 Hey, I'm Anfa. The video you're going to watch has been recorded 10 months ago, so quite a lot of things have changed since then. It's been sitting on my desk for so long because there's a lot of footage and it didn't go as planned. The idea was to record an entire project, start to finish, of me making sound effects for a video game. Since I sit down with the video reference provided from the client until I export the final versions of the files. That didn't happen because I've encountered technical difficulties where the recording setup was fighting the production setup and I wasn't able to continue recording all the way through because it was taking too much time. So I had to cut my losses and finish the job off the record. However, there's a lot of things that have been captured and I think there's a lot of interesting information there that you could learn from. Now it still depends if you want to watch that or not because there's a lot of work involved in editing this footage. So this is going to be either a first and the last video or the first video in a series and how long is the series gonna be? Only depends on how much you want to see the next episode. So please let me know. After you watch this leave a comment leave a like whatever. Let me know that you want to see that you will watch the next part because maybe I should focus my energy on something else and just keep this footage shelved. Sometimes the best idea is to let it go. Alright, that's it. Enjoy. Hi, I'm Anfa. I'm a sound designer, a music producer. Today, I want to show you how do I make sound effects for video games? I've got a little job from GDQuest, which you might know and he agreed for me to record the whole process of me making sound effects for his game and publishing it so you can learn from that. And I think that's really cool because well, I can't show you my workflow on other client work I'm doing, but this is a very nice exception and you will be able to see the raw workflow and everything that goes into creating sound effects, original sound effects for a video game using nothing but open source software and Linux. Which I think is pretty unique to see because not many people seem to know about what you can do with free and open source software. Alright, to begin I have obtained some video reference for things that I need to make sound effects for. So I have my video reference and there's stuff like, you know, a spaceship shooting lasers, a spaceship shooting a laser beam, user interface starting out the game. So the first thing I want to do is concatenate all of these reference into a single video file and import it into my DAW, which is Ardor. So we're gonna use that as a reference and all these sound effects are gonna be in a single Ardor session. This way we can very easily reuse things if we need so and it's gonna be very easy to control. And also Ardor is like, it has the video timeline support and you know exporting multiple regions, etc. It's very well suited for designing sound effects. How I'm gonna do this? Well, I could do it with a video editor, but I have a feeling we could use something like ffmpeg to do it quicker. But maybe not. I'm gonna start up all the video editor. Just turn on compositing. So here is Olive. Here is all my video reference. I'm gonna Ctrl A, select it all. I'm gonna drag it into the new project. Now let's create a new sequence. Let's make it 60 frames per second full HD. I don't know what is there, but it's probably nothing else than this. Okay, the order isn't really important. I guess we could sort it out by what is like, I don't know, separate UI stuff from Yeah, we could separate maybe UI stuff from weapons and some other actions. Okay, we can organize it all a bit. It's gonna help us along the way. So okay, let's see weapons. Let's start with the weapons unloading, moving, right? Exploding. Mining, landing, unloading, opening, UI. Now, I hope there's gonna be enough space for all the sound effects to have all the tails play out because I don't want to have situation where another reference is in the way and I'll have to like, you know, yeah, okay. Choo choo choo choo choo choo choo choo choo choo choo choo. Okay, there's plenty of room. And when it's gonna end. Okay, I'll add a little bit of pause there because that there's not much. I might want to add a little tail there to the sound effect and I don't want the other reference to just Okay, I guess landing and starting up is in the same reference. Okay? So I'm gonna also extend this and give myself some room. Just in case. It's better to have more room than not enough. Okay, I think a little bit of room could do but not too much. Okay, I think that's good all though. What's that? Choo choo choo choo choo choo choo choo choo choo choo choo choo choo choo. Okay, I think that's that will do. Let's export this out as a video file. I'm gonna hit Ctrl M. Do that and the format really doesn't matter. I'm just gonna make sure it's a bit higher quality. There is no audio. Entire sequence. Okay. And now I'm going to just All right, let it export and once it's done, I Can import it into an outdoor session which I can already create. So, okay SFX I'm gonna create a new session here. I'm gonna copy this path. I'm gonna start