Star Citizen: Reverse the Verse LIVE - Hangin' With the Audio Team

20 April 201801:00:301,559 linesWatch on YouTube ↗

Transcript — every row opens the video at that moment

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greetings citizens and welcome to another all-new edition of reverse the verse life the only show with a single option on its character creator bearded internet host I'm your host Content Manager jared huckaby on the show this week we've got Li ban iord and Philip piers Smallwood on the show to discuss all things related to creating an immersive universe full of sound and fury and beatboxing but before we get to that let's check out the Week in Review last week on the show we had tech designers John crew and Quarantine bellomont as well as vehicle artists Michael Sillitoe on the show to discuss their work on the origin 600 the aegis Avenger reworked and of course the reason revealed origin 100 starter ship it was a fun show and if you missed it the replay is available now up on YouTube we also had our very first free fly in nearly an entire year
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this weekend and it was great seeing all the videos and streams that resulted from it including more cyclones than you can shake a stick at at the DMR rally we're gonna have a video about that damar rally in just a few minutes so good job guys Monday saw the release of another episode of calling all Deb's this time focused on such backers submitted backer voted on questions like ships that perform their actions while docked inside other ships landing aid systems location markers on planets persistence after crashes and the process for developing snub craft now as usual you can catch each episode of calling all devs every Monday and don't forget to vote for which questions you want to see addressed most now Tuesday saw something new the first posting of our letter for the first letter from the chairman of 2018 now in it chris roberts revealed the backer rewards for our first two
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million citizens now I'm as big a fan of playing Barbie dress-up in any game as anybody so Susur shirts like this that tell everybody you were there when are pretty cool in my book now if you want to read more about it it's right up there now on the Roberts space industries comm website finally Thursday brought with it another all-new episode of around the verse this time focused on the on our continuing efforts developing the very first iteration of the character customizer now Wow like I said oh this is the very first iteration of a fairly common feature found in most elmo's I'm still excited by the sheer breadth and volume of options slated to come online throughout the remainder of this year and beyond making an avatar that's truly representative of your character is an important factor in immersing yourself and is in a universe as any other so you know in fact thinking about it we were actually just looking at some spectrum
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threads earlier this week about various features that you guys were looking for and that was pretty cool so I'm off the script now keep those things up guys we like reading those threads let us know what you want to see now we're gonna take a short break and play a video from the community it's a DIY rally but when we return we're gonna be here with Lee ban iord and Philip piers Smallwood to discuss noises and where they come from stay tuned we'll be right back the damar rally which is a wonderful a backer organized racing event that's happening I think it's fun selling I was just trying to make JJ laugh but it's my show yep haha so check that out joining us on the show this week Lee banner didn't Phillips appear small wood from
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foundry 42 UK hey dude guys hello yeah just just cut out just that sorry we lost your mic for a second yeah we're here hello thats a right as we were starting the show Phillip was sharing his throat guttural throat singing in my in my ear as he was getting ready to be in the show so right now because every show is somebody's first show I want to take a couple minutes and just tell folks you know who you are and what you do for foundry for what you do for star citizen and squadron 42 why don't you start us off Lee okay well I'm Leben yard so I emphasis on the second syllable and yeah I'm all do director for foundry 42 here I kind of head up the audio team built
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it up here in the UK and yeah apparently my official talk with global audio director cuz we have like you know one or two people also not last all these in other territories so yeah I'm kind of V supposed singular point of contact in terms of style of the audio and I do a lot of stuff to try and help my mentor people annoy people largely and yeah just try and bring it all together I'm a person that gets the blame from things audio and yeah that's me and more besides that you feel well in that case I'm the global audio lead the world yeah under lead sound designer on the project so Mia I try and support Lee
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as much as possible and making sure the team's everything needs to rock and roll and you know provide guidance expertise where I can to the rest of the team and just make sure we can do what we need to do the game's sound as good as possible as well as like some creative sound design and stuff like that but I'm dealing primarily a lot with the music requirements for the PU and that's 42 at the moment have a lot of fun doing that now of course on reverse reverse light of this is your first show we do take questions live from the chat you can submit your questions in one of two places this this week you can either submit your question live in the twitch chat please where you can preface your question with the word question in capital letters surrounded by brackets it's gonna help our community management team you'll pull them from the chat you can also submit your questions live on spectrum which is our bespoke
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communication platform available on Roberts space industries com either one works before we get to the questions I want to talk a little bit about what you guys have been working on that recently this year I know you guys have done a lot of work on optimization for instance of audio code and and and when I first heard that I was a little I was a little surprised that audio code is not something that generally I think the average gamer thinks about needing to be optimized what can you tell us about your work on that generally with only audio code side of things I think people don't necessarily realize the kind of a modern problem with game audio is that there's so many objects and things in the game that can all make audio any given moment it used to be but you couldn't actually trigger enough audio in games in the old old days when
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I started and now it's this mostly that you can everything ask that should have a sound of some description and it's actually pairing it back as we spend a lot of time doing that trying to make sure that the experience is optimized for user so it's not just in terms of like speeding up code and things actually making sure other systems that manage all are optimal and you know momently do not stuff it all thread safety which is to make sure it works over multiple cores and stuff like that so it seems thread-safe so yeah a lot of it is that's making my optimal over about these large what they're they're doing in terms of optimization right now but we're always kind of because it's obviously a never running release it's always optimizing kind of all the time as we go and that's
