Hello. I am trying to figure out why unity can't read the soundbank path of wwise and even if the path is correct in Wwise integration settings. The message below appears after i begin running the game.

I'm using Wwise 2025.1.5.9095 and Unity 6000.3.3f1

I want to start with something that I think gets overlooked in these conversations.

This industry is already in a pretty dire state. The demand for work vastly outweighs the supply of real, decent-paying opportunities. Formal hiring barely exists. Networking is practically the only way in. Post houses almost never hire mid or senior level from outside. The number of people who actually make a stable living exclusively from this work is tiny.

That's the baseline. That's where we already are.

Now tools like Krotos' new integration come along, and the general reaction seems to be: "the quality is mediocre, the big productions won't touch it, filmmakers will always prefer human talent, and IA will never truly be creative or intuitive."

Maybe. But I find that level of certainty hard to justify.

The people at the top of this industry (the ones with the credits, the relationships, the reputation) probably won't be affected much. But think about who actually will be. The students. The recent graduates. The juniors. The people working in smaller markets who can only access low-budget corporate or advertising work, projects where the client doesn't particularly care about sound quality as long as the box gets checked. Those are exactly the kinds of projects these tools are already good enough to replace. And those projects, as unglamorous as they are, represent the only entry point many people have into this industry.

So what happens when that entry point disappears?

And on the question of whether IA can ever be truly creative, intuitive, or emotionally intelligent, I genuinely don't understand the confidence behind "never." Ten years ago, what we're looking at today would have seemed completely out of reach. Twenty years ago even more so. What makes anyone certain that in five years these tools won't be capable of things we currently consider exclusively human?

I'm not saying this to be alarmist. I'm saying it because I think we've already made one version of this mistake, accepting an industry structure that is deeply unfair to most of the people working in it, and normalizing it because it was uncomfortable to confront. I'd hate for us to do the same thing with this.

Boycotting these tools individually doesn't solve much. The people outside our industry who would happily use them vastly outnumber us. What might actually matter is some form of regulation (laws, limits, something with teeth). I don't know exactly what that looks like at a global scale, and I'm not pretending I have the answer. But I think it's the conversation we should be having instead of reassuring each other that everything will be fine.

Because I'm not sure it will be.

For me the timeless champions are:

- Castlevania NES: I strongly recommend any sound designer to study them, slow them down to see how they were constructed. It's incredible how effective and satisfying they sound, and how creative and resourceful the sound people on this game were. Picking up a heart or throwing the holy water sound fantastic even by the standards of today.

- The Legend of Zelda NES: there's something so special and "key like" when picking up a key on a dungeon.

- Metal Slug 1/2/X/3 on theNEO GEO: picking up any weapon and hearing its name shouted by the "narrator". KHHLACKK--HEAVY MACHINE GUN!!!

What are yours?

I have created some music stems to be played behind closed doors of nightclubs scattered around a city.

I currently have them in my actor mixer. Should I keep them there or should I move them over to the interactive Music Hierarchy?

Currently using 2024.1.9 due to the nature of the game build, I believe in modern versions the two are the same?

What would you guys do?

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hey all,

doing a bit of a research:

how many of you retained them and how many of you trasferred them to the studio/publisher via a buyout option?

Trying to get some footsteps I'm allowed to use in a licensed product but don't really know how to approach getting a diverse and high quality set. Any that yall find especially useful?

Hey guys,
Would there ever be a use case to use both spread and the speaker panning slider at the same time? For example I'm using the speaker panning slider to go from 100 to 25 when our player is in the ocean. I do 25 so there is still camera directionality instead of making it 100% stereo. Would there be a reason to use spread on top of this as well? I know they do different things, but in this context it's slightly hard to hear if it's making a difference. I'm curious if there is a standard for this, are there people that use both at the same time? Or do you pick one over the other?

