Battlefield 1 Gun Sounds Download

Yes, i know that sound mods like this already exist, to a degree. The issue is that alot of the mods that do fill this specific niche are horribly outdated, missing the majority of sounds of newer guns, breaking the sounds in the game, the audio quality....not being the best. I felt like the need for a new soundpack involving Battlefield was needed. That is one of the reasons i decided to make this.

Now i will have to say, this is mostly a work in progress. Most reload sounds are done but not all, some akimbos may not be done and 84% of suppressors are still base game. This is due to one of 2 things. 1 i do not have easy access to these sounds (ie do not have them unlocked in game, no recordings of it or unable to piece together the gunshot in the game files). Or 2 i lack the current motivation for them. (but having released this will definitely motivate me more)

But don't worry, i am planning on replacing every sound i reasonably can. Expect weekly(ish) updates :)

Download File 🔥 https://bltlly.com/2y4PJV 🔥

This mod has been worked on since late 2020 and i am seriously glad to say that it's in a excellent state for the public.

A major thanks to everyone who has helped me along this long journey.

Alcat for his support in my rookie modding career

A major, serious thanks Gnederz for the Thumbnail, Banner certain recordings of a few sounds. If you haven't checked out his mods i please encourage you to absolutely do so, i use his tan merc glove reskin all the time.

And everyone else who has contributed to this. Thank you all.

Please, if you have any issues with certain sounds, things that could be improved upon please i encourage you to leave your thoughts in the comments. I will be improving and perfecting this mod as time goes on.

ON THE SECOND FILE I have also decided to add a firerate rebalance to help along with the sounds. As some sounds in hardline were designed around the firerate. Does this make make some weapons overpowered? Eh, not really. Completely optional and goes in mods.

PLEASE CHECK THE DEPENDANCIES ON HOW TO INSTALL

or if you don't wanna check it's mod_overrides and requires SuperBLT

AND Please check the license for more info about the addition of non-weapon SFX before commenting about reverting back to the game's default sounds

Hi this is a new module for Arma 3. I've been using the triggers to give me some ambient combat sounds for missions. SO I create a module so I didn't have to through up several triggers to get a good back ground noise. lol

What it does is a loop of ambient battle sounds that's already built into arma 3. Its all random. You can set the size of the battle and intensity. Give it a try and let me know if you have suggestions.

Neh not going any where yet. Thanks :) Im also working on some inpact sounds and bullet flybys. Inpact sounds are getting better. flybys are better but I want to make them louder at larger distance. But having a hard time with that. I may release this weekend and get some input on it.

A new request for information issued by the Marine Corps this week seeks devices that can fit inside or around the ear of an infantry Marine to hear important battlefield sounds and commands -- even while protecting his or her ears from sound damage.

The posted request for information contains few specific parameters, but officials said in the release that they want a headset system robust enough to protect against hearing loss from battlefield weapons systems that don't even exist yet, but could pose even greater hearing risks when they become operational.

"It is likely we will field a suite of hearing systems, and Marines will get what they need based on their specific role and unit," Nick Pierce, Individual Armor Team lead, said in a statement. "The ultimate goal is to field a hearing system that will help Marines communicate better and increase their lethality on the battlefield."

I really could not stand it. I wanted to play, but instead I started designing and replacing sounds in existing games. I was working with music production at the time and expanded into working as a freelance sound designer for commercials, web and games. 7 years ago I started at DICE working with Rallisport Challenge 2 and from there on it has been more or less Battlefield audio production to this date.

DS: You already have a lot of sound material recorded and created for the previous Battlefield games. Did you use some of those sounds on Bad Company 2? How much new material was recorded?

SS: Every project needs new content. Even though we worked hard on keeping the identity from the previous game, the majority of the sounds for this game were re-designed from scratch. We did another huge gun recording outside LA together with several EA studios. We recorded a lot of new vehicles, foley and ambients for our winter themed levels as well.

SS: Yes this was a team effort. I was actually surprised by the amount of destructibility and how it well it played. There were a lot more sounds that needed to be done for destruction 2.0.

