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which causes the inside rain to be outside of the house when you walk near the windows, is there anyway that you are able to change the shape of a trigger box and make complex shapes, or is there any other way i should be doing this?
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If anyone has used Source SDK Hammer, they have a Entity called Soundscapes, You would place 2 different sound files of either side of the door, Adjust the radius to a small sphere you would then walk into one of them,
I recently worked on a small budget web series, and there was a rain scene which rendered all hopes of recording good quality audio completely useless.
The decision was to do some ADR when the scene had been edited.
The pro post guys can do amazingly good ADR these days. There are software tools that do lip movement to audio dialog matching by stretching and shortening audio syllable by syllable. Also if there is a guide track recorded in production VocALign can adjust an ADR performance to perfectly match the production track even if the guide track is noisy from rain.
I'm trying to create rain in the JavaScript Web Audio API.So far I've created a low frequency rumbling noise for the background and I'm working on a high frequency noise which will imitate the sound of rain droplets. However, right now the high-frequency noise is very much like white noise and too intense to be individual droplets. Does anyone know how to "separate" the sound a little so it almost sounds like crackling. Here is a link to what I would like the high-frequency noise to sound like if you increase the last slider (violet) you can hear it.
I've been playing around with different functions, some of them didn't do much or I simply am not using them correctly as I am very new to the audio API scene. Any help is appreciated as this is for a school project and I know some other students want to make fire sounds and could also benefit from the crackling noise!
If you think of rain as a physical process, it's basically lots of surface impact sounds (and probably some additional ambience created by airflow). When enough raindrops hit surface(s) at a rapid enough clip, the end result ends up being noise-ish.
That said, if you want to try just "crackling" the noise generator you have going on now, try modulating the gain node's gain value randomly; here, there's a 25% chance for the generator to be effectively muted every 20 milliseconds (or so, considering timers aren't exactly precise).
Try Izotope RX. Use the denoiser to remove some of the broadband noise, and ride the volume, so you decrease the volume between the words. You can remove some of the splatters with spectral repair. Make a mono background atmosphere which sounds dry, which you can use to mask the rest of the rain sounds.
Are you refering to the smearing sound in NR? That's normally when you push it a bit too hard. Perfect FFT and FIR algorithms don't exist; plus, subtracting noise heavily may create an inverse print of it on the useful signal. It's all a big tradeoff...
I will offer potential elements of answer concerning aliasing (as an artifact from over-processing a source signal). It is bound to be a phenomenon occurring independently from the process you are trying to apply. Any plugin might generate some aliasing or artifacts in a broader sense.
As you process a source signal, the processor reshapes the waveform using quite simple maths (in the end, all the maths electronics can do is add or divide). Basically, a processor adds to the original signal the statistical signal that it thinks will compliment best the component you're trying to isolate.
In the case of BNR, it calculates a statistical image of the noise and will smudge the waveform where it finds that the original signal features a "picture" of the statistically accurate noise. The more you push it, the more it's going to smudge the waveform and it'll start critically eroding the signal you're trying to focus on and listen to.
In effect this creates irregularities in the flow of waves that, when played back, are not natural sounding. Aliasing is merely an artifact that generates a particular sound; as it happens, the artifacts are organized in such a way that you seem to hear this tin foil kind of sound (that's the most obvious example, although aliasing can exist at any frequency although I have reasons to believe it'll always appear gradually from the high-end of the spectrum).
As a final note, the aliasing effect also happens when you record a sound. You may have heard of the "Nyquist frequency" or "Nyquist theorem". It's simple physics: to capture a certain frequency correctly, you must sample its waveform at least twice per cycle. Say you can only record with a sample rate of 20kHz, you'll be capturing frequencies just fine until 10kHz, only you won't be able to reproduce higher frequency correctly. I'm even gonna draw a diagram that'll explain this simply :)
After successfully experimenting with nature sounds (a sample video is at the end of this article), I decided to create dynamic weather that could be changed simply by adjusting a simple parameter from the game engine. Once again, I began with an analysis before proceeding to recreate the sounds using synthesizers. Procedural dynamic rain is an excellent example, especially because a simple Wwise parameter can change the sound from light rain to pouring rain.