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still quite difficult for us because we're downstream from some the other disciplines who can first perform in terms of what their systems do so it's not just optimizing in terms of just Jeff getting it running which half of it seems to be maintenance it's the type of keeping the quality up as well Amy yeah one of the things I noticed you know we've spent and tell me if I'm wrong here I it's possible I it was in my head did the ambient sounds in port olisar in in Korea and grand exchange this year and you know I've spent like two years in port olisar and I swear when I when I logged it when I log in this year it just feels different sound wise am i imagining that yeah I think you there might be something strange with your brain or something no no I think we out we like to say we're always I mean Phil you probably actually answer this better
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than me but I just want to get that right you know we've done some reworks on the ambiences for pretty much all the locations we've had some juniors during the team recently and putting them through the paces is first and foremost putting them through ambiens passes our new locations one it's great to get new new ears on each location and stuff and move away from the status quo and to train them up in the the editor and again used to all the tools that we use and we try and embellish and improve all the locations I as often as possible so I think port olisar got any past left's key grim hacks and some other space stations and stuff like that so yeah and we've also implemented some new music so that might have Martin you might pick up on that as well they're quite involved
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locations and I think because they're quite high Valley locations we just keep trying to revisit them and bring them up as much as we can and everything every time we always you always finding stuff wrong it's never really finished you know in terms of that a lot of the times when I wouldn't went out wearing it that might get to play the game I started up here at the office and then I'll get you know a Skype call will happen or or an email coming I'll have to stop so I find myself listening to the ambient noises probably more than anything else because because half the time when the game is running it's running on the side monitor I'm sitting there in an email so it just is just one of those things like I think I'd gotten so the ambient noises of Ola star had been so in rain in my brain that was instantly recognizable to me I'm like whoa this changed something's different here even if I couldn't actually identify what was
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different one of the things I know you guys were working on and I was reading about it a refactoring of the the the weapon audio system though it's not something called the weapon perspective sets well what does that I actually don't know what that is I just I just remember it it when I was reading about it it sounded like it was something about how the weapons can change in different environments am I right or am I wrong you tell me mm-hmm yes so the designer that's looking after the weapons primarily the moment is a Bonnie Orem great chap and what he's doing is trying to put a bit more fidelity into the different perspectives so that's third-person perspective primarily NPCs so obviously as a player character you have access to all the weapons and you
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play that from a first-person perspective and then I have a not too far third-person perspective but what we were doing is adding more depth and character to an NPC at different distances firing those different types of weapon at you so if they're say 150 meters away or sound very different if there are hundreds 75 50 25 or right on top of you and we do that by introducing and taking away different layers based on distance so if say if if an NPC is firing a weapon at you at very close range you'd possibly hear more the mechanical workings of the gun and then if you're really a far distance then you would just hear the boom of the shot I know that sounds cool actually that actually brings me to something we've got we've got sound sim we've got
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something called sound sim now and that's that's the thing you know everybody knows in space no one can hear you scream or whatever there was a popular vine really is no son of the game then okay exactly we have this we have this thing called sound sim I was really doing that you guys have made some advancements in that recently yeah Jason and copper has been doing a lot of the stuff he's based in Austin and the general concept behind that is to try I mean it is slightly you could argue a device you know but we used to develop kind of excuse or a reason for sound to be and and communicate what it does within the context of star citizen but this is kind of introducing partly like walls were consistent for it you know because what the general concept of it is like and there's technology with this
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now for doing this actually mmm where you analyze you environments with you know other lasers or something crazy like that lasers yeah oh yeah they are actually lasers but lasers in real life a lot less you know increase when you think and you know and you can discern you can actually derive sound information I mean is it sound is meant to be an information stream kind of further you know to inform decisions that the player makes a moment a moment so that's that's really what about mechanism is is all about and it's yeah it's you can't really think of all the context in which you would kind of want to resort to it or what should be sound similar what shouldn't is it on at this point how much does it come from the ship how much of it is an onboard you know device with each user player has so yes a lot of its just working out working out conceptually as much as you
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know the actual system itself yeah there's lot of dependencies and and stuff with it so yes but a lot of time thinking about this it reminds me yes it was just yesterday the day before James quarry the author of the expanse novels was so much something asked him why there were watching the shows that show Just Lunch nobody has on why there was you know where do all the noises for the for the for the guns and the engines and they come from when you're when you're seeing an external scene his response form was the same place where the music comes from yeah yes it's true it's this I mean it's it's it's weird if you don't have it yeah you know I think we'd rather have something I mean I like about it so it was something I hope will be within the control of the player you know they'll be able to turn this off
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and will go for a you know I can't commit to this fully but you know that's pretty much provides a view say about everything but I confirm or deny but you know it will be because I hope eventually it will be harness as a game play missions and within its own right you know maybe it can beat on and off for some sort of tactical or strategic advantage you know that you need to present sometimes these kind of elements and tools or - the designers to say oh okay that's something that we could actually use the fold into a mission or scenario or something like that and I think they were just you know really open and possibilities I don't be really cool in a situation you're in a big space bottle and you get you impede or ship gets disabled and then you're sound sim falls away yeah and then it's just you stuck with the sound of your