outdoor. It is looting. All right. Whoa, wait, wait, wait. Ardor 6.3 has been released. I think I need to update it. Oh my goodness. Wow, that was unexpected. Compressing Ardor. All right, so I have installed Ardor 6.3. That's a it's a new thing. I haven't run it before so it's gonna be a little bit of a possibly a little bit of Surprise. Let's see what happened there. All right, this is gonna be 2d space game SFX. That's what the Ardor session is gonna be called. Let's see if our video exported. Yes, our video reference has exported. I'm going to save this project just in case Because maybe I'll need to revisit it. Okay, so here we are in Ardor. What I'm gonna do is go session, open video And now go to 2d space game. Well, reference, Anafa all reference. And this will open up this dialogue of importing our video reference. Yeah, it's pretty much gonna transcode the video to a formula that it's easy to scrub. Basically MJPEG and video codec that encodes every frame independently in jpeg compression Which provides poor quality but extremely fast response and that is very important because You want to be sure that if you go to a certain frame in your project That the video file is going to show you exactly that frame and not two frames before because it got like confused by the Inter like frames that are interpolated from different data of previous frames and sometimes they're bi-directional frames and reference frames After and before in this video stream. So MJPEG uses none of that. It's a intra frame codec. That means Every frame is encoded separately as a distinction from inter frame codecs, which reference different frames and call and reuse information from them Which of course helps reduce the file size but The file size is not a consideration in here as much of a consideration what is a consideration is performance of playback and perfect precision of Seeking the file. All right. So here is our video reference. Uh, this is xjdo So it's a video player that syncs with jack. Actually, I can use a mouse wheel to just make this smaller So this is our video reference And it it will automatically stay on top. So everything whatever I do this is going to be visible And now you can see we have all our reference and I can easily scrub it. That's great Okay, next thing I want to do is make sure that the audio from Ardor is being recorded All right, let's see what we have here Okay, the lasers beam is first what I want to do is synthesize a pretty classic sounding like laser effects because um You know, I can go very like over the board and make an insane like Very weird sound design But sometimes people don't identify it because it's not cliche enough and it's like, oh Sounds cool, but it's not a laser beam because they identify a sound of a laser beam with this pew pew Uh, or something like that. Well, not necessarily and I want to give this Some really nice detail But also the aesthetic of this game is very cartoonish. So going for extremely realistic sound effects is not probably gonna mesh well with the video visuals And also I would like to like use this, um Like have these particles kind of give them all their own sound. So it will be like a little bit of chimes That would be less leftover So I think what we also need is Because the player can start this laser beam and it probably can you know last quite a while So I think what we need is three separate sounds first sound for the initial impact Okay, then we need a sound that is sustained loop And then we need the sound of retracting the beam. So And then it's going to be just these chimes Uh Yeah, imitating sounds with your mouth helps a lot because I can kind of prototype things Before I actually synthesize them or Sam record some stuff and and make it real So it helps me prototype things and imagine what I want to make and also check check the timing before I lay down anything so mouth Sound synthesis is useful in sound synthesis because you can prototype very quickly All right, so we're gonna have um I can even mark these sounds already And I'm not sure if we're gonna okay this dude. So it starts at this frame You can also change to timecode. Okay. Are we in timecode? Uh, we actually don't need beats or bars. We're not gonna actually use that kind of stuff Uh, and I would rather snap to timecode Oh, wow. It also changes the grid display. I don't know that Okay, so at this time this frame, this is the first frame of Of this sound effect being made. So I'm gonna create a region there a cd region I'm gonna call this weapons beam start All right Maybe I should use underscores instead of Dashes maybe that's gonna be better for For gd quest to program this in All right, I guess our start needs to be around this long Now I'm thinking to myself would probably need to duplicate this So I can create the sound effects of the start and the middle and the end and like have them not overlap On my timeline even though they will overlap in the game I could do it by just you know designing them in sync with the ref of the video reference and then I will just move them A little bit off. So so they don't overlap for the export. So I also don't have to care about, you know, um muting different tracks and like Exporting in few passes like what you want to do is make