Відео

Thank you! 🙏

Hey thanks! I'm glad you appreciate it. I've developed a collection of techniques like this over the years while producing generative music for installations. So if it's useful, I might post some more tutorials then!

Hey there. I think you're looking for the Quartz clock. This is designed for sequencing interactive music between different parts while staying tightly synced via the audio thread. You could in theory do it just within Metasounds, but I would say the Quartz clock design allows for bigger, more robust systems. I have a few basic videos about Quartz in the my playlist titled, "Procedural Audio & Interactive Music in Unreal Engine 5" if you want to check them out. ua-cam.com/play/PLipnod61VHOUorA3dlqV95BaoaVoqFXb4.html Thanks for watching.

OK. Thanks.

I'm not sure I've had the same issue you're describing but could it possibly be an off-by-one error? The Quartz clock bars start at i=1, but if you're driving a MetaSound or computing something based on the bars, you'll probably be counting from 0 for most indexing. Just a thought, maybe it helps. 🤷‍♂ stackoverflow.com/questions/2939869/what-is-an-off-by-one-error-and-how-do-i-fix-it

Thanks Justin! ❤️

Thanks for checking it out! ❤

😅

Awesome! Thanks for the nice comment

Hey thanks for checking out the album ❤ I think probably only one or two reverbs plugins were used: FabFilter Pro-R but mostly Valhalla Supermassive. I found the double bass sits nicely when it's almost raw, but sometimes the reverb helps it fit within the electronics. In terms of production workflow, it's usually pretty simple and I had a very specific 'vibe' in mind before producing it. I wanted it to feel like hovering, or meditatively stuck in time, but also to have this real physical, almost biting feeling to it to reflect both the inner tension as well as the strange sense of hopefulness that is present in it emotionally. So I started most tracks with an electronic layer there and it is meant to be not too distracting, simply a repeating bed. These might be from loops I recorded while performing and were saved them for later, or simple arpeggiations, or just moments that occurred naturally in the process. Then the strings were first written with software, and then later workshopped in the studio with the players and recorded (in this case violin and double bass). I purposely mic'd things super close with the rosin and textural elements to get a sound that felt super intimate, delicate yet sometimes quite dark. Lots of times this ended up with accidental "sound design" from short moments we were still recording and the player was moving about, so that got worked in as extra textures. This helped naturally blend the strings within the electronics and vice versa so they felt like one entity. Hope that's somewhat interesting! 😆

Hey yes! I should've included that I updated it just now with the link. Thanks for checking out the video.

There's an example demo project + tutorial / documentation here you could check out: ua-cam.com/video/zxKDLL2Ej1M/v-deo.html Hope it helps!

I hear you... I figure we do it once, maybe it's a pain, but then save them as presets so you don't have to do the same thing over and over. Here's a video if you're interested: ua-cam.com/video/WEjvld-AtRk/v-deo.html Hope it helps.

@@michaelgarydean I'll check it out for sure

Ah thank you Daniel!

Awesome! Glad it helped!

Awesome! Glad it’s useful for you!

Thanks Anton! More content on the way :)

Great tip, thanks for checking out the video. 🥳

Hey there @BlackPowederGame, that's right, there is indeed hiss. This design is modelled after field recordings of wind, which often include extra artefacts in the recordings, such as the hiss of signal-noise in microphones that have high gain settings (think of turning up the gain on a Zoom recorder or something). You can of course adjust mixer controls to taste as it suits you. If you don't like the high end hiss emulating a high-gain microphone, exactly as you mentioned you can try turning down the Hi End, or adjust the other levels as you like. Hope it helps!

@@michaelgarydean By turning down the Hi End and Mid to zero I got rid of it (though they were nice). My game is set in the eighteenth century so I'm going for naturalistic sound in the pre-microphone era :)P p.s. Any tips on how to set up volumes to occlude the wind sound from my buildings and caves and water? Every solution Ive seen involves point sources like in objects, but this wind ought to be everywhere in the world except indoors.

