 All right, I'm back We'll come back to this complete making off for video game sound effects. I'm synthesizing creating sound effects for a video game Actually, it's a 2d space game and so far I've synthesized sounds for the laser beam My mouse cursor wasn't visible because I was recording something else before and it didn't yeah So that was probably a bit not fun. Well, what to do? Let's continue. I have created the sound effects for the beam now. Let's create the sound effects for the actual for the little like Plasma gun like this So we have these projectiles and I think We should do is do a single sound effect And we could even try and reuse what something we've made already It's often a good idea Example we could we could duplicate this one maybe move it to the bottom. Yeah, and see which frame Here The projectile appears I'm gonna call this plasma Shot And obviously it's way too long. So I'm gonna disable the cq for now. Well, it's I think it's a bit too big Maybe maybe it's not a problem now. Remember. We're not using surges Audio effects because they don't work very well in this lv2 version that I'm using and also I've decided realize that LFOs above free don't work. Well at all too you know what actually I'm Going to hide this and Create a sequence of notes so that we actually cover multiple shots So let's we have One. Oh actually it's a little bit before this note starts Here it is. Okay Where does the next shot start? Here it is. Okay, I Think that the screencast wasn't perfectly Like capturing every single frame and we have a little bit of Okay, we have another shot here So basically you see we are now making like a mock-up And if that works with the video reference we have Then we can be sure that the sound we're making is gonna work good in the game So then we process it to make it ready for actual export and That's it. We deliver Now you can see the footage doesn't look like the shots are actually occurring in a Like a steady rate. It's more of a it's it's quite jittery. It doesn't look very smooth Okay, I think that's double do am I missing something No, I'm not okay Let's go back to our synthesizer first thing I'm gonna make this sound shorter So I'm gonna do an envelope down also. Where's my playhead? Here's my playhead. Okay? Right too short. Oh, I think we could go up with this Maybe with this up actually we might not need a fam for this Is there a category in it? Really? I don't see it anywhere Give me the in it category. I Want in it? I want to in it the patch Why is there no in it? Oh I right-clicked and there's a different list. I think it's a list of actual What is this by the way? Oh, oh, it's the same thing. Ah, all right. Good. Okay. I'm gonna disable the FM So we have just a single thing Maybe I will just clear all Like LFO an envelope. All right nice Good Extended range Okay, now we can make this actually affect our pitch. Let's make it shorter. Okay. That's a little bit painful, but Actually, it might not be a bad thing. It might be a good thing that is a bit painful Now it's very simple and it's lacking some character So I would like to try and maybe add a little bit of something else Okay, that's a very very low saltive wave maybe we can Do something interesting with it. Unison voices. What about making the stereo in a sandy tune? Okay, all right, so we're using a super saw to kind of reinforce that sound Okay, but we need to do it very delicate All right, and of course the highs are a little bit painful. What about the feedback? Is that useful What does it do? It's going for the wave shaping Oh, that's better That is better We could also use this third oscillator as another like side wave to like include a little bit of a low and thump I would like to Have a little bit of low frequencies here Mmm. It's a gun. So it should have some kick Oh, we're distorting All right, that's not bad Yeah, but we need to extend the range of that Okay, maybe that's it about making Okay, what if we used our comp filter? And we can use it on just the sort of Uh Oh, oh, ah, oh now. Oh no Okay, now it's going through both filters always just this is the stereo Okay Let's use this to have hands Oh, I'm seeing Ha it's in actually it's enhancing our Laserness Okay, I wonder if we could use a little bit of noise maybe to like create a tiny little bite Or like a high-pass thing I wonder maybe we could use a different scene for that. So let's go to scene b And we can have them do all Yeah, so they play at the same time. I'm gonna go keep it single first so I can control this easier. All right, so no oscillator, but noise generator and also stereo, please Yay now a filter Let's use a bandpass Narrow or please What the hell? Oh Let's go all the way Wait, that doesn't sound like it's actually Working correctly. Maybe it's just way too Okay, it's not steep enough wasn't narrow enough now. I'm gonna use an LFO to I'm going to change it to an envelope and Do some Some of that also let's change the this deform it Oh the sustain isn't zero Let's make it faster Let's increase the factor And also decay All right, how do they sound together? Oh, I like that Simple but effective