As I can't just recreate the sound of rain by watching its spectrum or waveform, I decided to scour the internet to research this topic. I found a meaningful paper from Cornell called "Toward Animating Water with Complex Acoustic Bubbles". It contains great work, and worth the read.
These were the main conclusions I drew from this research paper:
Through this, I realized that the sound of rain is comprised of the sound of millions of bubbles merging each second to form a spectrum resembling a noise-like sound (pink noise, to be more precise).Ā
Based on this idea, I created a prototype of dynamic rain in Ableton Live using Serum. I split the whole sound into a few layers:
1. Light high-frequency boiling
2. Mid-frequency boiling
3. Stereo noise
4. Individual raindropsĀ
To make it more realistic, I cross-referenced my prototype with a sample of recorded rain.
I had wanted to create not just the sound of rain but also a dynamic rain system that changed rain intensity depending on the parameter, which is the RTPC parameter called Rain_intensity, from the game engine. This parameter changes many of the settings for rain, filter settings, and the volume of the Low Boiling layer.
To make the sine wave change its pitch, I added an Envelope modulator to the Transpose parameter.Ā
The next step would be to randomize the trigger rate, pitch, volume, and pan. A Random Container would be a great solution for this.
This procedurally generated rain can become part of a larger dynamic weather system in your game. However, you'll probably need to make more nature sounds.
Here's a good example from one of my earlier experiments. It features pure, synthesized nature sounds for World of Tanks. Everything you'll hear from the video is synthesized: wind, birds, insects, etc. Such prototypes will help you build similar systems in Wwise.
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Compatibility can be an issue with a DAC. Will it recognize all the file formats in my library, and will third-party playback apps recognize it? So far, the DA68 has passed most compatibility tests. No MQA, but Roon can do the first unfold already and I have very few MQA files in my libraries. DSD was also a non-starter. In Roon, I adjusted settings to transcode 5.6 DSD into PCM 352.8/24. Playback apps Audirvana, iTunes, and Roon had no issues interfacing with the DA68.
Ergonomics are often sacrificed on inexpensive DACs. But the DA68 has a display, and the display is large enough so you can see the digital sample rate from over ten feet away. It also displays the digital filter employed (you have three to choose from), input source, and volume level. Rod Rain also supplies a remote, which works well, even from nine feet away. You can even change filters from the remote. For me, the ergonomics on the Rod Rain DA68 definitely passed muster. If you require a DAC/PRE/Headphone amplifier, the Rod Rain DA68 will do pretty much everything the higher-priced DACs can do (without MQA or DSD) but with an entry-level price. Yes, you have to order directly from China, and then wait for it to arrive, but I assure you, it was worth the wait.
FYI, as already posted here I think & in many other audio journals, I am a hobby audio handyman. I design/build/upgrade audios for decades. I design/built tube phono-preamps, tube power amps, 99.99% pure silver interconnects & power cords etc etc. for decades now, thanks to my career discipline in electrical power engineering.
The main issue: so we NEED to replace all our EXISTING unbalanced equipment to balanced equipment at the expense of huge hassle of selecting the right ones, connecting & huge money spent ? For 3 dB more quieter with our ears placed against the loudspeakers as per yr suggestion??
For those audio guys, including yours truly, who do not have programme sources with balanced outputs, e.g. phono-preamp, tape deck, tuner, DAC, streamer, etc, I would recommend another ClassD power amp with only unbalanced RCA in/outputs.
Balanced audio transmisson was historically catered for miles-long telephone line transmisson: balanced transmission using 2 identical wires to ensure same equal he impedance across the both signal lines from the transsmisson end to the receiving end & equal impedance to ground as well. Such equal impedance minimise noise interference at the receiving end with minumum wave reflection & loss. 152ee80cbc
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