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mediate surroundings the [ __ ] you see all the stuff going on and you've lost that sensory input yeah and I knew you you really in dribble that was a bit we would kind of think about making it maybe it's processed to such a high fidelity by your ship and so that would give you kind of almost a tactical reason to park up your ship from near to certain action and stuff like that well yeah and that's something was thought to talk with you know designers about whether about something they would actually go for a movie about some about be putting paint in too much of a torn of it I like thinking in terms of the sound having meaning white band we know but to actually present you know possible gameplay things you know everybody really I'm good I'm going to get an angry email from an art from a from a systems programmer in like three weeks like what did you guys come in us to on our TV oh yeah we had a feature on
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a TV that not a feature it was we showcased a lot of your work recently on a TV one of the things that caught my eye was the the sound effects recording when you guys were you were you guys were in there doing fully recording and you had it mapped to a MIDI keyboard in my question there is have you ever tried to play stairway using nothing but Foley I was actually it was more of a kind of it was more jazz Odyssey if you if we're going to swap references Jared that was more that's what that was I'm so - young for this yeah oh yeah and it just kind of went on and yeah I was just a lot of that was playing around with lots of different low end frequencies to see where objects would resonate in
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interesting and sometimes of stupid ways and yeah what were we using all sorts of metallic objects you know and what we were resonating it with whereas you know it's called a bucket Squatch kicker yeah yeah TM and yeah that's that's like a line of essentially actuators so you normally used in consumer level kind of stuff where you you know you simply attach it to be on the side of your sofa while you're gaming and you send sound information to and it adds yet more information to your physical body coming through through that and so yeah it's just using it in a quite an unconventional and unintended way it's very good fun it's quite tiring strangely yeah give me a carpal tunnel syndrome yeah jazz keyboardist in my
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family found out yeah yeah all right so first off if you guys if you have been looking at the chat right now and if you haven't seen a spinal tap you're wrong and you're in a world of wrong and you know you think you should go to see spout tap and turn it up to 11 you do yeah oh it's one loud too isn't it it is one loud yes holy can we please have just an audio slider something just just one just but it just goes to 11 for no reason yeah isn't that just like then you just make 10 like a little bit louder but this is one matter there's one matter so see yes we've been collecting questions from the chat we also collected questions throughout the week in a dedicated thread up on spectrum for the folks that couldn't
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join us here we're gonna start getting into some of those questions from the backers right now right now I'm gonna take the first question that was from the live chat here it's kind of loaded but I'm curious what your answers gonna be how many simultaneous sounds can be played at once you get that number just on the top of your head I mean in the game or just in the universe in general in reality it's a very open question they don't specify the same day in the game right there isn't a limit I think it was actually a hard to move 256 at the moment I think I set about myself in a wise project so yeah but it's about it's literally how many you would and and again that's one of those ones Assoc of people are seeing that more is better and actually yeah it kind of isn't you know and that we spend a lot of like I said earlier in the show and spend quite
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a lot of time working out what the players should be hearing from moment to moment so actually playing 256 at once isn't really a desirable place to be as much kind of perception bandwidth we have as humans at least most of us are and you know that's that's why it needs managing and got better a lot of the time I think you can we perceive 12 individual sounds any one time as individual sounds only trapped twelve in the real world okay I think it's a variance yeah I'm thinking about how many threads there are about framerate and how many frames the human eye can see and what now we just we're about to start a sound thread how many sounds and the human ear here analog versus digital there's a lot of differences between them no it's a persistence of vision and persistence of audition quite different things so you
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know we think about it quite a lot actually that that's obliging mm-hmm I think you have a really really nasty picture but great audio and you perceive it that's it but then if you have a great picture and nasty audio then you don't you can't engage but that's all she generally degrades the perceived quality yes oh good all you can make something bad look better that's what we want so so that's what we do that was so cool I actually just saw an article this week about about a new study that says that like news broadcasts and Stuber speaking engagements poor audio leads to people not believing what the person is saying yeah that's right I've circulated the same thing and I've got a poor audio recording um you know the content of
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what you can saying is is great but if it's a poor audio recording it's less believable to people so I said you believe it's fake not necessarily what you just it's generally less you know less porosity resonates less yeah I'm just realizing the place I saw it was on your Twitter Lee I didn't remember where I'd seen it until you said yeah I saw that too oh my oh that's right right to petition I love with questions like going back to the spectrum thread where people were able to submit their questions throughout the week and then vote on which one's the most voted question on in that thread was some movies like interstellar and Cloverfield or games
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like alien isolation have an ingenious low base down to 20 Hertz would it be possible to bring this into star citizen because it creates the depth by a lot it create it increases the depth by a lot when good subwoofers are really in demand but unfortunately they have little to do in most games right yeah it's actually a good reason I think that a lot of games issue that because it's it's a lack of predictability of how all the sounds that have come together is it's really easy I think to get a lot of sounds you know kind of again this kind of relates back to the limit of sounds we have you know what we mentioned before if you actually have quite a few sounds playing at once that all happens low in Compton it creates a mush is becomes very ill-defined and you'll find actually a lot of V I think that some of
