The(G)Forum

Master(G) hat geschrieben:spiele wird ichs vermuetlich trotzdem praktisch nöd...

emP hat geschrieben:huere guet grad 5 sekunde gwunne!

5 Sekunde - im Forza e Welt!

TypeJ hat geschrieben:hents gad echli die dümmscht strecki verwütscht, isch das möglich?

TypeJ hat geschrieben:i bin gescht nid mal is xbox live ieko...verbindig hani ka im netzwerktescht aber ilogge hani mi nid chöne

Nick Wiswell hat geschrieben:We have to control the car in driving conditions without moving around a track,” says Wiswell, “ that’s so that we’ve got no wind noise, no road noise, and it means we can use a variety of microphones all around the car. Some games are happy just to record in neutral. They’ll pull up on the track, hold it at a fixed RPM…..but you just don’t capture the real sound.”

He goes on to demonstrate both a neutral recording and a Dyno recording. He’s right; the difference is like giraffes and incubators.

Four microphones are placed behind each car so that exhaust recordings – dependant on the number of exhausts – can be recorded as stereo pairs.”We’ve got a close pair and a distant pair,” says Wiswell.”They’re different mikes with different perspectives; you get a slightly different sound with each one. It gives us some options and some additional ways to work it, to try and really capture the sound that everyone recognizes for each car.”

The separate recording of engine, exhaust, and intake is an essential tool to perfecting the final sound. “It means that when we implement it into the game, we can do so separately, so that it’s the game’s physics that are driving each one of those sounds independently. For example, the engine plays all the time, the exhaust changes character completely depending on whether you’re on/off throttle.

The intake is only making sound when you’re on the throttle, and when you’re on the throttle hard. So we can take the game’s physics parameters,feed those into the audio system and control all of those sounds exactly as we need to.”