Oh, there's also bright for our sauté oscillators I don't hear much difference, but I like The thing the thoughts that it might be a little bit brighter This painful. Yeah, uh, we need to correct the EQ Let's see our preq Frequency response. Okay, maybe we can boost something around like the lower mids Oh, yeah, that's nice. I like that Give me another give me another bell What if I used a resonant high pass filter to boost Lowest bit snare No, that doesn't make sense in the context of the game at all I think this is cool. Like this doesn't look like a very heavy projectile So it wouldn't make sense to have it like You know, like let's save it for the explosion. Okay All right, I think This sound effect is pretty much good to go What is that though? Oh, we copied it from a different From a different region Actually, we could use that Now the question is do we want this? To be a single sound effect that's played over and over or do we want to make multiple different variations? Like, you know, pitch it up and down because we could make a bunch of different variants and actually There's no hurt in doing that If the game Can randomize it a bit. It's gonna sound nicer Okay, they differ very slightly But you know, if you're gonna hear a sound over and over like hundreds of times Maybe it's good to have a little bit of variation of variation in it All right, I'm not sure if Maybe I'll increase the spacing between them so I can very clearly like, you know, I'm gonna Oh, I can time stretch midi or I can okay I'm gonna shorten them select all and See the levels. Is it like touching the limiter or not? I think it's pretty pretty okay. It's it's close to the limiter. That's good. All right, let's Create the regions weapons plasma And I'm gonna call it shot and underscore zero one and What I'm gonna do is just copy and paste that same thing and then change the numbers and I'm going to use a little trick to speed it up So you'll learn that too. Okay. Now let's go to window locations And this little interface is gonna let us edit the region names very quickly. So I'm gonna just copy and paste And I'm just gonna change the numbers two zero three zero four zero five zero six all right Now I can close that and we have our regions Good now, let's export that Alt E and I'm gonna deselect all and select the plasma shots Okay, let's export and see how it looks All righty. So here we have the analysis of all of our exported files They all start right on the start which is really good And they look pretty okay Uh, they're not peaking. They don't need to like this sound shouldn't be deafening We're gonna save it for the explosion again I think it's good. Yeah, nice. I will actually send it to gdquest Let me do that All right, so that's second Another sound effect done what I'm gonna do also is put a location marker and it's called this plasma shot Just for myself. So it's easier to find it if I'm gonna be like tweaking it It's gonna insert here this beam All right, let's see what's next and this to synthesize to make sound effects for All right, it's flying So we needed an engine sound. All right. I think uh, let's create a new midi track Actually, we could use Zinfusion for that change things a bit Zin Actually, I'm gonna add three instances of it right away because why not also? I'm thinking we could we could actually um, just to save ourselves Um processing power we could disable the tracks. We are not gonna export So this deactivate That's the activate all of that and that's gonna lower our cpu load Because ardor is not gonna process all of that and because we've already exported these files We're not gonna re export them because we don't have a reason to do that So it's gonna save us some cpu cycles needlessly processing effects that are not contributing anything to what we're doing right now Um, I think I've hidden the video play preview. Okay All right How do we do this? Should this be also a start middle end? I guess it should be Okay, let's start out by creating a note that will like last the whole time period of of this Thing existing Okay, I think the motion actually starts before that like it starts here Yeah All right, and Ends here actually I think I can do Oh, oh no Jay and k Oh, okay, okay Oh, it doesn't work for notes. All right. It works for regions it ends Right about there Okay, I guess that the throttle in this game just works like you press down a key And it starts throttling you release it. It stops. So it should be pretty much the same pattern as with the laser gun the laser beam where I'm gonna call this thrust Where you have a start you have a middle and you have an end Possibly even just the start. This is the middle loop could work But we could embellish it with a start and end All right, I think I'm gonna start with something noisy And like go for a like a rocket engine sound and then we'll we'll see what it where it leaves us So I'm gonna open the nuts of fx Actually, it's infusion. It's the new user interface So I want to make sure that both fit very well on the screen so you can see everything clearly Okay, and let's maybe You could start with the subsinf which is