 Hello there, me and Ryan from Blipp Sounds are making a collaboration series in which we talk about how we can make sound designs and the creative process behind the scenes and how we can implement that in a real game using Godot Engine. So Ryan is here with me and I will let him introduce himself and what will be up in his video. Yes, thank you so much for having me. On our video on the Blipp Sounds YouTube channel, we are going to be creating sound effects from scratch for Kitchen Tales. We create a couple different sounds and we also show off the process of recording the sounds from scratch using a piece of ham, a carrot, and a door. So if you want to see how we turn that into the sounds in this video, go check out the Blipp Sounds YouTube channel and check out the collaboration we did. But yeah, pig dev, thank you so much for having me here and I really appreciate this and yeah, I'm looking forward to seeing what comes of it. Thank you so much for inviting me, Ryan. So without further ado, let's get started. This is the animation that I talked about. What I was thinking about doing is like having a jump effect at the beginning. Something like right when the character starts the jump right here and another one right when the character reaches the ground, something like here. A squashing maybe something a bit liquid like a tomato squashing. Do you have any of those that you have in mind? Like I was seeing the dash, for instance, one of these and I think that perfect for like when the character reaches the ground. Sure, yeah. First, high pitched at the beginning and then kind of like damps after. Yeah, yeah, I think that'd be good. And then if we were to take the dash and then the jump can just be used for the regular jump maybe to and then we can just separate those into two different sections of the animation. Here we can basically just drag them into the animation. So if I add this, I will add the sound effect here and with that we just need to add another track. Perfect. Basically just drag the sounds here and say when they will begin like this. Did you hear that? I did not hear it, no. Didn't hear that, yeah. Is the volume up? It should because... Did it play inside of a in there? Yeah, it did. Yeah. Huh, interesting. Maybe I think that it was starting before the animation. Yeah. There we go. Okay. Yeah, so currently I think that it is the pitch doesn't seem to be right for the character. I agree. I think it should be a little bit lower pitched if that's what you're thinking. Yeah. Can decrease the pitch here. Oh, so did you actually ever try to use Godot? Yeah, I have before. We have some... I really... Godot is just such a good engine and it's becoming more and more viable. So right now we really try and teach with WYs and F-Mod and Unity and Unreal, but Godot is definitely on the list coming soon for us. Cool, so I don't think how this happens in other engines, but we kind of have like a mixing table here. Oh yeah. One thing that I think that happens is that if we use the pitch on this audio stream player to denote, I think that it will kind of like stretch the sound. This is basically how pitch scaling works. Is it correct? Yeah, it's pretty common. It kind of just depends on the people that see my video. They'll see that pitch shifting usually is measured by semitones, but when you're... and it's really common to just have it on like a negative one-to-one value or a float value when you're in a game engine like this. And Unity, I'm pretty sure it's common to do that at least. So for instance, if an audio like a sample sound effect has like a duration of one second and we pitch it up like for 1.5, it will cut by half the duration of the sound effect? Yeah, it should. Yeah, it should be pretty close to that, I'm pretty sure. Or if we did it by 2, we would go in half. It's just 50%. Right, right, exactly. So I know that this happens when we mess with this pitch scale, but if we mess with another effect, I will add another bus here. And if we add another pitch... I think that this pitch shift uses another algorithm because this doesn't change the duration. Right, right. Pi said this is like 50% the scale. This is actually... I've actually never seen all those effects on Godot. I haven't really experimented with the audio too much. There's a lot of stuff on there. Yeah, there is like... I think that one of the updates would basically just focus really hard on the audio engine. Yeah, I'm surprised actually. But I guess that's what you get with an open source engine. You just get better and better stuff over time. Yeah, and I think that Juan, which is the main developer, is like he really did audio processing engineering and stuff like this in the past. So he's pretty educated in that sense. So with that sound effect, I think that the jump will be a bit lower in the pitch or not because I forget to... to the pitch bus. So now I think that it will work. Yeah. There we go. Yeah. Is it good already? I think that we can go... Yeah, I think it should be lower too. It's definitely... it's lower for sure, but it could be more. How many years did you work with sound effect already? Man, I think I'm... I think I'm five or six years in now doing sound effects for games or doing sound design in general. Yeah, it's so much fun. I was a music composer before that and I... so I started doing video game music when I was like eight or nine years ago and then I just picked up sound design as like... because you know how it goes when you... I don't know how many sound designers you've worked with but most game developers that are looking for a music composer, they also