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# Soundscape

Mapping
Author: Sjoerd
Since no one has ever done a tutorial on sound and nobody seems to try hard on this in the mapping , I decided to write one :) Many mappers seem to not know how to use the sounds correctly , the worst thing is the maps without sound at all. The total absence of sound is completely unrealistic . Any product sounds in reality. Think about what you would hear if you walk into your card actually. Now all you have to do is implement these sounds in your map. There are maps with very little sound (the maps of Epic?), mostly the default sounds, and rarely placed in typical places . For example: a propeller that produces a noise propeller, a vent that is a wind noise or engine, etc. ... The uses of these sounds are just monotonous : there is always the same sounds, you just hear and they are always the same locations so predictable. You are supposed to do a sound environment that will grow a "Woow!" players, sounds that enhances the gameplay , the atmosphere and theme. No one is impressed by just one or two ambient sounds such as whistles or other industrial sounds; those who do little for the environment. Be original ! Everyone knows these basic sounds now-it's like a map with textures packages UTTech1 or Richrig . You need to use sounds for everything. If you have a sky for example, do not place a monotonous sound of wind, instead of it, put the wind in combination with an animal noise (a cricket or something like that) and anything that might be there if environment was real . Mix sounds. Use actors surround sound next to each other, with different sounds . Use of sound at high volume and a small radius for the work detail , a volume of 230 and a radius of 8 to 24 (depending on the sound) can give such a cool effect, especially if the player has Hardware 3D sound . Another trick to the sound of compet 'unknown parameter is the very pitch . Nobody seems to use it even if it is actually the key to a good sound environment. For example, to get scary background music, using sound with variations of wind-not monotonous remains the same. Use sounds like swamp Outside.uax , or an insane stuff like a church bell, and give them a very low pitch, between 8 and 16 (it also depends on sound, of course, sometimes it can be more lower or higher) and a large radius-say 192 - with high volume at -224 little meadows. Now, combine these multiple sounds and listen to what you get: it significantly improves the atmosphere and that is why many cards missing. Other things you can do also is use of ambient sounds dynamic example. You can find this actor in the actor browser under Actor -> Keypoint -> DynamicAmbientsound so as to play a sound once every X time. This player is very useful if you want a bird screams once every 30 seconds or whatever other what you may think for a cry, the sound of a machine, a cricket, etc. .. . It can also be interesting to have more dynamic surround sound next to each other, sometimes they are a little too quiet and as you can not adjust the volume, two of them against each other produce the right effect in most cases. (NDT: example settings for surround sound dynamics: a set number of sounds (in the sub category "one shot"), how often the engine will check and what percentage of lucky it will play these sounds ... Specifically: - maxReCheckTime 6.0 - 5.0 minReCheckTime - .6 playProbability Every 5 to 6 seconds, the engine will checker whether to produce a sound on a probability of 60%. If produces a sound, he will play at random from a list of sounds.) Apart from that, many people forget that a good echo is always nice. It is not obvious to set up but with the right parameters it can be very beautiful and really improve the atmosphere. Change the properties of zones zoneinfo properties -> Reverb -> Reverbzone = true and play with other settings too. (NDT: To ease the task of setting a reverbzone , here is the explanation of the main parameters that m ' said an engineer friend of his ... - Delay: the lower it is, the faster the sound will repeat itself (small room), while a delay will be more high echo (large room) from 15 to 40 corresponds a medium-sized room, an arena or a canyon is rather around 100; a priori you need to have more delays, by varying in small increments to achieve a more natural echo. - Gain : Fixed prominence you want for each delay - Master Gain : Sets the overall level of reverb - Cutoffhz : setting the cutoff frequency, all the sounds whose frequency is greater than the number marked in this box will not be reverberated in the delay (high cutoffhz empty room has a high or a carpeted room filled with all kinds of accessories has a low cutoffhz) - Speed ​​of Sound :??? if you know, do not hesitate to write me and we will update the tutorial .) looks like the zoneinfo of DM-StalwartXL : Of course, you can use sounds to enhance the gameplay too. Except for obvious things like vials of life in the middle of the path to locate your opponent, you can push the use of sounds further. Things like planks that creak when you roll over, plants that rustle when you pass through, the metal creaking and groaning, and anything that would make other sounds in real life ... This way you improve the realism and the theme ( interaction with the environment ) and the gameplay at the same time since you can easily locate your opponent. The best way to produce this effect is to use a trigger or several triggers that will initiate a special event that will close the specified sound. And do not forget the sounds of doors and elevators , they can greatly contribute the gameplay too. If you have many trucks in a multiplayer map, take care of their assign different sounds . So that when someone takes an elevator, one can easily find if he knows what produces the sound truck specific. This effect also works on doors-doors make great alarm. An example is CBC-Coret where doors are used as main alarm system for the defenders. Another tip, rather logically, you can do is to mix several sounds with slightly different pitches . The result is a more 3D . Since there are several sources, the sound comes from many places and therefore will be more realistic, you will be more "into" the sound. Using different pitches (eg with his 70 pitch and another sound with a pitch of 60), you will get more variations and not just the same louder sound as would be the case if all sound had the same pitch . Very simple actually, but gives good results. Of course, you can use different sounds too, you just have to experiment . Some notes about UnrealEd 3.0 Actor Dynamic Ambient Sound works differently in UEd3.0 . You no longer need a different actor but the actor simplment ambient sound normal. Take a look at the properties of the actor ambient sound and the parameter ouvret sound , you will see a new line called SoundEmitters , this is where you can put a list of sounds to be played randomly. Open it and click Add in order to fill in the fields. EmitInvertval = time interval, in seconds, before the sound is played again EmitSound = the sound to be played, of course you must use a one-shot sound and not a looped sound EmitVariance = random time to add or subtract Emitinterval that sounds are played in more unpredictable You can add a lot of sounds to the list if you wish. It seems that there is a bug in this actor , at least for me, so when you want to listen to the result by using the real time editor sound is played at a deafening volume that is not the best effect for the neighborhood. So expect it to :) Another thing that seemed missing was a special event to cause a sound using a trigger . Such as to play a sound of creaking wood, passing on an old bridge. In UT2K3 the special event is replaced by an actor Scripted trigger is much more powerful and combines several functions of the former players of UT1 and Unreal1 . Actors -> Keypoint -> AIscript -> Scriptedsequence -> ScriptedTrigger Do as in the previous image. You add the required action by the actor, then you connect it to a trigger by placing a trigger standard and completing its online event by the "Waitforevent action" of Scriptedtrigger under Externalevent . For a more detailed description of the actor Scriptedtrigger , see this tutorial on Unreal Wiki .

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