over 1 year
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Rocket League
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Transcript (by Youtube)
0s | under the hood is back I'm Devin Connors |
---|---|
3s | and today I'm sitting down with some of |
5s | the audio team to chat about how we make |
7s | cars in rocket League sound incredible |
9s | season 10 is underway so what better car |
11s | to focus on than one of the hottest |
13s | hatches of all time the Volkswagen Golf |
16s | 2 GTI I have Mike and Carson here with |
19s | me to talk us through the process start |
20s | to finish I'm recording out in the field |
22s | to the final engine audio you hear in |
24s | game thanks for hanging out with me |
26s | today guys yeah of course happy to be |
28s | here yeah so how has engine audio |
30s | development changed for us over the last |
32s | seven plus years so when the game first |
34s | came out we uh we used a physics-based |
37s | system that was only using the physics |
39s | of the cars and was not really emulating |
41s | what a car engine would do so over time |
44s | we rebuilt the system modeling gear |
47s | ratios to actually try to make the |
49s | engine sound much more real so when |
51s | we're designing engine audio for car |
53s | like the Volkswagen GTI uh what's our |
56s | approach to that like well for something |
58s | like the GTI and we were able to find |
60s | lines luckily for us a really great |
63s | sounding version of that car and we were |
65s | able to go out and record it you know |
67s | Carson I would love to see footage of us |
69s | recording that engine audio |
71s | luckily for you |
75s | oh hey did |
81s | a process of recording for corner and |
83s | how we implement it in the game |
85s | the first GTI that we have here is |
87s | essentially stock it's had a little bit |
90s | of modifications done to it and then the |
92s | next version we're going to record is a |
94s | fully upgraded version of this card |
96s | that's basically been straight piped and |
98s | turned into a race car so you'll |
100s | definitely notice |
102s | um sort of a quote-unquote sound upgrade |
104s | and this is really helpful for us when |
105s | we're going into the game we have a tier |
108s | one and a tier two of this car the tier |
111s | one which sounds a lot closer to you how |
113s | you would expect the car and then a tier |
115s | two which is a full out race car and |
117s | that feels really good in game a lot of |
119s | these microphones are selected obviously |
121s | a for the way they sound but B also for |
123s | their sound pressure level handling |
125s | capabilities if they're if they can't |
127s | handle the sound pressure but for the |
128s | most part these mics can handle really |
130s | really loud cars we have mics on the |
133s | intake on the engine we're running mics |
136s | in a bunch of different perspectives for |
138s | the exhaust we have close mic we have |
140s | mid mics we have one that's way back |
142s | then we have an ambisonic mic that's |
144s | actually in the interior interior of the |
146s | car and then we'll go through and Sample |
148s | difference |
150s | RPM Loops if you were making a musical |
152s | instrument sample set it would be the |
154s | equivalent of telling a trumpet player |
156s | all right hold middle C as loud as you |
158s | can for five seconds and then all right |
160s | now drop it down to B flat and hold that |
162s | for five seconds but instead of you know |
164s | doing musical notes we're doing RPM |
166s | intervals with the car |
170s | [Music] |
186s | good |
188s | 25. |
203s | that is a wrap my friends back to you in |
206s | the studio |
211s | so once we're back in the studio we are |
213s | able to open up the session get |
215s | everything synced up and then start |
218s | mixing it and kind of doing the any |
220s | processing we want and any compression |
223s | and Distortion to try to make it sound |
225s | more fun in the case of the tier two |
229s | um so here is one of those ramps |
233s | um |
235s | fairly long but uh which is really |
238s | helpful when we get to the granular part |
240s | of this |
243s | [Music] |
246s | and then once we're done implementing it |
248s | we can test it in the game see how it |
250s | feels possibly go back through the |
252s | process and change anything that needs |
254s | to be tweaked to make it feel more alive |
256s | and like a better car |
258s | and then at that point ship it release |
261s | it play it in the game |
264s | that's good |
267s | [Music] |
269s | yeah it was really cool watching that |
271s | entire process out in the field as Audio |
273s | Pros what are your goals when you're |
276s | designing audio for a game like rocket |
278s | league so rocket league is an |
280s | interesting balance between a |
281s | competitive game and also a fun casual |
284s | game and so finding that balance and |
286s | finding what is fatiguing when someone's |
288s | gonna put in eight hours plus a day or |
291s | they're gonna spend 20 minutes playing |
293s | they both need to have a great |
295s | experience well there's a lot to account |
296s | for right I mean you have the crowd |
298s | audio you have the car audio you have |
301s | the ball audio which is really important |
302s | yeah there's a lot of audio cues |
304s | happening sort of simultaneously during |
305s | a match for us we sort of approach it as |
308s | using audio for player feedback and then |
312s | also it's just got to be entertaining we |
313s | want to sound good we want to sound fun |
315s | so it's a mixture of you know |
316s | entertainment and feedback and we just |
319s | want to give the player sort of the best |
321s | experience we can and the most |
323s | entertaining experience we can thanks |
325s | Carson and Mike for taking us on that |
327s | Epic Audio Odyssey we can't wait to hear |
329s | your thoughts on the Volkswagen GTI so |
331s | be sure to share your feedback with us |
333s | on the subreddit and in Discord if you |
335s | want to see more content like this hit |
337s | the like subscribe buttons below we hope |
339s | you enjoy season 10. foreign |