Actually an additive synthesizer Well under the hood it's not but what it does it generates a white noise and then Uses about a bunch of by of bandpass filters that create harmonics But if we increase the bandwidth of these filters, we we get a nice like smooth noise frequency spectrum So we can just sculpt in noise with this Why don't I have audio output from it? So That's strange Oh, maybe I haven't enabled it. No, I have Wait, okay. Why isn't it am I on a different? Ah, okay. I was on a different MIDI channel on my keyboard. That's that's sorted out All right, so we have something like that. So this sounds more like a Pipe with with something in it like a pressurized pipe or some other pressurized container Maybe if we can reduce the bandwidth All right, that sounds weird. No, not really You can make these in harmonic because we don't want this to resemble anything, you know, cyclic or a tonal sound We just want this randomly No, this sounds really much very much like Pretty much like a pipe full of gas All right, let's use a bandpass filter on top of that Make it narrow Now I would like to distort this I'm gonna go to effects part insertion and insert distortion Oh, I enabled ads and no Now by default it makes it mono. So I'm gonna enable stereo and Also move this all the way here. So it's full stereo. All right, not that great This is dry wet by the way so we can have a little bit of harsh distortion mixed in or You know different variants can also use different functions Stereo Also, this is low passing our sound. How about the asymmetric? So it's low passing Okay, I think now we can blah bandpass this again And we can use this high pass and low pass. I think it's a bit harsh Distortion is very crackly and doesn't sound real Now this sounds a bit too low. Maybe if I up this I think this could be one layer But we need more. So I'm going to go to Second part. I'm gonna middle click here to disable the first part. Now we have a second part. We can have 16 of these Now by default, let's go to the part settings Each part plays on a different midi channel. So if I go part three, it plays on channel three But I want all of them to play on midi channel one So that they all Play together For the same note That's what I want Okay, let me I need to go to the bathroom. Give me a give me a second All right, I'm back. Okay. Now it's we're doing the engine sound We're doing the second layer of that So let's see First layer The second layer. Okay, so I want to I want to lower noise So let's go to the modulation and change this oscillator to Pink noise maybe Yep Now let's go to the voice Filter enable the low pass Okay, I think what we can do is like play with the attacks and releases of the envelopes and then Bounce or record all of that into audio and manually Stips just like cut off the start The middle and the end loop the middle And have it all like loop together nicely and go one into the other so I think we could use some like maybe like an envelope Just I like this to be neutral Yeah, and then again when it stops it could like ramp down a bit so Release time Then we need a little bit of release on the global amplitude Yep I think our global Sorry, I think our attack is a little bit too long Maybe up the real And also make this noise stereo by just Increasing the unison to two Lower the spread So it's not 100 stereo But it's still a little bit more Wide. Okay, let's add some distortion It's stereo. I want to make this a bit more Stereo Okay, how about two layers one on top of each other? Okay, our first layer starts immediately and it's very off-putting Let's go there and add a little bit of amplitude All right, doesn't sound very good What about the filter? Oh, no, that's frequency. Oh frequency could also do Yeah And release also just we need to have the amplitude give us some release Filter we have a filter here and we could also like use the envelope to I think the releases of our amplitude Are a bit too short maybe okay, let's switch to the second one and Maybe change the amplitude to there I'm not sure it's a little bit long and I don't know if I like that that much Okay, I will definitely want some high frequency components. I'm going to go to voice free part three. I'm going to mute this other two Okay, I already changed the midi channel to midi channel one so it plays And I'm gonna Actually use frequency modulation to generate that So I'm gonna have Quite a lot of that All right, let's detune it And also change the frequency so it's out of tune with the bass Way from now. Okay, the oscillator. I'm gonna add a bunch of random harmonics Make it more noise like good. Now. Let's use a voice filter Make it a high pass You could also use a global filter and I want to change it to a notch And I want this notch to go up and down depending on the like Yeah, like make it ramp up and down Or maybe the other way around I have the release value up. Oh, yeah Sure, I just need some amplitude So the release can be heard I'm gonna change switches to free mode so I can Add like ah, oh no at a point And I want the release like have a some time but then decay quickly Not just be decaying all