanted to emphasize there is that the plugin doesn’t do any form of channel assignment of incoming buffers, it only applies a filter for each channel in a buffer. Maybe that’s self-explanatory, so I probably just made that more confusing.

Neither ItTakesTwo or SplitFiction has any ambisonics-formated sounds, but SplitFiction supports object audio and all of these plugins do support objects as well. Same principle there - channel distro happens before the signal hits the FX and the object will be processed based on where it ends up

The plugin handles the twelve different signal paths needed to support 7.1.4, and the distribution to these channels will already have happened prior in the signal paths, I.e the plugin doesn’t do the downmixing, it just processes the per-channel buffers that come through no matter the channel count

I think that’s it for this thread 🧵
My plan is to make small rundowns like this on other subjects down the road, so do let me know if you made it this far and enjoyed it!

Custom effects is a great starting point for extending Wwise functionality and allowing for unique audio experiences. It’s something I’ve recommended many teams to do more. AK provides some boilerplate to start from, and the property drawers introduced in 2025.1 makes UI much easier than before

For #SplitFiction we also introduced something we call ”Runtime Effects”, which as the name implies allows any sound designer to easily add and control FX-plugins on busses in runtime. A very cool approach that most likely will be a core concept in our future design philosophies.

This special compressor was designed late for #SplitFiction and was never used in the end. It’s side chain compressor, but used to have the signal of one instance of a bus duck another instance of the same bus. Allows for great mixing control where HDR can’t quite do it. More on this later!

One of my favorites built for #SplitFiction is the Stutter-effect. A circular-buffer that when engaged will lock and loop the captured buffer indefinitely. Used on VO and Music in key moments, such as bosses, player death and gameover. Also on proximity to side story portals! Very cool stuff.

Pretty standard BitCrusher. Optionally mixes in a noise signal modulated by an audio follower envelope of the input to add some extra grit or fullness. Makes for cool momentary processing or runtime FX for VO to keep processing holistic for all languages.

HazeFilter is a 7.1.4 with separate processing per channel. Has allowed us to do some really creative and cool filtering for split-screen games, such as extreme low-passing on one side of the mix. Important pillar of mixing both #ItTakesTwo and #SplitFiction

First of is our HazeDelay, which really is just a version of the standard AK Delay-plugin that also allows for variable delay lengths via RTPC. Most significant use is in variable delays modeled for early reflections in different directions. Filters in feedback-loop added for extra functionality.

Thought I’d make a post to describe some of the custom DSP effects we’ve built for #wwise use at #Hazelight. More thoughts at the end of 🧵

#audiokinetic
#gameaudio
#gamedev

Okay, this platform might work for me.

Follow me if you want to know what I do in #gamedev, #gameaudio and #audioprogramming. You have my word that I will never post about any other subjects than these.

Likewise!

Now I’m intruiged

Thank you! Couldn’t have done it without EA loc team in Madrid 😉