Issue link: https://digital.copcomm.com/i/1524863
74 M PS E . O R G there, I think about if it's feasible to quantify or measure the information needed to make the mix change we want to make. For example, Miles has a chain lightning attack that creates little electrical explosions in succession on enemies. Johannes made some great sounds for them, but if key dialogue were playing at the same time, it would compete heavily with the dialogue. I wanted to dynamically adjust the envelope of the assets so I'd still get a nice transient on them, but the body would be quieter but only while dialogue was playing. We were able to achieve this by using the measurement of the loudness of the dialogue to dynamically adjust the sustain level of an added ADSR envelope on those assets. One of the larger scale dynamic mix systems we incorporated in this game is dynamic EQing. This was done primarily on the bus level. Some busses, like primary dialogue busses, would be broken up and measured in different frequency bands, and the measurement values of those bands would dictate dynamic EQ reduction in other busses in similar frequency ranges, like SFX and music. This played a huge role in allowing our music to be large and bombastic while still allowing dialogue and large SFX moments to come through in a more transparent way than standard volume ducking/sidechaining. Because this is all processed real time, the number of EQ instances could stack up quickly, so our technical audio team spent some time optimizing EQ usage in Wwise. In 3D audio, many of our SFX busses are in 5th order Ambisonics—36 channels!—so CPU can get eaten up quickly with something as simple as EQs. One part of gameplay information that helped clean up the combat mix was Spider Sense. We used this data to prioritize enemies that were a threat and turn down those that were not. This made a significant difference in fights with lots of symbiote enemies. I also try to account for the presence of music dynamically. Whether that means players have turned off music in the settings menu or there just happens to be a lull in the music, I would bring back some SFX, like noisier vehicle layers or ambience that I otherwise found to compete with the score and overall, not benefit the player experience. The transitions between cinematics and gameplay are seamless. How closely did the cinematic sound team collaborate with the in-game sound team to