@@michaelgarydean also, thanks to your tutorial series I think I can take on a custom wind sound. Glad they were just a couple of minutes long each; took away any argument I had for not going, well, its only a couple of minutes. Spent a few hours recreating them, and well worth it. Thanks.

@@BlackPowderGame Awesome! Glad it helped.

@@michaelgarydean Now the big question: how do I set up volumes to occlude the wind sound from my buildings and caves and water? Every solution I've seen involves point sources like in objects, but this wind ought to be everywhere in the world except indoors. Any ideas?

Hey thanks for the nice words. Great to hear you're vibing with the procedural music stuff. I would love to see what you create as well!

Thanks @DavidBoura ☺

Ah thanks for the nice words @evadermusic! Really glad to hear it's useful.

Great question @DavidBoura! Reverb, (including IR Reverb), is available through Submixes along with EQ, compression: docs.unrealengine.com/5.1/en-US/API/Runtime/AudioMixer/SubmixEffects/ For distortion, I think the only tool at the moment is with the Waveshaper node. For the others, there are definitely some missing essentials. I imagine these may start to show up as development in Unreal Engine continues, both by Epic and third parties. But in the meantime, you may have to design the missing components yourself if they are essential to your project. To really implement low level effects to spec, you're probably looking at doing it via C++. I wanted to show this as an example of some of the limitations in MetaSound I left some links for C++ above in the description. If you're looking for going that route, I would recommend the DAFX: Digital Audio Effects book by Udo Zölzer. Personally however, I would be wary of putting too much development time in before MetaSound matures a bit further or there's clarity on the roadmap: portal.productboard.com/epicgames/1-unreal-engine-public-roadmap/c/857-additional-audio-nodes If you do design some effects, I would love to hear how you make out, especially in terms of CPU cost and efficiency etc. Hope it helps!

@@michaelgarydean Thank you so much! My drum machine has 11 voices and is one Metasound, i'm making fx chains for each perc. Everything renders in 2D just "like that", and i was hoping i would find all the effects, like i have filters, delays, diffuser, comp... i can easily setup with nodes. I will dig your infos!

I just noticed @AlexIrae posted 12 distortion/saturation waveshapers on the Facebook group if you're interested (standard tanh saturation etc): github.com/alexirae/unreal-audio-dsp-collection-UE5

@@michaelgarydean wow, thank you for that!

Thanks for checking it out Mitch!

Thanks Marti!

Thanks Steven. Glad it helps!

Thanks for checking it out!

Thanks Alexandru! It's a really exciting time for immersive sound. You could also out this great idea from @MitchellLucasSound where the player's direction affects the sensation of the wind over the player's ears: ua-cam.com/video/98WZCLx0iSM/v-deo.html

Thanks for the great feedback Marti!

Hey there, I made some bite sized tutorials starting from the basics here: ua-cam.com/play/PLipnod61VHOWGcG6DFZhfNSmhSNF0dKlR.html Hope it helps and good luck!

I just followed the tutorials he linked and I went from knowing next to nothing to having a grasp of the basics now. Well worth following along and creating as you go.

Hey thanks for the nice comment @DavidBoura. Yes, there are definitely more on the way! But please feel free to let me know if there's anything specific you'd be interested in learning more about. Happy patching!

@@michaelgarydean Everything! So just make a whole "WTF is" and "HTF do i" serie ;D

Hello @theinvisibleman! Yes, you can record automation. However, since automation relies on the playhead position in the clip, the playback will be fighting with itself on playback, which can also produce interesting results. However, if you want to create repeatable loops and effects, you should record your results to a new clip. Hope it helps!

Haha I love it too! Hope you have some fun with it. 🥳

Hi @NJM thanks for the feedback. Great suggestion, I'll do a new short video on this soon. In the meantime, check out this video by @The Sound FX Guy: ua-cam.com/video/dkw2i4LWbG4/v-deo.html

This has actually now changed since UE 5 officially got released. You no longer need the Get Parameter Interface to control a MetaSound from in-game. Now use "Set Parameter Float".

@@michaelgarydean wow thanks for update sir!

Great! Thanks for the feedback. More videos on the way then! 🥳