Let me explain. One of the first things we noticed in the internal multiplayer tests during production is that repetition and the patterns of iconic sounds are completely devastating to a believable soundscape. A gun shot might sound good when you design it and play it back in its own, but together with 50 other weapons and fired thousands and thousands of times you have to start thinking about all guns at the same time, and be very careful to treat them as individuals. All the weapons have to become one but still have identity, and they need to sit in the world.

We worked a lot with reflections layers and identity of place. We expanded on the way the weapons sounds in different environments going though urban, forests, canyons, open fields and indoor areas. It was key to build diversity on top of the identity of each weapon.

The HDR audio mixing that we developed for the first Bad Company takes care of the abundance of sounds triggered and automatically mixes the soundscape with a fantastic transparency, you would be surprised how many sounds you can actually remove when you have something as dynamic as our HDR mixer, which selectively mixes based upon 1 rule of a dynamic loudness.

Well, we use industry standard wave editors and multitrack tools to create the content and then a lot of the sounds are created in runtime by a set of rules or blueprints that the sound designers design. The content creation is only step one.

Amazing sound. My dads been in Northern Ireland and the Falklands with the Royal Marines and the first thing he said when he saw me playing battlefield was how realistic the sound effects were. Great job everyone who worked on it!

Staff Sgt. Anthony Stewart, 25th Air Support Operations Squadron electrical engineer, is helped to a CH-47 Chinook for aeromedical medical evacuation by Airman 1st Class Daniel Meyer, a 25th ASOS Tactical Air Control Party, during field training exercises June 24 at Wheeler Army Airfield, Hawaii. Airmen from the 25th ASOS, including Radio Operators, Maintainers and Drivers, camped out for four days to sharpen proficiencies necessary for upgrade training to become combat mission-ready Joint Terminal Attack Controllers. Opposing forces, played by Airmen from 15th Civil Engineer Squadron Explosive Ordnance Disposal flight and Soldiers from the 25th Infantry, Alpha Company, 114th Infantry Battalion, at Scofield Barracks, Hawaii, provided the sights and sounds of combat action during ambushes throughout the training. (U.S. Air Force photo/Staff Sgt. Mike Meares)

Staff Sgt. Ryan Bobzin, 15th Civil Engineer Squadron Explosive Ordnance Disposal flight, prepares to attack an approaching convoy from an elevated position during a field training exercise at Wheeler Army Airfield, Hawaii June 24. As a member of the opposing forces, or OPFOR, he was responsible for making the sights and sounds of battle as realistic as possible. (U.S. Air Force photo/Mike Meares)

Senior Airman Robert Wester, 15th Civil Engineer Squadron Explosive Ordnance Disposal flight, prepares to attack an approaching convoy from an elevated position during a field training exercise at the Army Wheeler Airfield East Range June 24. As a member of the opposing forces, or OPFOR, he was responsible for making the sights and sounds of battle as realistic as possible. (U.S. Air Force photo/Mike Meares)

Tech. Sgt. Alejandro Castillo and Airman 1st Class Chris Tamblyn, 25th Air Support Operations Squadron Tactical Air Control Party, to prepare to roll a casualty onto a stretcher to be transported on a CH-47 Chinook for aeromedical evacuation during field training June 24. Radio Operators, Maintainers and Drivers camped out for four days to sharpen proficiencies necessary for upgrade training to become combat mission-ready Joint Terminal Attack Controllers. Opposing forces, played by Airmen from 15th Civil Engineer Squadron Explosive Ordnance Disposal flight, and Soldiers from the 25th Infantry, Alpha Company, 114th Infantry Battalion, at Scofield Barracks, Hawaii, provided the sights and sounds of combat action during ambushes throughout the training. (U.S. Air Force photo/Staff Sgt. Mike Meares)

U.S. Army Spc. Brandon Cox, opposing forces team member, uses the tall grass to creep up on a unsuspecting convoy during a field training exercise at the Army Wheeler Airfield East Range June 24. The opposing forces, or OPFOR, in the scene are what make the sights and sounds as realistic as possible. Specialist Cox is a member of the 25th Infantry, Alpha Company, 114th Infantry Battalion, at Scofield Barracks, Hawaii. He is a native of Dallas, Texas. (U.S. Air Force photo/Mike Meares) e24fc04721