user542745831
Veteran
If GT7 still has vacuum cleaners I will lol and cry.
See:
http://www.youtube.com/watch?v=0A7NYGHgnD8
If GT7 still has vacuum cleaners I will lol and cry.
I doubt GT6 will sound like the real counterpart but it is unfair to compare an offscreen video with actual real life footage
I doubt GT6 will sound like the real counterpart but it is unfair to compare an offscreen video with actual real life footage
GTPlanet said:[...]
Sound was recorded as single-channel (mono) audio from TV's headphone jack. It sounded better in stereo from the TV's speakers.
[...]
I hope more memory and sound processing power will help them make better synthesized sound, or at least more interesting composite sound which don't feel like cheap loops. So maybe we'll have to wait for the PS4 version.
Over the years we’ve changed our recording techniques in search of methods which made the cars come alive. We used to record cars by placing them on on a dynamometer, but this gave us a pretty “stale” lifeless sound (perfect for programatic, scientific cars though Now most of our recordings are done on a track, with dyno recordings filling in some gaps. We employ some of the best car recordist to ensure we get the result we need as there’s only 1 opportunity at times. As always it’s a team effort.
For NFS we’ve recorded 150+ cars, anything from regular to high end 1 million dollar race-cars. Each of those is a new experience as you always have to find the optimum recording spots. Besides that we’ve done car crash recordings in multiple ways, several sessions of skid recordings, road surfaces, bumps, turbos, rattles etc. You name it on a car, and we probably recorded it.
Wow, yeah I agree it's much better.That is worlds apart to what Gran Turismo sounds like IMHO.
^ Good examples.
Wow, yeah I agree it's much better.
DS: Another great feature on the Need for Speed series is the implementation. How is that process done? And what about the audio engine used on the game?
CD: On NFS we use the majority of EA’s tool-set; AEMS, Pathfinder, Renderware Audio etc. Beyond that the NFS team wrote their own mixing tool starting in 2004 which also has been used in numerous other titles (Skate, FiIFA, NBA street etc.). This tool can modulate over 2000+ parameters each frame without eating up much CPU and acts as an interactive dub-stage equivalent. It was developed by John Twigg and Cliff Kondratiuk. It is still in use today, but in the next few months will be replaced with a more refined version. Splicer is another tool written by the NFS crew. It basically can read Protools sessions and allows very quick multilayer sounds to be created.
Splicer
Aems is our MAX/MSP equivalent runtime. Originally developed during the SSX years by EA Tech. NFS audio programmers recently wrote a new interactive music tool, taking full advantage of beat-matching, overlays, multi-tracks, animation-matching etc. This will be used in a future NFS. We also have a proprietary way of playing back car audio. This was developed by Patrick Ratto. It’s been our work-horse since 2004 when the first review on NFS Underground 2 (official U.S playstation magazine) read “The sound effects are without any shadow of a doubt the most amazing I’ve ever heard in a videogame. The rasp of the engine is so unbelievably believable that you can actually feel the reverberation of the exhaust as the ower surges through it. It will change your expectations of what a game can sound like”. Now this engine is in it’s 3rd version, and we’re doing a re-invention on it. Most games are still working on refining car audio sound reproduction, we’ve moved into making the cars’ audio come alive, be real, be as expected. We’re using a whole new tool-set for this, and some magnificent audio artists.
https://docs.microsoft.com/en-us/ga...tworking/concepts-realtime-audio-manipulationDirectly access and manipulate audio data in Party voice chat
3/3/2020
The Windows and Xbox (XDK) versions of the Party SDK now support real-time audio manipulation, allowing you to intercept and modify voice chat audio. This enables you to implement custom audio effects, such as spatializing players or applying voice filters.