sure that if you hit export and select the sounds You want to export it's done. It's there. You have the files. You can directly import your game So that as much as possible should be done in in this session. At least that's what I like to do If you have to loop some sounds Well, we're gonna be looping sounds. So you're gonna see how to do that also There's a few approaches quite a few different approaches and you can do it in order Or you can do it like later in audacity But then every time you update the sound in art or in like re-export, you would need to re-loop that sound in audacity And so I'll try to avoid it and I figured out a way to do it inside our door And yeah All righty, so, uh, let's think what we can use What synthesizer could be good for that? I'm very Like tempted to go with surge, but I'm not sure if Actually, I'm gonna go Insert an empty track and see if surge How surge works here? I think surge works pretty okay. See l lv2 lv2 version Okay, let's see because you know if if it doesn't work. Well, I'm gonna retract and use something else Maybe it's infusion. It's maybe enlarge the UI a little bit Or okay, let's move it up And now I'm gonna also disable strict IO. So So we have the audio input output now, I also want to assign my midi keyboard to be Control surfaces Oh, no, no, it's something else. I believe midi. Yes midi inputs Oxygen 49 music data Oh, well, where is it? Music data and follow select. Oh, wow. When you click it, it it scrolls. All right, never mind Now if I just press the key it's gonna play automatically. I don't have to do anything else just By the way, I'm gonna check it with records First thing I'm gonna make a midi region and put a midi note So it starts exactly on the frame that this Animation starts And also my region starts too late, I guess So if I do is that moving by frames? Yes, it's moving by frames. Okay Oh, so we're snapping to frames now. That's good. I mean, yes, we need that Uh, I didn't snap the frames. Oh, there is a frame. Okay. Yeah, actually I'm gonna use the I'm gonna put the region start before because we're gonna have some overlap and Arthur will truncate the silence from the start in the end automatically for us All right Now that sounds nothing like a laser beam Oh, yeah, that's one one problem with surge Okay, now we're not going to use effects because effects are broken and we can use them outside Let me think Okay, let's maybe enable auto It's loud. It's okay. That's better. Okay. So now I have auto return. I can I'm gonna move this video reference up because it's gonna overlay with my face and the video All right, let's use an os maybe Maybe let's use an FM slater now I want to have this pew. So I'm gonna use an LFO And affect the pitch of the slater Of course, we don't want it to be in the LFO mode just an envelope mode. So I'm going to Reduce the sustain and also it seems we are right click. I'm gonna extend the range. So This actually has much more effect. Yeah, that's more like it. I'm gonna remove reduce the decay Okay, it sounds more like a laser beam Also, there is this deform You can help us bend this Now this is pretty okay As a base, let's try and see what we can do with the FM stuff So I'm gonna what if I do the ratio below one All right. Yeah Okay What if we What if you use this to change the ratio as we go? All right. Yeah, that's that's a fem For you Let's do that away That's an interesting screaming I think some of that some of this stuff is very cool So I want to maybe modulate the amount of the FM modulation and Also use it as an amplitude. Sorry envelope and maybe like have some attack and then have some Okay, but make the sustain zero and All right, let's Up this I think our note might be able to short. So I'm gonna extend it All right. Well, the thing is it's gonna be a sustains Sustained laser beam. So Huh, so we need to have something that will Oh, I I shouldn't shouldn't be closing and opening that the GUI. I should have just switch to it I think this is too long. No, no, this one is too long All right Okay, let's use our amplitude envelope and just drop the sustain Maybe push the release decay Okay, I think this is a nice start Like this is the starting sound And then we'll have the looping buzz that's gonna like go and Like be there for the whole thing I'm gonna call this A laser beam start and let's just duplicate this track Okay, now where does it end? I think Wait, we're skipping by seconds not by frames. That's not the same. Oh my goodness CD frames. No, not CD frames. I want I want timecode frames Okay, it's a bit weird. All right. This is the first frame that's ending The animation or the laser beam is fading there. So I'm going to use this as my end point And also I'm going to a beam middle And I'm also gonna copy this And call it beam and I'm gonna do is just move it so it starts where the beam ends or the Animation starts to fade It's gonna be Yeah, and we're gonna change this later For now, let's play with this middle sound of this middle beam All right. So first thing we amplitude sustain up to max We don't really want these envelopes affecting the sounds. So I'm going to clear all voice envelopes proteins All right Now I think what I want to do is actually go for not not go for an FM sound But