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that still come later when we really turn on the bass if you like once we you know figure out where low end should come from and how to limit that in a more intelligent way for as I agree I mean everyone you know people who associate that with you know being impressive and powerful sounding I just really don't want to you know essentially muddy everything and the court at this point Italy is it's partly MIT's tech but we have to go in online for that we've looked into look they almost we synthesizing bass like taking out of sounds i've been selectively putting it back in which i don't think anyone else has been doing before so you know there's plenty of stuff we can do in that area and i'm keen to get in but it's just one of our screens where it's more likely to be a bit further along than at the moment and also authoring discrete sub content right we've looked into that as well
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yes a rather than just routing everything 51.7 19.2 or whatever we can actually discreetly send chosen information to the sub to make sure we don't muddy the mix rather and have everything sent again that's another thing if you put of low-end information in sounds I've been sent to stuff like environmental reverb things when you get you get that in the reverb as well yeah it's just all there's not much room you know to jostling room down at that end for the audio spectrum and so yeah plus it's just a texture manager if we're doing anything clever with metering and wise then you know you've got these these sub bass frequencies going on I'd give you a lot of frequency light love altitude information yeah it might not even be perceivable yeah a lot of people don't have that you know of that stuff I'm you know I think a lot of our users a
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headphone bass and actually we tend to get quite a bit of you know low-end of a type through headphones but you don't get with that physical sensation as much you know that kind of hitting you like wave from now that you get from speakers yeah well I'll make them all makes a whole bunch of sense looking at the live chat there's a question that's coming up quite often here and I'm actually kind of confused by it so it says some other games have an audio manager that you can drop your own music into and listen to while playing is star citizen doing something like this can't you just lower the music slider and then open up Media Player and play her own music and it's the same thing it's not quite the same thing I mean we've covered up the jukebox and I kind of like to extend that further so that people can do that more one thing
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that you know it's a problem with that is streaming it out you know to other people and that's a whole legal thing I'm just gonna back away from yeah there's no touching that but yeah you should be able to do that and planing and media player as a separate application entirely that's like it won't be spatialized as if you were playing in the world so about something that's generally what people want to be able to do and I know I would want to be able do that as an alternative to having say both the store really they should be able to exist how it's this quite nicely I think you could do that if you had a specific device that represents your music device in world you know the equivalent of Alexa or something play me this in my ship as I'm you know tracking how many of yourself just there yeah I don't fart too many probably yes so be grateful integrated like a job like anime you
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could I have retro audio devices in the game and then like put your mixtape onto a tape and put it in your ship yeah I want people to be able to have musical instrument system I'll learn how to play in in the actual universe as well and people who have you know I've mentioned this please don't hold me to that you know I want your people to be able to play gigs in venues you know disaster area sort of in within what do you do in star system mostly learning oboe my you know my career is you know I kind of bust I just see it as possible valley to thing it's not high priority yeah that's right so specialization makes a lot of sense oh and for anybody watching that
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doesn't know we do have the stellar sonic jukebox that's that's available as hanger flare so you can actually do that now you can load up your own and be threes and play them in the hangar module and it's a specialization in the hangar module it's pretty cool let's see what else do we got how many custom sounds do you make compared to just using sound libraries very much about numbers yeah but nine I'll leave that one to fill that well pretty much all of them very rarely would we ever drag and drop from a sound effects library so I'll let it happen well I feel around with that whip know typically what we do is a very basic sound design level if
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you want to design something say like an ambience or something we bring in lots of different source material and then track layer and make sure it's there in make sure it supports and they're over different frequency content bands like low mids and highs and stuff and then process it and render that out as a new file so it's not like we'll get wind and then just cut like cut that out and drop it in the game we'd always take it into a door and combine all the different sounds and you know what's a door for most people a door as digital or digital audio workstation like you know Reaper Pro Tools Cubase logic or that kind of stuff so yes we have access to the loads and libraries but we we purely use that as source rather than like end and use a material we push out to the game you do a lot of their own recording their own source as well hence with freeform jazz
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metallic madness what kicker for yeah I think that's important kind of get source hasn't been you know you know it's unique coming for my provenance even you know you've got something that no one else is experiencing yeah you get a combination of both you get like high burn rate on some sounds I everyone knows the will home will Wilhelm scream right when we hear thy use cringe but there a certain style I don't know the what I'm screaming Phil can you do it for me but you know I'll be watching like TV shows like films and there will be certain sound effects that you just cannot use not even a source like servo stuff some pressurizer stuff there's a flame whip this overused all the time
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and even if people aren't aware that they're they're hearing this like repetitive and material people will subconsciously know that it sounds like something else so we always try and move away from that and try and record as much as we can yeah but the brain is a lot less forgiving to repetition and the eye is less than the yes it's like I mean I was a question I saw us on about how do you ensure that wild lines and stuff aren't so repetitive and that sort of thing a lot of it you know we're looking at ways to you say stuff like machine learning perhaps the process stuff so you know process like dialogue lines so that we can almost procedurally do variations Robin had to go back to the source and battery out and that's about sort of thing is actually very you know it's very experimental stuff that we're doing with that and that's a long way off and that's what provides everything but yeah