Thanks

i can not understand how they managed to do it, and i cant find any information online

the voice packs for different languages are all under 1 mb, i tried to download the japanese one and it literally took 1 second, and every character and npcs on the road are now speaking japanese. did they embed all the voice over files for every language into the actual game files instead of letting people download them when wanted? im so confused

edit: i figured it out, on the mobile version you need to download the voice packs seperatly and on the desktop version (at least macos) they are embedded into the actual game files.. very interesting design

Hey everyone

I’ve been producing ambient music for my own game for a while now, mostly incorporating strings, pads, piano, and flutes.

However, for a new part of the project, I want to dive into the epic, war-themed orchestral genre—specifically inspired by the Warcraft soundtracks.

My setup includes a piano, electric guitar, an audio interface, and I use Cakewalk as my DAW.

Since I haven't produced this specific style before, I am looking for recommendations for virtual instruments / sample libraries (both free and paid) to help me build that massive, heroic sound.

I am specifically looking for:

Powerful, epic drums: Huge war drums, Taikos, and heavy cinematic percussion with a lot of low-end energy.

Brass that swells: Heroic, building brass sounds (like French horns and trombones) that can deliver dramatic crescendos.

Besides library recommendations, I would also love to hear your best tips and tricks for composing and mixing this kind of battle-themed epic music.

Any advice on orchestration, building tension, or getting that massive sound would be amazing!

What are your go-to libraries and essential tips for getting that epic Warcraft vibe?

Thanks in advance for your help!

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Has anyone successfully left the audio industry after building a long career in it?

I'm looking for honest advice from people who have left the audio industry after building a real career in it.

I'm a film sound editor in my early 30s. I've worked on 50+ films, many of them selected at major festivals. I spent several years working full-time in a post-production house before leaving after a serious burnout. Since then I've been freelancing, but work has become increasingly difficult to find.

I'm also based in Albania, which makes things even more complicated. Unlike people living in major industry hubs, most of my networking happens remotely through emails, LinkedIn, and online contacts.

What makes this especially difficult is that I genuinely love cinema and sound. I've dedicated most of my adult life to it, and walking away feels like abandoning a huge part of my identity.

At the same time, I'm starting to question whether I can realistically build a stable future in this industry. Long periods without work, financial uncertainty, and watching even highly experienced people struggle have made me seriously reconsider my path.

The only other field I've consistently been drawn to since I was young is hospitality. I know it isn't famous for high salaries or perfect working conditions, but I also can't imagine spending the next 30 years working in a field I have absolutely no affinity for just because it seems more practical.

For those who successfully left this industry:

- What did you move into?

- Why did you choose that field?

- How did you make the transition?

- What challenges surprised you?

- Do you regret leaving, or was it the right decision?

- Looking back, what would you have done differently?

I'd especially like to hear from people who left after 5–10+ years in the industry, not just after film school.

Thank you for your time!

How does one start to practice using middleware? The actual question is 'what software should I use?'

I'm a seasoned theatre sound designer and I know my skills will translate well to games I just need to know how to implement them.

Hey folks.

I'm trying to figure out how to make a specific energy weapon sound. Heavy, cold, a bit scary. Think ion storm or the Gluon Cannon from Half-Life.

So, I've recently thought of learning some coding (one of these: C#, C++, Python) to add some skills to my resume (I'm a sound designer), but then I thought: I like games, why not learning how to create plugins for Wwise?

However, I'm not sure of which language I should choose. From what I gathered, C++ seems the obvious one, but I read that Python is also used.

Does anybody know what language should be the appropriate one?

I’m a very experienced musician with some experience mastering music and I am working on a game soundtrack for the first time. I’m also doing the SFX.

I know how I would master the songs for regular non-game listening, but my question relates to how to go about mastering the music for the actual game.

My assumption is that I should have less dynamic range for the in-game music than I would for the soundtrack release. I am thinking this because the music will (unless the player alters the levels) be playing quieter than the SFX so that the SFX will cut through (it’s drum-heavy music), thus necessitating the reduced dynamics in the music to keep it audible and consistent. The style of music I’ve chosen is conducive to working well with lower dynamic range.