maybe use a sort of and I want to do two sort sort of waves that will phase in and out You could use this macro Yeah, we could use this macro to affect the pitch of two Maybe don't extend the range Just gonna do one up Or one down and now Oh, we've got one muted. Okay. All right, let's just Put this whole thing down to octaves. Yeah, kind of a re-space Now what else I want to do is have a Kind of sub bassy thing which could be a fan and I figured it would be nice if it put pulsate So So we could actually have and What is this yellow arrow? What does it mean? Oh, it means that we're editing it right now. Okay Oh, that's pulsating on its own even without any intervention. Okay Let's see what we can do with the whoa, whoa, whoa, whoa. Okay. No, no, no We don't want to change the musical Okay, we want this to be an Um Yay That's not the form Yeah, that's what we want to do. Uh, you know what I'm gonna me solid the sound I can hear it's We're getting some nice, um Nice things happening there. I'm gonna move the first two stuff to filter one And I'm gonna make it a band pass Here it is And the second the third oscillator, which is RFM Ah, it's oscillating. Okay All right, could be oscillating but not as much please I think we might need to move this up a bit How about Sounds cool, but it's a little bit dark for the for the visual aesthetic like I'm not sure if that's what we should be doing I have a different I have a different idea of what we could do that would sound More cartoony for this game Huh, so let me maybe just Close this for now And I'm gonna copy this I'm gonna mute this for now and we're gonna play with this different version And I'm gonna make an alternate version wrong place Actually, what I want to do is also in it the patch because Please in it the patch and it's the patch. Yeah In it Oh no Ah Is there an How do I in it the patch? Oh snap We set parameters to defaults. Okay. Uh, I guess that's how we do it All right I'm just solo it Okay, it didn't reset everything but it already sounds Less like what I've had before and that's already good Yeah, I think we have some modulation here. All right, that's that's where you watch this Okay, what I want to do is fm Oscillator one with oscillator two So let's do this as this is going to be signed an oscillator two is going to be saw Yes Okay, I need to stop and I really fm Yep, yep Yep, just a few octaves lower Yeah There's your freaking laser beam laser freaking beam Okay, what happens is um This oscillator is providing us with a very very fast Uh, it's kind of like an LFO actually we could do this with an LFO I wonder if we can affect this And doesn't sound as as nice width Whoa, whoa, whoa Oh, that's the thing. Okay. Now. What if I Change the absolute pitch. Oh absolute Oh, it's way too low. Oh, that's the absolute pitch Okay interesting What if I insane enabled unison It starts to be a mess I guess it'll be better to enable the unison on on the thing itself I think we need a bit more frequency in here. It sounds painful. I think I don't want to have this sync on Also, are we running a filter? We could be running a filter. What about a comp filter? Yeah, resonance Holy snap, that's cool All right. All right. We are we're doing a lot of things with this Uh, is was that an alpase filter or it's just neutral. Oh, it's off. Okay. It's not an alpase filter. It's off I'm gonna disable that Oh, wow Ah, I keep clicking on this. All right I guess a bit bit much What about less of that? All right. I think it's a pretty sci-fi-ish but still pretty cartoonish laser sound like I think if we went all out for this first one, it would be a bit too like I wouldn't say realistic because it lacked a lot of detail but a bit too dark sci-fi Not so cartoony and uh, this I think this fits well or at least much better All right So this is the base of our sound. Uh, I wonder what will happen if we mix the two together Yeah, all right Of course the ending doesn't sound good I think our start doesn't sound that good actually because it doesn't fit. It's a completely different type of sound It's an FM sound and this is A subtractive sound right more Actually, no, they are both FM sounds Just realized okay, but it's a different type Uh, I think we need to duplicate our start again and uh And make a different version. Okay That will better fit that the original thing The original thing uh the middle okay the middle All right, so let's do the exactly the same thing as we did before just use a sign here Disable all modulations Make this low All right. Now we just amplitude envelope the pitch Didn't do that much Let's go extend range Oh, that's too much. Yes Now it's too much too It's very cool, but not for that What about the first one? Can we amplitude? Sorry Modulate the pitch of that to extended range. Yeah How about lower? A little higher How about much lower? How about much lower and lower this? Doesn't sound different at all. What the hell? What a different spit difference What the hell? Okay, what I also don't like is that it fizzles out like it's end of beam Maybe what we should do is actually use this for the end And like let it fizzle out All right, maybe I'm gonna copy this and put it on the end And see what happens I'm gonna just remove this and duplicate this