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that's it's it's in our minds that that sort of thing you've got to keep bearing it up I'll just cross the wild lines question I'll first the the next question from the spectrum thread said someday soon we are going to be able to buy different components for our ships this means that we can change out the engine the power plant etc etc etc will the sounds of our ship change we do this as they are different components yes yes yeah it's always been on that comment we regular to do that because you you want it reflected in especially we're looking at with revising no matter what so that's these made the ship audio anyway and that's one of the things I think if you you want to hear that difference when it mates to your to your ship is where you live and I think when it especially at
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the moment apart from port olisar obviously Jared but you know it's the ship where your ship is that's kind of almost an extension of you and I think if you customize it you want to hear that happen you know it's a bit like if your car depreciates or something over time and you almost know I've only had one car in my life and I got quite attached it just was general sound of it you and I any anything I did you know I got it fit stuff it was quite satisfying to hear of a change but being imparted to it so so yeah I think that all has to be I mean how we approach that is still slightly up in the air because I don't want people to actually just create an audio mess you know put a few different compared to the ever net this becomes you know I'm pleading so it's we have to look at how we manage manage back again
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and how we limit back that still good yeah I think about site all the need for Need for Speed games I played growing up and every different modification you could do to that car like you get a turbo you hear a turbo and stuff like that fully imagine we're going to realize that in the game and same with like weapons and stuff like I know all the Mass Effect series they did a great job and dead space for like having customizable weapons and each customizable element changed the sounds but they say it's a difficult job because you've got a introduced new sound but you don't want to just have a combination that doesn't work we have to make sure every every combination will work together yeah I think it's it kind of almost goes back to that myths system when if we have something that knows the spectral footprint of these sounds we know how I can come together and which one should win and if I'm pinned upon
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each other how you know one needs to duck down business mhm it's a sort of tech you know we combining lots of elements in ways that we can't possibly predict is probably what this game is about so let me spend quite a lot of times systemic audio yes this next question is I it just says simply Kerik audio right yeah no no I agree yeah I agree a lot with that question yeah like blah depth there yeah it's almost too much to cover what is I mean my cuz I don't know what I mean the counts been ready for quite a while and I don't know really why they haven't decided to kind of put it out there yes we're now a second division in fact and then it's not one I'll be short and you
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said yeah you said a bit loopy seems I don't know it's I mean Darren's done a great job and ship ordinate generally in the character particularly is one of the best sounding this is such a pleasure to use isn't it I mean you just you know absolutely my favorite it's definitely and I can only think they're holding back for some you know really good reason I mean yeah I mean Jared can probably explain verbal wine that might be yeah and he's the go-to guy yeah Jared this will be the last time we ban yards on River staffers brilliant plan worked did yeah did you submit that question that's brilliant now I just in case there's any doubt people that mckarrick is not in active development will let you know what it is I promise
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it's fine it's ready to go yeah I asked to see people asking where does the space whale sound like you guys never been to let's see from that's it's fine a question for the live chat I guess here's an issue one is the music affected by what's happening in the PU to the avatar the example they get the give is like when you when you drink from the alcohol cabinet your you know your spit your spatial awareness goes you know your vision goes and you can't you the control of your character goes are there things that can happen in the universe that would affect how you hear the sounds of the music like a stunt like a grenade going off and tinnitus in the ears or something well it's interesting because we've got the split
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between Jessica and non-diegetic and what that means is diegetic is in the world so in in the situation that you are so you hear music from a radio that's diegetic now when you hear score like you would in any kind of film that's non-diegetic so nothing in the game would really affect how that would play back regards like sound quality because then you're bridging the gap between the two but for certainly for anything that happens in the game so if you've got music coming from a radio or PA I think a flashbang or grenade goes off near you doesn't attack on the sense it's about the way how it affect you visually they'd also be supportive audio effects you know I'd taken out the top end typical thing people bring up a high wine and stuff like that but yeah I don't think that's there's anything that would change like
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playback speed or quality of playback but obviously the game responds to action in the game so if you're doing nothing you're still around an FPS you'll get ambient stuff and then if enemies appear and combat starts ramping up all the music responds to intensity and mood and now that one between different intensities of music and music sweets and stuff like that again it's kind of one of those things where if you make the score the dynamic score to reactive it kind of can devolve and dissolve one of those words into something of a mess so you have to be quite careful and fussy about what you tie it to yeah so if you did tie it to certain things that kind of they're easy for it to be reproduced at a high rate though that can just lead to stuff that it doesn't really give you anything good no it didn't
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and a big book birth for both of us is when a music hue happens before the actual action in the game is perceivable yes like a stinger some people like that some people like almost get gameplay cues from the store and I know it's some Dame's do that and that's fine if at best the way they want to go I just kind of think that should be more something that the game audio does for some you know proper real information system there's obviously B's you always can be broken and bent by instance depending on the situation but yeah but that's my general rule is that there should be some other information stream and then music in the store can we have to confirm that perhaps does he just don't giving the surprise away yeah we've got a question here about Voigt but after that character skip it
