There are a large number of looping sounds near the listener.
The more of these sounds there are in close proximity, OpenAL aggregates them and pushs the volume well over 100%. Here, 100% is defined as the sound when played at max volume with no attenuation at the listener's origin.
When the player fires their gun, the gun sound is generated at the listener's origin. The environment sounds completely drown out the gunshot sound in this case, dropping the sound of the gunshot to what sounds like 10% of its expected volume. The environmental sounds play at what sounds like 200% of the volume.
The environmental sounds are set in OpenAL to be attenuated.
Setting gain to the maximal value on everything does nothing.
How do I prevent OpenAL from grouping the same sounds together and increasing the gain past 100%?
Related
As various sound effects of the game were added, the sound effects naturally increased. However, I would like to ask you a problem that can solve this problem because the more music you add, the more you worry about optimizing the game.
I tried to reduce the sound effects of the game, but the sound effects were different, so I couldn't easily reduce them. If I know how to optimize, my game will go smoother.
I'm wondering about the best way of reducing my CPU and memory overhead for areas of the game world that do not need to be updated every frame.
I have just started to consider this issue as I'm currently implementing a shadow detection system using Raycasts.
My problem is this:
I can have about 100 lights in my level that on every frame send a Raycast to nearby characters to determine if these characters are in shadows.
My game is a low poly PC game, and I understand the overhead from Raycasting isn't that drastic. So its not a major concern. But I'm still not sure of the best approach to optimising this.
I have been thinking of a few soltions, but am unsure if there is "standard" per say.
1. exit update loop if player is too far away
void Update() {
if (Vector3.Distance(playerPos, transform.position) > someRadius) {
return
}
}
This is the most glaringly obvious solution, with even more obvious concerns.
This update loop will still be hogging CPU cycles , performing 2 calculations on every frame, for every light point.
2. Disable Light gameObjects when the player is too far away
This method is more efficient in terms of CPU overhead, as those will be negated. However I'm still hogging uneccesary memory.
In order to make this solution more scalable I would have to design some kind of "enabler" that keeps track of game objects that should be enabled/disabled based on the player position.
But at this point I know I'm re-inventing the wheel, and feel very sure that there is an industry standard for this.
Is there an alternative to enabling/disabling?
I see a lot of game developers talking about physically unloading areas of their game from memory and writing those areas to disk, when the player is not nearby.
I wonder is this achieved by simply destroying and re-instantiating the objects.
Question
Is Unity opionated about this?
The page here lists an example, similar to my first solution. But they are talking about 100s of thousands of updates per frame here.
Maybe I don't need to worry as much as I think
Thanks!
If you want not render objects, that are not in your camera area, Occlusion culling is what you exactly need. Watch this link:
https://docs.unity3d.com/Manual/OcclusionCulling.html
If You want change how your object looks based on range between camera and your object, You have to use LOD(Level Of Detail). Here is documentation:
https://docs.unity3d.com/Manual/class-LODGroup.html
I have a challenging task
Task:
Just say something into your iPhone or capture a friend saying something.
Then application make it sound even MORE ridiculous with your choice of over a dozen different voices.
Voices of animals, guitar, drum etc.
In this task we have to convert Pitch Manipulation I suppose.
The easiest way to change the pitch would be to speed it up or slow it down (half speed = down one octave, 2x speed = up one octave). But there are algorithms for maintaining speed...
http://www.dspdimension.com/admin/time-pitch-overview/
http://users.ecel.ufl.edu/~cdeng/pitch_shifting_algorithm.htm
Pitch shifting is already been discussed here
Real-time Pitch Shifting on the iPhone
You will have to add animal, guitar, drum sounds to the output stream for extra effects.
I am working on a Labyrinth style app for iPhone using Chipmunk and openAL. I got everything working except the ball rolling sound. What I have tried is playing a small sound for each update in the ball's position so that the overall effect sounds like the ball is rolling. Based on advice on this forum I tired using velocity of the ball to adjust pitch of the sound. I have the following problems:
I cant hear the sound at all when I am playing this sound in a chipmunk call back. I can hear it elsewhere.
Even if I got this working somehow, the sound I should play has to be very very short as the ball doenst take too long to roll. THere has to be a alternate way.
Can anybody please help? I can even pay for a simple application that did this if the sound is also included.
I recommend cheating... record (or find somewhere) some longish looping sounds of the ball rolling at different speeds. Have one of them playing, based on the speed of the ball. As the ball's speed changes, you can cross-fade from one sample to another. My guess is that that will sound more realistic than just varying the pitch of a single sample.
Of course, it may be enough just to have one longish looping sample, and only vary the volume proportional to the ball's speed. I'll have to go track down my labyrinth game and check. :)
In considering the design of marble-in-maze games where you tilt the table to get the ball to the end of the maze without going down one of the holes, I wonder whether anyone here has considered the modelling of the sound of the ball hitting the walls...
The ball doesn't always make the same sound.
This other question covers the rolling sound:
Sound of a rolling ball
But I am more interested in the bouncing sound - I am often struck by how unrealistic it is in most people's version of the game.
What are the factors to consider to work out how to produce a realistic sound?
How must the sample or raw data then be processed or generated?
There are some good links in the Sound Modeling section of this page from a course at Carnegie Mellon: http://www-2.cs.cmu.edu/~djames/pbmis/index.html. The instructor, Doug James, is now at Cornell as does similar research there (http://www.cs.cornell.edu/projects/Sound/).
I've never tried to implement any of these methods, but I suspect that they're overkill and/or too slow for a small game. However, you might be able to generate several samples offline and choose an appropriate one at runtime.
Hope that helps.