note here and see what happens if we have that Yeah, it all together sounds pretty cool now This fizzle out is a bit too much, I guess We need to I think shorten it I wish this could be saved zoom set 50 percent as default 150 Oh wait, wait, wait, wait, we've got our Yeah, I don't want that Let's fizzle out first there Ah, not that What the hell? Yeah, I need more range. Okay. It's funny Oh, I like that. Okay. I just like a single blip This is nice. I like that. Let's see if it works in context It sounds a bit like you're like Plugging a pipe or something The the bad thing is that it always sounds a little bit different. The synth isn't perfectly consistent on that Okay, I think we can use this about very delicately like Just as a touch Also, what if we used reverb on that? All right now, what what what if we just I don't know our early modulated it called ring modulator Just throwing stuff at the wall. Let's see what sticks One amount low frequency. Okay. That doesn't sound All right. It's a nice detail in the background. Nothing I want some of that. Shh. Thank you winky. No, no uh chimes chimes, okay chimes And I think I'm gonna use this laser beam I don't know what is that What if we changed the note of that? Maybe it's still useful. Okay What if we copy this ring modulator And put it there Something strange is happening with the stereo field Oh because it has a stereo offset That's why What about this? Okay, I think that I'm not entirely Sure, if they're gonna like that because that sounds very electric. Wow I'm not much like plasma Maybe I should use this kind of thing. Maybe let's duplicate that And I'm gonna use the original original and then use this pitched up one Just eq it Actually lspq is is cool. So I'm gonna use that because uh, the highs are a bit painful in this one And if I just could Yeah Tame that it's gonna be it's good to vibrate It'd be great. It's great Oh, yeah much better Okay, now let's see if we can boost a little bit of the lower highs Oh my goodness. No, that's get that gets painful too. How about this? Okay, I like that got some layers. It's yeah I think we could maybe try and control the Highs here as well I think Serge is doing a real good job at sounding as analogous possible. That means it It really does evaluate the FM But what it does is creates a little bit Oh nice Oh, yeah, I like that. How about another resonance? You see all the rules of eq don't apply if you're doing sound design like You want to do narrow boosts? Sure Sound design like all these rules apply Are meant for mixing really not for sound design sound design break all the rules And do what sounds awesome You know what I also good do is put a bunch of notches there To make it sound more Computary metallic and all right. What what now? Actually, I could copy this eq and paste it to that this thing See what happens there Nothing really But we can offset it by uh say few semitones Okay, I like that. What if we compress this Really hard. Okay a compressor may be done Oh, it's pretty freaking loud Weird Wait, something's wrong. Oh, of course. I'm applying this post fader Our prefader, sorry. Yeah, if I just hype as this, I guess that would be a bunch easier to Do something I want a bit more highs in this one I want to bite a little bit more like, you know, it's it's the start so it should like Have a little bit more energy Maybe not as much to be painful, but all right. I think it's okay Now when you're doing sound Sounds of space, it's always tempting to just Drown everything in reverb The truth is space doesn't have any Because there's nothing to balance the sound off or even convey the sound in space. There's no sound in space Right. I still don't have these Particles copy some patch and try and do that. I think what I could do is use argot lunar So let's maybe give ourselves a base To go off. What do we do? There's also envelopes that are step sequencers Oh, we could sync this together and like make the chimes So maybe let's use a comp filter And have the cutoff frequency be randomized But have it be in sample and hold What about 10 hertz? Okay, more resonance, please All right. Now we want this 10 hertz thingy, but applied to a Salt oscillator that's going to just change the amplitude of this whole thing So I'm gonna move this down and apply it there So we get that. Is it chimes? Ah, let's change the mode Stereo maybe add a bit of noise Oh interesting I'm gonna also apply this to the noise. I think I need um Macro that would control the rate of these Ah, no, no, no, no 10 hertz And Okay now I'm not sure if that's exactly what I wanted, but it sounds cool That's all I know But how does it sound with the rest? Oh Oh, it's on the end. Okay If we had a global Amplitude filled us Amplitude envelope just the hell was that? Oh our rate has messed up Okay, that's a problem Does it all right? I think I like that Can we change the decay? Yes Can I also change the stereo field a bit of that basically pan it around a little bit? Yeah, I guess Can I copy this? And paste it here Yeah, I can now let's just use this to affect the panning. Can I do it more? It works It does work. Wow My goodness, that's really cool I'm gonna save this Okay, so we have our sound of laser beam. We need to split it into three sounds