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let's see will there be acoustic indicators for we're in terror like engine sounds changing or coolers giving a sizzling noise when they you know begin to break down and they're damaged it's actually something we talked about probably a couple of years ago or more now is I always thought it would be great to have a aged and peruse parameter attached to almost anything you can come into contact with so even like doors that cupboards how often you use for your bathroom whatever that could be used to inform a certain parameter that would you tie in to depreciation they call it wear and tear and degradation politeness on deck with degradation but more negative connotation I mean I'm gonna uh name the parameter defecation fine if it's if it's a surprise it does what job I don't mind so that's actually something that we've
00:37:20
been pushing like as I think to see realized variable we call it technically I remember they would have to but yeah that's something I mean that's fascinating naturally you know you have something that if you use it you know one to thousands of times that but you could actually have it subtly change over time and become something different and when you go and get it repaired and it's back to pristine again looking that so that sort of long form kind of stuff on front of it it's fascinating has only been done much absolutely because I think there's a big simulator part to the game and imagine if you don't if you wouldn't you don't maintain your car then every now now it's gonna fail so imagine you get into your Hornet and you've you've just been smashing it in the verse yeah and you've not actually took care of it and then something happened you're getting your ship false start
00:38:05
all right panel for us off it could apply to so many things in the name of it's you know it's particularly persistently if you have clothing but does man you know that can wear down and we can we can join you know guns and somehow start to German yeah so just sound getting it all depends read have to reflect that in the actual you know it jamming but hmm there's a lot of things we can do to indicate that Harris is on the way out or you know yeah yeah I think one of those those classic those classic moments when you when you weave we driving your first car when you've owned your first car is that when you have to take it in to the mechanic my car is making a weird noise you don't quite know what it means but that's that's your only indicator the warning light hasn't come on that you don't see anything you don't see a drip or anything but there's a noise that the car is making now that what that it was never
00:38:53
made before so you know that indicated that basic fundamental indicator that something has gone this wrong with your with your vehicle I think is an important part for me anyway all right another question of a live chat a couple weeks ago it was mentioned that you were using high and low frequencies on metal in order to imitate ships entering atmosphere can you go into more detail on that and maybe any other interesting tactics you've used to get audio that sounds like it's talking about the budget session that we were talking about that yeah what else that might refer to it well I think that's pretty much it that's the book kicker session so we we booked out a studio panned out the live room and got you went to a scrap yard just down the road and we
00:39:41
threw all this scrap in the back of the van we turned up I'm like we want to vibrate your metal is that cool the guys like yeah yeah so we were going around like hitting things you know dodging rats and then we took it to a big studio and we got a repossession with a MIDI keyboard play that for a sieve into a book kick and my best work yeah jazz wonder okay and we just played different profiles and vibrate different constructions and metal and stuff and that was really just to try and capture different materials vibrate any different frequencies which we use a source to implement for ships when you're coming into atmosphere or whenever a ship is under duress but we've done other recording sessions a while back we did a cool gun recording session at Copa pulled down which is a
00:40:29
military training facility near them in the Midlands and we recorded 50 caliber machine guns a 50 caliber sniper rifle called the destroyer now I was about 6 meters away from that one is being fired and the pressure wave that came off that was like compressing my sinuses it was insane but that without recording session was wasn't about getting the shot of the weapon we put microphones all over this simulator it's like Eastern European town and it was to get the reflections of all the weapons like that the the slap back in the sports I think reports yeah I feel that loads reports no no it was great um but yeah we try and get out and record as much as we can because sometimes frankly the scope of this game is so vast
00:41:17
there isn't stuff there there isn't libraries that we need such heed raw material from so sometimes we have to go out and record bespoke stuff yeah the coding more of it as well as something more than whoever really there's definite one of the perks of the you know getting out and getting stuff I mean knowing you know this hasn't been heard in my offices yeah especially the weapon stuff is so much dope that's that's not part of it kind of is doing more of that so much scope yeah terrible I don't what the trigger was get a question for the chat dad just what you were talking about you were talking about the destroyer what is the weirdest sound source you've ever
00:42:05
had to record for use in the game weird sound source yeah I know I don't you know down did a load of stuff with just very strange household objects but he was doing him at such high he was recording with such high rates you know high my bit rates and sample rates and they were just stuff that you wouldn't expect and even what is that sound it sounds massive over its a plastic cup you know that sort of thing even made massive we went through that session he spent about a week at home just digging out all sorts of just random strange stuff but yeah I don't know what that would be the weirdest sound source well that in itself is like you know one step down the rabbit hole because you're recording small objects 192 is means you can you got so much information that you
00:42:55
can slow it right down so you take something tiny like a set of keys and just jingle them but then because you were calling such a high fidelity you can slow it down it will sound like huge weird alien tone or bells yeah right so it's it's it's it's stepping into a spectrum that we've never really perceived before and using those 100k mics where it can pick up up to 100,000 Hertz yeah that's we don't like we can only hear to 20k and this is 100 K so it's all this frequency information that we can't perceive then we pitch it down and they've all this stuff going on that we can never aware of usually and some of that was just you know a really strange stuff but you kind of forget what it is once you start hearing death all these strange sounds of it so it's probably something that Heath I mean Darren is one of the weirdest members we have anyway in he would probably find something weird
00:43:42