just say, hey, do you also do sound design or it's kind of just an expectation and most sound designers just pick it up over time. It's just like... isn't specialization... people have to know that it's not like... it bonus like... oh, you know how to compose and logically you know how it sounds like. It's not like this. It's funny because like the same... it's the same tools that you use to create a sound effect versus what you... when you create music, but ultimately creating... it really... you have to have such a different mindset to be able to work with both. So I think what you said is probably the best definition of having... making sure that you... you have people that can actually specialize in it is very important. Yeah. Yeah, it's a lot of fun. People are making a lot of stuff for audio programs nowadays and it's really exciting to see where it's going. Same with game development as well. Yeah, it's very exciting. So this is how it sounds like now. What? But I think that I went too low. What? Yeah, that sounds a lot better though. Yeah. I think it's good for now. One thing that I like to do with my process for mixing sounds in game is just get something to a rough estimate of where we like it and then we can go back and tweak it later. Oh, perfect. So then we have this... Squashion. I think that the... the dash is like perfect for that. Oh yeah, it has like a... it almost sounds like liquidy almost. Yeah, so I think that if we go like really low we can get like even the clicking sound of liquids like... I don't know how to explain but I think that if we go like really low with that so if I drag and drop this here... See? Oh yeah, wow. It's so weird seeing it like next to animations and like just how your brain gets tricked to think a sound sounds a certain way when you see it paired with an animation. It's so awesome. Yeah, it's very cool. So basically this is what we currently have but I think that we can break this other sound effect. This Squashion, which is the dash. But this Squashion, I don't know, maybe we can use a reverb. I don't know if this will do well. What do you think? So one of my thoughts for Kitchen Tales was I think it would be cool to show off doing some reverb or seeing how it sounds but ultimately I think that considering how simplistic the art style is and you have a lot of very basic shapes and very simple coloring on the characters I feel like reverb wouldn't help really. I think that the minimalistic style would be best but I'm down to see what happens when we try it. So let's see what happens then. Yeah, yeah. I'm definitely the kind of person that just wants to see how it sounds and then we can always take it out. So I will create another audio bus so we can separate both. Wow, I'm really glad we're doing this video. I didn't realize how I didn't realize that there were so many options for audio and go-to. Yeah, I really really have actually to showcase that because audio is like one of those things that doesn't get a lot of attention. I agree. Yeah, but I deal with it on a week-to-week basis for sure. So I think that by default the wrong size is way too big so if we try to play that, actually we have to add the track for this other one. I'll remove this. Alright. So the reverb one will be the one that will play this. And I think that I think that the reverb we send to the pitch so we can get both effects. We could have both in the same but I want to separate them. I think it's better, yeah. I don't know how. So people always have this like, oh how intensive this is to performance but man don't care about that, just go for it. After you implement everything you think about optimizing and this kind of boring stuff but just designing stuff like this, just go for it. Yeah, my mindset is to add as much as possible and then I can just remove stuff later if it doesn't work. Yeah, if someone complains like, hey, your game is like frying my computer then you can think about like, yeah I need some optimization but until then just go for it. Absolutely. So this one. So we already have these, let's see how this sounds. Where's the reverb? Okay, so I forgot again. Yeah, yeah. See? Okay, that did help it a lot actually. I think that the room size is like way too big. Yeah, it's not coming through super well on my end but I'll trust your judgment on it. I think that on your end is like way too low. Yeah, it's a little quiet but it's okay. I will change this just so we can get the real sound because if we use this audio stream player here that I'm using it gets like positional so depending on the way I am on the editor we'll get like lower or higher volume. So for instance this way and try to play that. Oh yeah, that's a lot. Yeah, now I hear it now. Let's change this to one that doesn't have positional. So I think that this is can you hear it better now? Yeah, yeah, I can hear it much better. So I think my opinion is kind of the same still. I think that's a lot of reverb if we were to add a little bit if we were to add reverb to this I think that we should do like a very very small amount to this. Yeah, I definitely agree that. I think that the thing is just that just enough to say okay this was like a something that does a lot of damage. Right. This feeling. Yeah, I would I would go to like 0.2 maybe personally and I would even maybe do some more dampening to like do like a 0.7 or 0.8 on the dampening. So what does dampening does? I really don't know. So think of it like acoustic treatment in a room. So if you have a room with walls with nothing on it and you were to add like acoustic treatment to the walls it would basically