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In the first episode of this series, the focus was entirely on preparation: installing Wwise, downloading the CUBE demo game, removing the default sound banks, and creating a clean project that was correctly linked to the game. This second episode marks the point where audio actually enters the pipeline. The goal here is not polish, realism, or creative sound design. It is to understand how a sound travels from Wwise into the game , how events are triggered, and how to verify

I’ve just released the first episode of a new YouTube tutorial series focused on practical Wwise implementation using Audiokinetic’s CUBE demo game. This initial episode is intentionally unglamorous. There’s no sound design yet, no creative processing, and no middleware tricks. The goal is to establish a clean, reliable setup so that everything we do later behaves predictably. In my experience, a large number of problems people run into with Wwise aren’t caused by complexi

Mixing and mastering are often treated as two separate, almost mystical stages of production. In reality, most mastering problems are simply mix problems that weren’t addressed early enough . If a mix doesn’t translate, mastering can only compensate so much. Loudness, clarity, and balance are determined long before a limiter touches the signal. This post isn’t about shortcuts. It’s about understanding where mixes actually fail , and how to avoid building those problems into y

When producers talk about finishing a track, most think of arranging, mixing, or adding that last synth layer. But there is one final...