nothing that's pretty fair he would agree with that and yeah if anyone still find a wave drop to use it would be him yeah I think me personally the weirdest thing I recorded was myself choking yeah you did for the for the breathing step yeah nearly passed out couple times nearly threw up a couple times budget and then just spending you know a morning just going let me let me give you a rendition now it went something like I was it yeah yeah sorry all right back to the spectrum thread I just I just I'm just what are the plans about what are the plans for sound stimulation in different environments does there's
00:44:31
when we have echo and reverb does the sound still emanate from the sound source or does it come from the from the wall that it's bouncing from so it's just kind of slightly across so we were talking that was before it a technical question with how environmental sound or the coos the effects of competing refer to manners working in in wise and stuff at the moment we're trying to come up with a way to make that kind of awesome asset by having you know ray casts and stuff out from the player so so a kind of system level again that word again but you again knows what kind of room you're in and then adjusts automatically there's a lot of this you know I've done a lot of markup type stuff before where you that's where you set you know manually you go in and set out a room to sound of a certain size and dimensions and that sort of thing I want us to be
00:45:20
able to do that for certain the spoke locations because I think he means didn't do a better job of bath poltical even when maybe a system can but that should be interleaved with a system but that chooses the right preset or whatever for doing that perhaps layers room as well and there's so much work more work to be done in that area not that we need to it doesn't really come from actual yeah it tends to be a bit more 2d at the moment and I think we can the propagation system which everyone - mentioned already is that will once it takes all those acoustic effects and ports from properly through doors and stuff I mean it would actually bring a new level to the see realism really of the game with this quite a bit subject actually and it's been quite a bit of time thinking about that again the trouble we face is we got we're trying we want to model how audio works as true
00:46:11
to real life as possible however if you if you if you do one-to-one model then it might stop all the fun out of the game so we have to we have to balance that so let you know if you get shot at the whole crack thump thing so yeah the bullet whizzed by you and then you hit a thunk way off the distance if we mold that one to one you know the distances we deal with in the game are huge so if you've got like a futuristic sniper rifle that can fire over say you do like a ten-mile head shot then you'd never perceivably hear the fight the good fight just hear the bullet by yeah some people might like that and stuff but we have to make sure we balance you know yeah the fun of the gameplay as well excuse you where Phil will say stuff like rule of cool rule of cooler I don't think there is a rule of cool I think it's a maybe a set of rules that maybe may end up cool if you're lucky
00:46:59
yes sir squid is so square man sorry I'm having to respond to an email yes phil was talking about choking himself but it was for the work it was for work so it's okay yeah yeah you know we've mentioned several times you know you develop you you bring it to the point of realism and then you bring it back to the point of fun you know it's kind of an overarching rule for every aspect of star citizen at what stage of [ __ ] of the the ship pipeline does designing sound start do you start working on a ship in the gray box phase and the white box phase and the final arc you wait until fight prep to begin welcome a carriage I mean we work now but so start you well we we can do appreciable audio work in all stages so as it comes through white
00:47:49
box we can basically start gaining sauce for the different types of thrusters to give that ship character but it's not until it becomes actually flight ready that we can actually start implementing the sounds and actually play almost use the ship as like a controller so we actually pour these sounds in and we try and manipulate it to make sure it sounds right and stuff like that so really a lot of the work gets done as and when the ship becomes pliable you try and get in kind of start thinking about it as early as possible at concept stage and we want to do more work in the area of branding that sort of thing so bit different you know manufacturers have a different signature to them in some way so there's some work we can do outside of ships being ready even if we've got some idea of a brand identity different
00:48:37
many batteries we can start work there and keep evolving back to so in a way it's one another one of those things that's ever ongoing there and yeah it's it's another big job where ship pipeline is probably one of the most consuming one live is with a lot of ships in our game and we're we're always reviewing them again we just had an overview session just we have a day where which had some interesting conclusions I think and the other improve those again kind of you know my own pin units it bear a little bit to thrust the LED at the moment and this Mauro Sims where you go down a certain path trying to get that right first and then you bring that back and start to emphasize other elements again yep that's not where we are I think simulator versus yeah fun kind of thing so you want to make sure it's not too
00:49:24
literal and not using too much material that we know there's a context of hearing that sound in atmosphere when it's going to be in space and stuff like that so the constant get iterated upon but there's a there's a dialogue a set you I assess I thrust affects assets and stuff like that says loads of stuff to work on yeah it's hard to get it all right when it's still very much in flux for upstream I think that sort of who don't necessarily realize that and yeah some ninety banging at drama says it's frustrating for us as well yeah for game wasn't finished finished finished then you made only so much more progress than the audio in quite a little time but the reality is it's getting better everywhere else all the time yeah trying to keep up with it and we're not we're not always dealing with normalized figures so it's not a zero to one the - okay this ship now can go twice the speed yes every balance all the audio then okay yeah so the next two
00:50:21
questions are more game feature questions than they related to audio but I don't know that these are actually in your area so we're just gonna ask them and see if they're in your area if they're not told me to go fly one is are there ever going is there ever going to be voice recognition or voice commands in the game you know obviously a very popular app is something like voice attack where you can issue commands and and your shipboard AI will do things is that in your wheelhouse or is I think that's more a gameplay feature than that you would be involved in more than some feature that you guys implement but yes it's one of it actually came out quite early on and you know looked into a voice attack thing as well and it's a hard one to actually kind of interleaved properly into the game resemble the reason why voice attacks so work so well
00:51:09