So How will we do that? Maybe I'm gonna save this and Actually, what I could do is just like have the original here And then maybe copy it somewhere else or maybe See if I have enough room here after this reference Because here we can see how it sounds like Huh and it's also like easy to export this with the video reference to demonstrate to the client What you're doing and if he likes that or not So maybe I'm gonna copy that Or even leave that in for now And then we're gonna like export it No I need to show you how to do this So let's copy this Move it out of the way right here And we'll separate it now Okay, so the start things is this this Okay, these are the start things. All right, so Let's create a cd Markers range and I'm actually going to Steal this name and remove it shift right click I'm gonna put it here start. Okay. Now there's middle If I unsello the start and there's the end start and I'm gonna make it and there's middle Now, how do we do the middle because the middle is going to be the tricky one because it has to loop seamlessly. Okay So what I do is I bounce this to audio on a different track And also I want to stretch the notes so we have more of that So we can find a pattern All right, now I'm going to create a new track control shift n make an audio a stereo audio track and I'm gonna call this looped No, I created on it's on the end. I should have created on the start now. I'm going to Simply feed the master input to it. I'm gonna feed it to output one and two right away So not to master because otherwise we're gonna have a feedback loop. All right, so now I'm gonna root Master to feed the looped track. So here I'm gonna just go master out and now I'm feeding I can record the master output. So if I mute it We can play this back All right, and now we have this bounce. Okay Now ever if I ever wanted to like redo something replace it. I just need to re-record this part What I do now is mute these regions so that I'm not Only the loop the bounce the bounced version plays that's it's important for exporting the project because if I don't then Well, we get double the sound and it's messed up I'm also gonna Send this to playback So you can hear what we're doing with this looped one. All right now. Let's loop it seamlessly So what I'll do is cut off the start I think this part sounds the most familiar like the most similar. Sorry to So I'm gonna cut it here And now I'm going to overlay this on on the front so that this is exactly where our Our ending is and now I'm going to try and find a similar spot To mix this blend this with it with that maybe that's gonna be it You can see some similarities in the waveforms, but not not too much I'm gonna make a crossfade now Okay, let's We have a little bit of a pause and I'm not sure if that's because It is not playing correctly or is is it not done correctly. So what I'm gonna do is go to edit preferences Transport looping loop fates crossfade loop start and end No fades and loop boundaries. I think that's what I want because I don't want Art or to like Sugar this sugar coat this and just want to hear how it sounds Okay, I think we're cutting a little bit too late and what it happens is Okay, now that's better All right, what we can do is Uh Simply extend this a little bit cut again and move this to the start Some sounds don't really need precise crossfades. Sometimes you just Do whatever and it works But for some sounds you need to be very precise I'm gonna cut it here and move it there and we're gonna crossfade on this section. Okay I'm gonna now loop that All right, it sounds perfectly looping So, yeah, I'm gonna create a region Or a range around that and beam Loop Okay, let's try and verify this. I'm gonna save it. I'm gonna export So alt e Is going to show us the export dialogue now channels is important because We're gonna export the master but also the looped Because we want both the sounds that play through the master bus as the sounds that play from the looped Track to be exported if I didn't select that this will be missing. Okay Now let's create a new preset for the exporting and what I want to do is like we don't need 24 bit We want 16 bit. Let's be shape noise dither. It doesn't really matter that much session rate loss less linear wave and This name is no, no No use I also want to trim silent silence at start and trim silence at end so that we will remove the unnecessary zero digital digital black or digital noise digital silence, sorry From our and I'm gonna call this sfx Yeah We could also try and normalize it, but I don't think it's a good idea because It's gonna mess up with the levels we set up in the session and it would be better to like make sure the levels are correct and what I would do is create Like a master Master even either an amp to amplifier plugin on the master bus Or just amplifying the trim on the master bus at this this thing here Yeah, we can do it because we have this export dialog open And then like adjust the the levels of individual sound effects so they sound good together And because normalization is going to be automatically do some stuff, but it might not be good In the context of the game and then the balance like not all sounds should be the same loudness. Even if we use lufs Well, I don't know