Iâve also installed this and am reasonably happy with it. Preserves rumble, plastic used is pretty good; manufacturing tolerances could be tighter â I can only screw the right joycon 95% of the way closed before it affects button functionality. Still, I prefer it to the Hori solution.
make 'em say ogg
neato
Iâm just going to believe that theyâll keep running it as a licensable solution because I donât want to go back to Fmod.
why are they making a pinball table based on the likeness of everyoneâs most despised wall street analyst, gene munster
d pad is still below the analog stick. but that d pad is looking real good
what donât you like about FMOD? Iâm curious because some people at my company have expressed disdain as well
Itâs perfectly cromulent but itâs not as logically designed as wwise; I really like how wwise pushes you to design everything nested so that modufiers can be easily set up for logical groupings (in the simplest example, separating FX from voices from music so the volume can be adjusted independently).
Better UI and one that encourages a better workflow.
yeah that makes sense - on my end as the implementer I would actually really like wwise because itâs much more grouping oriented which makes things easier to tune on a per-group basis. Iâve spent a lot of time trying to figure out why something didnât play in FMOD only to realize that we set an instance limit on a group somewhere deep in the mixer window
it is pretty weird to wrap your head around though if youâre the sound designer! unless you know your way around the UI it seems to encourage a pretty hands-off approach in terms of sound designâs role in implementation, which is fine if the person doing the implementing understands the sound design enough such that they just need the delivered assets OR your sound designers are deeply embedded in your dev team but focusing on asset delivery
FMOD is cool because it brings the sound designers closer to the rest of the dev team! Iâve spent time on both sides and it kind of sucked to feel like youâre just throwing sounds into the void with the hope that it gets hooked up correctly
Yep, Iâve had to track that down a few times. No fun.
Can you expand on this? They both have pretty similar hooks in code or content to get into sound-land.
so yeah - hooks will probably be similar
but itâs mostly that you can still do some sculpting of the sound inside the FMOD editor on the asset itself. sound designers can work in FMOD even after the asset has been created to mess with automation curves and levels in a way that is really similar to how youâd do it in Pro Tools or any other DAW. wwise allows that as well, but doing sound design work within the middleware isnât as much of a priority just based off of the UI design - there isnât a transport to be seen when creating an event in wwise, but itâs the first thing you see when creating an event in FMOD. the analogue is obvious and easy to understand if youâre coming from a DAW
and that helps sound designers get into things implementation-wise because it keeps them in the process even after the sound gets bounced out of the DAW
Ok. I probably donât know enough about the sound design work (Iâve only done this through mixing/shaping sound effects in Audacity) so I donât think I understand what you canât do with the envelopes and other things grouped under âRTPCâ in wwise.
Adding to porteverythingtoswitch.txt
Everything but Final Fantasy VIII
The SNK 40th Anniversary Collection is the only Switch-exclusive that really interests me. It even includes Time Soldiers. They canât intend it to keep it exclusive forever, right?
pretty sure itâs coming to PS4 too