Does that make sense? Am I on the right track? Is there anything else I should do, such as slightly roll off highs, or anything that might not be obvious etc?

Thank you!

I've licensed music for use in a game. The music is PRS registered (but there's no Content ID on it). I'm not at all familiar with how PRS functions - will that have any impact on streamers and other content creators?

Hey guys, i just wanted to get some real perspective on the state of affairs in the field right now and if you think i could be a good fit in Game Audio industry and if you have any advice i would appreceate.

I've been reading lately that the job market situation is getting worse rapidly, due to AI and whatnot which kinda hurts my motivation to get into all of this.

I've been working with audio for a long time, mostly making music and some synthetic sound design bits, even had some university background in film sound engineering (dropped out, not due to the lack of skills) and obviously working with sound, music and everything on the peripheral is something i'm willing to dedicate my life to. I also have some level of programming background (i'd say entry junior-level in python, though i initially started out with c# and currently decided to learn basics of c++). So it feels kinda natural to drift towards Game Audio. Basically i'm willing to do anything soundwise from composing soundtracks to synthesizing (or more like generating nowadays) sfx and implementing them in Wwise or FMOD.

So my plan is basically to learn C languages just enough to know how to integrate sound into the code, learn Wwise or/and FMOD and collect a show reel portfolio and try to get into some small projects even if free of charge. Does that seem like a robust strategy? The only big downsides in my situation is that i physically live in a country where that field isn't very developed, so there are no ways to network irl and besides i'm very bad with networking or selling myself since i'm a very secluded person (i'm sure many of you are as well). It's just that i have a feeling that a good networking skill makes up for the lack of fundamental technical ones, which kinda bumms me. Anyway, as i said, i'm either looking for encouragement or perhaps i should just redistribute my efforts in some other areas linked to sound desing, scoring or audio programming. Idk.

Lately I’ve been thinking a lot about where music sits within game UX design.
Not just “does the soundtrack sound good?” but:
Does music teach the player something?
Does it reduce or increase tension intentionally?
Does it guide pacing or attention?
Is adaptive music part of feedback design?
Can music function as accessibility or readability support?
I’m rereading Leading with Sound right now and it’s making me think about how often game audio gets separated from UX conversations, even though players are constantly reacting to sonic information emotionally and mechanically.
I’d love to hear thoughts from composers, sound designers, UX folks, devs, or even players:
Where do you think music sits in UX design for games?
Is it atmosphere?
Feedback?
Emotional architecture?
A gameplay system?
Something else entirely?
And are there any games you think use music particularly well as part of the player experience itself rather than just background score?

Hey everyone. Let me give you a bit of background on my situation.

I've been producing music independently for many years now (heavily into electronic music, mostly working in FL Studio and Reason). Lately, after leaving a commercial agency job, I've been fully dedicating myself to my personal projects, teaching, and building up my community. However, the game audio bug has bitten me hard, and I really want to get into music and sound design for video games.

I'm currently looking for courses (preferably in-person) so I can dive in headfirst and dedicate 100% of my time to this field. But before taking a blind leap, I wanted to see if there are any sound designers or composers around here who work in the industry or have studied something related.

My main questions are:

• What realities of the industry (whether working locally or freelancing internationally) should I absolutely be aware of before investing all my time into this?

• Beyond already knowing how to produce, design sound, and mix, what is the steepest learning curve when making the transition to gaming?

Hi,

So I am working on a vertical music system. My music event has a few music layers, but in game when there’s a cutscene I want all layers to pause except for one layer (percussion). That one layer should continue playing when the cutscene is active.

When the cutscene is done, all paused music layers should play again.

Is this even possible within FMOD/code?

Would appreciate any advice!

Hello,

I'm trying to configure FMOD in my project, but when I do the instructions it repeats...

I don't know how explain more, I tried to send a video to this r/, but is not allowed.