because Sfx Because you can use loudness and use you lufs to normalize, but we don't want that because yeah, it's it We might not want everything to be perfectly Leveled Now we don't have a limiter on the master bus, but I'm gonna export it and just see what happens. Okay Let's do it Wait a moment. We're doing this. It's wrong What I'm exporting is Like I didn't check the time span and we have the session range. We don't want that. We want the beam start loop and and All right, and it seems that The automatic silence truncation didn't really do the great job future anfa here long after recording this video I have learned what the problem is and I've recorded a separate tutorial about looping sound effects where I tackle this Here's a short instruction which you can use to fix this problem I didn't know this solution in the past. So I carry on doing silly things sorry Let's try it again. I'm going to Add the truncation again and export and see what happens. Okay, that's a little bit better. I think I think this is really not a problem If it is What we could do is simply bounce everything to audio and truncate it manually Now I'm not sure why this loop isn't perfectly ending. Maybe it's just a problem It's just an error of the analysis. So I'm going to open this folder Where the files are exported and I'm going to open this up in audacity And really we've looped sound effects or music music loops You really need to do that Basically verify if the sound does play like you would want it to. All right and actually the sound Ends Very well, let's do an ultimate test. Let's copy this right arrow paste right arrow paste and we can hear now We'll listen if this if it does loop Now wait, you can't hear it It loops perfectly. There is no gap whatsoever and Even if I zoom in here You can see what happens It goes to zero and these are the tiny fades that ardo creates. I'm going to show it to you So I'm going to verify these two files and Maybe this black space here is not really there. Maybe it's just ardo or like I don't know adding some padding to the visualization Or the analysis, but it's not really in the file. We're going to verify this in a while But I want to show you what happens with the fades So you see by default everything when you cut it everything has a crossfade There's a minimum length of a crossfade And this is what helps redo remove a click between the sounds now. We could actually remove that Deactivate this fade and let's try it and see what happens because sometimes it can give you a better result Because we actually cut this file Or cut this recording so the samples should match perfectly Between the start and the end But it would create a little bit of click if you start the sound and end it So actually it's a better way to do this. Sometimes you may want to do away with this Automatic fade because it might mess something up if you have like a very consistent and static drone sound And you find the zero crossing Yourself and you don't want and that little fade is messing something up and you can hear it Then maybe it's a good idea to do it. I'm going to hit alt s and I'm going to just re-export the beam loop all right I'm going to go back to audacity And actually I'm not going to close that I'm just gonna I'm just going to import it again on this different track And hopefully we'll be able to compare it Yeah, so we can see now Here we have a fade it goes to silence here. It doesn't go to silence And what happens if I copy and paste this will it perfectly match? I am not exactly sure But let's let's listen Now I can't hear a difference between the two And it's probably because the sound is very rich in All the kinds of frequency content and it could be masking the clicks Either way both versions are good and they will loop perfectly in a game engine Now let's investigate the other two sounds that are not supposed to loop So start and end but are supposed to start with a sharp Thing okay, and we actually do have a something here And I wonder why we don't have perfect silence and why is it starting, you know with a delay how big of a delay? Not that much, but it's gonna add up Also, what is this delay? weird Oh, I know what it is you know what Let's maybe normalize this file And see if is there anything here. Let's normalize this Okay, there's actual dithering sound dithering noise. I think this is the dithering noise This gives me an idea Maybe what is messing up our? Truncation is dithering I'm gonna try and disable dither And re-export our sound effects. Okay. This doesn't look any better verify. Okay. We still have this delay six minutes later Let's try it again. No, it's it's there. Nothing changed another four minutes later All right, let's now see if actual truncation works because we have silence We know there's digital silence, but will it actually truncate? Wow, it does Holy sweet My goodness finally Finally this now is going to be actually starting when it should Can you see that? There's no silence in the start And that's what you want You don't want your sounds to start two frames after you press a button because it's gonna feel sloppy and weird You want them to start immediately and that's what you get. Okay. Now the thing is We don't have a limiter here and we might we will