it strike it's very very customizable with a lot of UI devoted to that and it's there's just a lot of engineering I think to maintain a system like that it's somehow I think we need to explore more because I think it does have its advantages and it's kind of fun how will I you know I I totally get the idea how much we need to be actually actively involved as you said it's almost like a gameplay will or a system design thing because it's another control mechanism and it won't be suited for everything and having it really act so much of it I think for it to work it has to be trained properly by the user it can't just is it's very difficult to get home stuff to work just out the box and nothing that's evidence about how much money has been spent by you know types of Amazon Apple etc and getting that stuff to work in real world if
00:51:58
you're relying on it you know in particularly twitchy situations in the game and it fails you and it's like well you know there's a machinist we put out that it's designed for you to you must design but you're gonna fail at some point with it and I'm very aware of that so it's we'd have to get it pretty solid before we would roll with something on about an hour but I hope we do I can definitely see yeah this is what we associate with the future in a way where we kind of have it now but you know it's better to be far more accurate in the time that we're trying to model but it's it's a tricky one yeah Larry isn't it like dog fight ok anvil okay here's your shopping list you have seven items on your shopping list I can't say what I've just thought about I
00:52:50
and then finally what is the curse what is your current involvement in VoIP but is this in your your realm is it in the realm of again other other game system designers what can you tell us about voice over IP yes bit of a I mean it's part of them forty price opposed to face over IP it's kind of folded into that and it started off as pretty much a VoIP thing and kind of slightly bloomed out it's still an ongoing thing it's slightly out of our hands slightly because it's it's interdependence with other systems and other kind of in-game applications that we're not working on directly so we're supporting as much as we can and trying to push it through as much as we can from our end and a lot of our tech is in place it's this is bizarre other sort of gnarly stuff I suppose that we can't
00:53:39
mister ectly that's kind of what we're waiting on yeah it's so ironic I would say it's just it's just a bit of a beast now because you know the the voice is the main like player interaction with it people assume it's this this it's audio owned but there's so much going into it which is on so many different teams and so many different systems that yeah Bob viously the voice interacts with the system's well there's so much under the hood that takes into account different disciplines but it'd be a great feature to be able to fully flesh out smile to speak in the world in the game have your voice sound as if it's propagating in that space you know we've got a tunnel system we could you know have a microphone in your ship on the bridge you press a button and then your voice can be propagated through different PA speakers in in the ship like an address or something and
00:54:27
you can communicate directly with engineering and your engineer to do something that ask that's the dream that'd be amazing but some other system bits it would become recent allow a lot more of that stuff and you can see how it will fold kind of join together and I think will come it's some sort of a tipping point with it and suddenly a lot of that will roll out at once and it'll be much like a sport for the stuff you can do with it or prank call your friends potentially yeah yeah yeah I hadn't thought I'm happy I'm pleased you you mentioned that at the ship board in our camping my grandfather served in both of World War two and in Korea and his job in the Navy was the guy that had to relay all the orders from the captain the captain would issue and he him in a very calm and he wants you to stop sucking in your whatever but all right
00:55:15
buddy I'm sorry I tried to do that with the team it just doesn't seem to go down so well and yeah I just have to text it instead yeah we're walking around with a megaphone isn't the most subtle way of delivering a message live but you know we'll a slide yeah send it via raven yeah we'll get it we'll get it actually have is a I can't get to it now but on the set where you can't see there's actually a thing for the ship you served on you sure it's certainly the same ship for both the two wars that's pretty good all right did a good job then yeah you served on it for World War two and then mustered out and and then when Korea happened here II enlisted and got assigned to the same ship in the same way yeah all right guys that's it you made it we're done I did my best thank you Jason Thank You JJ and Thank You Phil for being on the show this week that's fine
00:56:05
thank you that's fine no I totally understand Joe oh yeah obviously most important one when I'm in Manchester this summer I'll buy you a burger okay so I will show you all the work we do on the Carrick yeah it sounds great yeah awesome he's going out of character I suppose we've got these people to ourselves maybe so but it's about time you found out the truth about Jared you never shaved his beard it's all CG yeah
00:56:55
[Music] that direction where he's talking about
00:57:57
it no sorry so I finally featured an animated gif that was fully realized content you don't know how hard it was to source the original music without the dialogue and lineup the proper hue so thank you Jefferson le for making that possible possible also Wickstrom you now owe me for that green-screen thing and I never fail to collect well that about wraps up this week's show special thanks to Lee Ben you told me how to pronounce it before Italy yeah man yeah man yada yada and and Phil Smallwood for taking the time to appear in the show this week some housekeeping before we let you go the origin 100 promotion continues through the end of this month and the second part of our ship Q&A should go out to you guys sometime next week so keep an eye on that also on Monday we've got the next episode of calling all
00:58:45
Deb's this time featuring questions about lockers and weapon racks non-combat NPC pilots the future of racing in the persistent universe and something about a quarter 1 2019 roadmap update also a special announcement the free fly that went over this weekend the one we talked about at the beginning of the show well like I said we've been watching your videos and looking in your streams and reading all your threads on spectrum and we decided we like what you got so because of that we're gonna be granting the tumbrel cyclone permanent availability in the pledge store that means that 13 that starting like actually started during the show here I think it was today you basically a bail to pick up your very own dirt buggy at your leisure as the game continues to expand server-side gameplay is becoming an integral part of the overall star
00:59:32
citizen experience and we agree with you that we should make it easier for you and new prospective backers to partake in that at any time so good job everybody thumbs up and if I'm wrong about that being today or if I haven't going out it'll happen soon I'm pretty sure it happened during the show it's like it's like he tells me it's live so for reverse the first live on content manager for global video production we're all global here jared huckaby we'll see you next week everybody you thanks for watching for the latest and greatest in star citizen squadron 42 you can subscribe to our Channel or you can check out some of the other shows and you can also head to our website at

Transcript from YouTube’s automatic captions — punctuation and Star Citizen jargon are approximate. The video itself is hosted by CIG on the official channel.