the way through I think it's kind of kind of kind of okay Not perfect like I'd like some I like some some more modulation maybe happening there Maybe I will use a little bit of a phaser And I'm a bit afraid that it might not loop very well Also, it's very loud. So I think I'll enable all the other parts The attack doesn't sound good. It's too quick It just attacks right away Let's go to the mixer and Basically lower the amount of I'm not sure it's I'm not sure it's really nice I think I might try something else like A non propellant based sound like something more like, you know, electromagnetic based engine that doesn't really Exhaust gaze gas Or maybe this could be really nice if we just Smash it with multiband compression LSP multiband Compressor stereo There it is I think it might actually be just Much better. Oh, I added to the master bus. No cut Thrust here is where I want to put it All right, let's give it 20 decibels of gain on the start and now set the ratios to 10 and gain down I think I like that more I will also compress it after the fact anyway Before this compressor didn't seem to work properly Oh, but it does now I think it must be something It must have been something with my signals being weird. Okay, I would want to use any cue Before that compressor to like Cut some of the lows. I don't want them to affect this as much And also there's something annoying in this in the mids. I want to Get rid of Possibly something more But we're missing somebody. Maybe I'll try to compensate Okay, I think the sound doesn't work that well. I think we need to try something else. So I'm gonna Uh, just copy this region to a different track Mute it call this Thrust 2 and I'm gonna try a different sound entirely And what I want to try now is a fem Maybe I will go with surge because Like zen has quite nice a fem But it has a little bit glitchy and it doesn't always like produce clean results It it has some noise and distortion. So maybe I will try Maybe I'll actually move this and just call this in and call this Thrust 2 and Use surge. Of course, we need to disable strict IO. So our audio is fed to the output All right, we have it. What note is that by the way, it's D and move it one octave Or two All right Let's do it Let's make this FM based So I want an envelope to like grow from this Yeah, nice. How about release? What's long Okay, it's kind of it's okay, but There's nothing happening in the middle and then we need some pulsation with some movement in there And also it gets thin when it goes to the middle. So maybe Can change the ratios Yeah, be very metallic. Let's reduce the amount of the Huh, again, this sounds interesting, but I am a little bit afraid. It's might be too realistic and gritty Uh, let's see if we can kind of What about m2 amount and m3 amount two? All right m3 arbitrary Oh, I like this tuning of the different frequencies. That's nice. This is 1.0. What if we do 2.0? What if we go to in something? All right, doesn't doesn't sound harmonica. What if we go free? Nice, let's give it more see Okay, I think what we need is a little bit of wobble in here. So maybe we could do sine wave But like Okay, that's not gonna work. All right, I see I understand there It's okay. So let's keep this one as an amplitude clearly and then just add a little bit of LFO on top of that Maybe change the ratio tiny bit. Ah, no, no, no Whoa. Whoa. Whoa. Whoa. Whoa. Three point zero. Okay. I want to assign this as a modulation not as a Right, that's pretty crazy It's getting crazy very quickly. All right How about trying different octaves? No pain Yeah, this reminds me, you know, I've been doing some I have been doing some sound effects For spaceship some time ago for a client, but uh, well, I can't really show you But I am using some experience of that But now they were going for realistic sounds. So maybe this won't work that well Maybe maybe if I blend maybe if I blend the two together, it's gonna sound great Also, I want to use some more layers of FM. So I'm going to use this thing as another much later And I'm going to um modulate the amount of that Oh, that's way too much Huh, huh. What if we do this in stereo? And now for example change the unison voices a bit Is this is this gonna create some stereo feeling? Yes No, but nice wobbly wobblers All right I think if we filter the two sounds and like blend them together, we might get something really nice Let's do that. I'm going to copy Yeah, I'm actually going to Might use both of them move this one up All right Let's copy the multiband compressor and paste it here I also want to add a little bit of our Early reflections reverb just to give this a tiny bit of space Whoa, whoa, whoa Not as much Oh, I think it broke I think dragonfly reverb broke Oh, no, it was lsp multiband that broke or maybe dragonfly broke lsp multiband Okay, let's delete the model event compressor. I'm going to say this by the way I'm going to copy it again What if I use a different note? I mean not just an octave different. Maybe something else. All right, it doesn't work lower Nah All right, let's band pass the two sounds and see what we get R door a low pass no