need one so i'm gonna go lsp limiter stereo And we want to apply it after the dithering after the gate Actually, no, we want to apply it before all that because Dithering is not going to increase any clipping gate is not going to increase any clipping Now the problem with Limiters is that they apply that they add a delay What it's called look ahead And what it does is the limiter applies five milliseconds of attack And also it delays the actual signal is processing by five milliseconds But it's evaluating it. This is the the amount of delay So it's delaying the sound it processes but not the sound it analyzes so it Analyzes the sound in real time and it sees oh, there's a peak. Let's start attenuating But the attenuated signal is delayed by five milliseconds. So when it finishes attenuation after five milliseconds of attack It's just hitting that peak in the actual process signal Okay, never mind. I've explained this in a different video It helps smooth out this stuff because you don't have attenuation that happens over 0.001 millisecond But it always happens in a time of five milliseconds. But because of the look ahead delay It's not like the peaks are escaping you And they would normally All right, let's enable full over sampling Also, this one has dithering and I could use this one maybe Let's use this dither and not just another dither not not just another dither or not just another cd I could also boost the signal so we could lower the threshold So we're hitting something Okay, how much are we boosting? Uh, about seven decibels. Let's go with seven decibels And also i'm going to out lower the output by one decibel. So we have a a little bit of margin. Okay Ah, we're not hitting the limit anymore I want to hit the limit Yeah I think this is a bit loud. I shouldn't be that loud actually. So i'm gonna turn it down Actually, I would want to Oh, it's these uh, it's our envelopes or LFOs messing up. That's what happening You see this is the problem we have with surge lv2. It's not perfectly going well uh This rate is messed up. Okay. Do we use this envelope? Actually, yeah, we use it Hmm Never mind. Let's copy it over And change this rate to 10 hertz Make this affect the rate Wow Wrong. Okay, didn't I didn't click it through well enough now now it now it's what the hell All right. Okay. Okay. This is good Is it good is a good thought and what this now would want to do what we want this to do is Change the noise amount and this note Okay, and this thing we This thing we don't want it to do anything clear all routines Okay, and it's crazy freaking loud. Oh and Is our oh because this thing also messed up. Okay, so LFO is higher than LFO three are not working correctly. All right And we don't want do we don't need these two so we can replace them I'm gonna move this and change this to the cutoff. Yeah Good. Oh, no, it wasn't cut off. It was panning. Okay, and this thing Sorry this this thing. Let's clear all voice routines. All right Good. Hope it's fixed And we can make it quieter All right, let's save this export again Exporting quite a lot And now we will verify if our What the hell our new way of dithering didn't perfectly work with the truncation. Okay After I've reported this problem our developers changed the defaults So recent versions of ardor come with the noise trimming threshold at negative 90 decibels Instead of the old negative infinity However, if you've imported all the configuration files, you may need to change that anyway, and it's perfect Now wait, huh, somehow this this this patch just Went back. All right, let's fix it. Oh, you know what? Let's not I'm gonna do this with argot lunar as I intended argot lunar is a very nice Mmm granular processing plugin that means it splits the audio into short chunks and processes each chunk separately What it allows us to do Is do things like randomly delay A chunk Or randomly pitch shift a chunk or randomly pan a chunk We can also do feedback. So it runs the chunks again. You can also have more chunks What is that though? I don't know. You can also Make the chunks a little bit quieter I said quieter Right, I think it will do Let's see what happens if we play it with our video reference Because you see we have our original regions Original media region still intact in here so we can play it. All right It is a little bit too long. I mean, let me tool too quiet to why Too loud. Yeah, I think we could also pitch it more up Or even use a band pass filter that would be randomly up and maybe make it quite All right. Nice. I like that Cool, you know, it's a very tiny detail and probably in the context of the game and you know hot action It's not going to be noticeable, but Just a few times when you fire this laser and complete silence and you're going to hear and you're going to be like That's detail. Let's save it. Let's export again. I think it's a bit quiet. Uh, let's try it again. Yeah, nice like it good That's one sound done and we're one hour and 40 minutes in Real time. This might have been shorter if I edited out some crap Uh, let's do another one But you know what? I think I'm gonna take a break first and also see if everything is recording properly Uh, see you in a while Who won? What happens next? Are we ever going to find out? It's up to you