make it so the reverb doesn't go as long as how it works. Oh, got it. So basically like how does the wall absorb the sound? Correct, correct. Okay, so you suggested that we increase that? Yeah, yeah, increase that increase it to 0.7. I think that we can like decrease a little bit of the dry. Dry is like the input, right? The input sound? Correct. Okay, so I think that we can decrease just a little bit. And then for those that don't know what is the the output once it gets processed through the reverb plugin itself. Oh, right. So basically this is the input that it gets like the dry sound and it processed that and gives you this wet and the full output is the combination of both. Correct, yeah. Or if you set the dry to 0 then you would only get the wet output by itself. Or you could do remove the wet all the way but it would defeat the purpose of course. Yeah. So I want to get just the literal effect. I can just decrease the dry all the way down and leave just the wet. Absolutely. Okay, let's see how this sounds. No way I think that it's way too much yet. It's still too much. Yeah. Maybe I'm trying to think what you would do. I think that if you decrease the wetness. Yeah, I think that'd be good. I think if you decrease the wetness and I want to, can we do add one more effect to the reverb bus actually? Another effect? Yeah, yeah. So click on low pass filter. Low pass. Yeah. Set it to, where it says current, does that say current hurts? Oh, cut off. Cut off. Set that to 10,000. So what this is going to do is it's going to cut off the higher frequencies of the sound effect. Oh. So we'll cut everything up. Yeah. So basically the human hearing range is from 0 to 20,000 and it's exponential 10,000 is like 10,000 to 20,000 are like the highest of the highest frequencies that exist. So with this, we're going to be cutting off the highest frequencies and it'll be less, sort of less like in your face. If that makes sense it'll sound less as audio people call it. It'll be less tinny or it should anyways. Got it. But do we have like this kind of frequencies in our sound? Yep, we sure do. Okay. So let's try to test this. I think that we are almost there. Yeah, it sounds a lot better. The reverb is still way too high. Yeah. Maybe the wetness let's see how this goes. I was going to say maybe turn up the dampening. Yeah, move it upwards. Oh, sorry, to like 0.8. 0.8. Yeah, because I think that when you do more dampening it makes it more like it removes more of the adds more acoustic treatment rather. Oh, so it will reflect less. Yes, correct. Oh, we are getting there. Let's try to get this a little bit down. I think that maybe if we change back to what it was before. Oh, I see. Since it is positional maybe we are getting like the an effect that the player will not hear. Yeah, it might be a very extreme version of what's being processed. Exactly. Yeah, that's already sounding better. So I think that if we go back here, let's see how this goes. Yeah, sounds great. Awesome. Let's compare if we remove the reverb. What do you think? So I would also if you're going to remove the reverb I would also remove the low pass. Yeah, so this will just send it directly to pitched. Yeah, I would say so. Or no, pitch is going to lower the pitch of it as well. Yeah, it was sending to pitched already because Oh, it already was. Okay. It's now sending to pitched directly. So you can hear how it cuts out the higher frequencies kind of affected it right there. And it sounds way better with the filter. Yeah, I agree. But I don't know about the reverb though. So maybe just the pitched. Maybe. So yeah, with the with the filter it sounds way better. Yeah, I agree. Yeah, if the reverb is a little bit tough a lot of reverbs that exist in other engines can be tricky to work with like even my DAW of choice or my audio editing software Reaper I don't use the default reverb that comes with it. It's it's so hard to find really good sounding reverbs. So for something like this I feel like it might be better if I were to for future reference for those watching like it might be better to when they're have your sound designer create the sound effect with reverb in mind. So like if I were to for example if I were to create the sound effect for you and I and I included reverb in the original audio file I think we would get a better sound out of it. Yeah, so yeah, maybe the main advantage of all of these effects is that they are dynamic so we can like change things and maybe in runtime we can change like sometimes it gets reverb sometimes it doesn't but yeah, I think that the best way is like sound designer will do it by design with reverb or not. Agreed, agreed. And I think that in this case I don't have it. I think I agree with that decision. I'm glad we tried it though, it's a good experiment. Yeah, sounds way better. We can see that in-game now. Yeah, let's do it. So I think that we can play this directly because one of the coolest thing about Goodo is that besides it has like this running in a different window it's basically just making a stream and it will actually decrease and actually turn off the music. Oh, you can do it live, nice. And since it is basically just streaming if I add the tomato the scene like this there it is. Awesome. Run! So I think that it's good but we can change I think that the jump because I think that the pitch is just way too high or way too low actually. Oh, the pitch on the jump? Yeah. I don't know. Maybe if we change you send me three versions of this, right? Yeah, we can try another one. I think that there is, I created four different sounds to be used for random variation