high pass a high pass low pass filter. This is a great plugin It's a stock on our door plugin What it does it gives you two filters High pass and low pass and you can simply Choose what you want All right, so I want that part of this sound and maybe the low Lows from this sound. I don't know So we started a 200. We're ending at 200. Let's go with Let's go with a less steep filter I'm thinking that this sound might be way too involved Also, what if we move this on up an octave? Uh, I think I misclicked I think I like that better. What if we make it louder? Okay What if we give it more highs? What if we started a bit later so it doesn't like Come in as early. I think that's a sound. I'm not sure if it's the sound we need uh What we could do also is give them give it a common bus. So I'm going to create a bus here audio buses stereo position before selection And I call this thrust I have I have a habit of creating of calling buses with all capital letters. It helps me differentiate between them So now these These two will feed their sound here instead of to the master. So now I can apply like, you know, another layer of compression To maybe glue them together. Yeah Oh, I think it works pretty cool pretty well This is starting a little bit too late and this has way too much early reflections in my opinion Okay, now what we need to do is bounce this to audio and cut it up into start middle and end so that we can Deliver it and play it in the game, right? All right. So what I'm gonna do is Just record this on the looped All right, there was an x run, but it was before anything happened really. So I don't care Uh, sometimes ardo doesn't refresh well. So I just Cut this region it does. So, yeah, that's all Now I'm going to mute these two regions so that This is the only thing that plays So let's where's where does the Actually Okay Okay, I think it's here Now if I press s you can see an ardo slices where my playhead is and that's because this is where the edit point is set It's it's set to play head Could be good for this purpose I think this could be the the end Now let's separate them and see if this loops Pretty much does. I don't think we need to do anything else As you remember ardo creates short crossfades. So this actually should just work right now so The game will have to like, you know Smartly start this sound right after this one and we can like simulate what happens if we play them in in sequence I'm gonna maybe snap to oh I just snapped to Region bounce there was an option like that before in ardo I don't know if there is an option for that now I think if I hold alt it just snaps to okay. Okay. Now. Let's imagine we are Playing this loop three times and then it ends somewhere in the middle Ah, okay. I'm not snapping what I don't want to and then we play the end All right, it will will that sound natural Okay, apart from this thing not being aligned. I think it sounds pretty good I think our little simulation I think it proves that this works Uh, let's create the markers and export the sound and then test it in audacity. Make sure it sounds like it should So i'm gonna create this. Let's call it thrust underscore start Let's call this thrust underscore end Oh, no This one is end. Okay And this one is loop thrust underscore loop all right Let's Save this project and go to the export dialogue time span i'm gonna select deselect all of that And go start thrust start thrust loop thrust end all right channels Looped Yes, we're actually exporting everything from looped. Maybe we should call it bounce I think we can can we rename it here? No, we can't. Okay All right, let's export and analyze and see Good So this is our end. It looks good Arthur isn't playing it well This is loop and this is start. All right. Let's Uh load it up into audacity. All right. So here is our start loop and end what we're gonna do is First play them in order Oh, wait, I'm gonna make you hear it too All right, I think it should work now if we copy and paste this a bunch of times then Delete part of that and I'm not even Applying any fade outs. I'm just cutting in the middle. So wow that was lucky So it there could be a click but well, let's see if it will mask it No, it didn't mask it. There was a click Okay, so the actual game should make a little fade out If we want to have this loop nice, so we will need the game to perform a tiny tiny fade out And then I think it should work Yeah, and you see we don't notice that there's any gap here All right, so the files are actually properly done The implementation is gonna require a little bit of work But I think the result could be good now this sound might not be the best And maybe we'll need to redo that later. Maybe it will gonna get rejected. I don't know Uh, but that's sometimes what you just do you make something and you ask if it sounds right to the client And if it doesn't you make it something else Yeah All right, I think I'm gonna take a break now So I'll see you Later when we'll be making another sound that sound another sound will be What it will be I think it's gonna be the explosion. Yeah, yeah, it's gonna be the explosion. It's gonna be nice one