but maybe that's for another video. Yeah. I think that this is the highest pitch. Let's see, all of them together. So I think that number two let's see, three. Three was definitely better play it again. Oh yeah. Or rather we can animate the pitch. We have this option as well. Oh yeah, let's do that. So let's go here and let's animate the pitch scale. Oh my god, that's amazing. I mean this is all stuff that you can do in a really high-end audio program. Audacity can't even do this. Yeah, I would say that doesn't have automation right? No, it doesn't unfortunately. Yeah, this is like a very core feature that it uses. So currently it's starting with one but I think that we can end with one. So it's like it starts lower and it goes higher pitched. Yeah, yeah. So I wouldn't start too low because it already does increase in pitch on its own. So I would start at like maybe if it's at one I would probably start at 0.6 or 7. So let's see. Or I don't really hear a difference. Yeah, I don't think I do. It might just be me. So let's see if we have a different timing you can hear but it definitely didn't pay different. I try to like animate after the sound effect ends. Sometimes that actually happens because the processing time of doing real-time audio effects can be delayed after the fact so it's not entirely crazy for you to do that. Oh. Yeah, but I think that I can definitely hear that. And it sounds really good. So this is who will basically say how fast it goes from one point to another and I think that we can make something like this. So it gets like the highest right at the end. Agreed. Can you hear that? Yeah, yeah. But I think that I went too far. Or Yeah, that's a really common practice the sounds that I create all the time just changing the type of fade that you have. So let's see how this is now. I actually don't know because it might sound bad. Sure. Turn off the music. I think that is still very low. But One thing that might not be helping is the fact that we have the you're just trying to fix the jump sound. You're not trying to fix the squash sound. Because are you just trying to hear the higher frequencies more? Are you trying to change the pitch? Because I'm wondering if you were to add another effect to the pitched one. And if you were to add a what's it called? If you were to add just like a high shelf. So yeah, if you go to the pitched bus and hit add effect and click on high shelf filter and set that to 15,000 the cutoff hurts. So I just don't know if this is going to actually cut out the frequencies or if this is going to boost the frequencies. Because high shelf usually implies that it's it might be boosting it. I could be completely wrong though. So what's the difference between the high pass and the high shelf? So basically that is a high. That's a low pass filter. Whereas a low shelf filter looks more like this. That's really the only difference. Instead of instead it goes to like negative six decibels instead of like all the way cuts it all the way out. So one of them cuts them out entirely and one of them just cuts out all like sort of just lowers all the higher or lower frequencies. Oh god, so basically it doesn't cut but it attains weights or decreases right. Oh god. So let's see how this goes. It might sound bad, I apologize in advance. We are testing, let's see how this goes. Yeah, that's all you can do. No. It actually sounds way better. Yeah. Awesome. There we go. There we have it. Yeah. So let me try this again without the music. Yeah, that's another thing too. Listening with and without the music definitely is something to consider because sometimes even just like hearing it with the music goes or with or without the sounds goes a long way. Yeah, it is really sounding very good. Good. I'm glad to hear. Man, I so I'm so glad about it. Like the character has a live it's a live now, you know I think that I will actually use this jump like for when the character is walking like this. Oh nice, nice. Yeah, you just do like a higher pitched one, right? Just do something like way more higher pitched, right? Jumps and such. Yeah, I like it. I like it a lot. Yeah, I think that we reached a very, very good result. Very, very cool. So Ryan, can you talk about blip sounds a bit more so what people can expect to find there? Yeah, thank you so much for having me first off. So basically blip sounds, we have a YouTube channel where we teach sound design for video games. A lot of it is a lot of sound design and we have a whole community of people that make sounds for video games. It's an amazing community and everyone's so friendly. But if you're looking to start learning the technical stuff that I showed off, like the high pass filters or that we showed off I should say but a lot of the technical stuff like high pass low pass filters pitch shifters and there's so many more that you can learn about. We have a free course on the blip sounds website at blipsounds.com if you want to start learning some sound design right now. But otherwise come check us out on YouTube and check out the video where I create the sounds that we used in this video from scratch. So that's it. Thank you so much for hanging out with me, Ryan. We did such an amazing job here and I really hope you enjoy it. Yeah, I'm glad. I'm glad that I'm glad I was able to take part in your video too. I mean this is I'm gonna start using Godo now. Like I want to be able to teach some people how to use how to do sound design in it. So I'm excited. Thank you so much. Awesome. Good to know. So spread the word. So that's it. Thank you so much for watching. Keep developing and until the next time.