Give us better sounds - PLEASE !!
- Thread starter steamcat
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- 29,726
- a baby, candy, it's like taking.
- TexRex72
Am I the only one that isn't bothered by the way the cars sound? I play the game, I can hear the engine, I can hear when the engine wants me to shift so that it doesn't bump the limiter or so that it doesn't get out of optimal performance range (unless a corner dictates gear retention regardless of said performance range).
Sure, there are cars whose sounds I rather like and those I don't much care for, but neither is based on what the car should sound like. Then again, the majority of cars that I gravitate toward wouldn't sound like anything special anyway.
Sure, there are cars whose sounds I rather like and those I don't much care for, but neither is based on what the car should sound like. Then again, the majority of cars that I gravitate toward wouldn't sound like anything special anyway.
- 29,726
- a baby, candy, it's like taking.
- TexRex72
It's one thing to get the exhilaration from being around a car with a silky whirl or a cacophonic roar, and another thing entirely to be focused on the act of driving. The dang thing's in my entertainment center, not my driveway.
I'd wager the guy(s) driving those weren't thinking "Boy this sure sounds good" while doing so.
- 2,643
- Finland
- OdeFinn
All cardioid mics exhibit a proximity effect, which results in a rising bass response when the mic is used close to the sound source. The reason this happens is that cardioid mics also capture sound from the rear of the capsule, which is then delayed in a labyrinth and then added to the sound energy arriving on-axis. The phase shift introduced by the labyrinth causes sounds arriving from the rear to be largely cancelled out, but this only works if the same level of sound arrives at the front and rear of the mic. When the sound source is distant, this is nominally the case, but for very close sound sources, the inverse square law conspires to ensure that there's more sound level at the front of the mic than at the rear. This reduces the efficiency of the port in cancelling low frequencies, the outcome of which is that singing very close to the mic produces a significant amount of bass boost.
In theory, dual-element capacitor mics set to a cardioid response should demonstrate exactly the same proximity effects as a fixed cardioid mic, but in practice the characteristics vary from model to model, depending on the porting arrangement used. Some manufacturers have managed to keep the proximity effect fairly well under control, whereas some mics generate huge amounts of bass boost when used close up. If this become a problem, it sometimes helps to use the low-cut filter on the mixing console or mic, in combination with a little conventional EQ. For studio work, though, it's better to move further away from the microphone. If you work very close, in addition to the risk of popping, you'll find that any small change in position causes a large change in both the level and tonal characteristics of the mic. A strategically placed pop shield can stop singers getting too close.
http://www.soundonsound.com/sos/feb98/articles/capacitor.html
http://artsites.ucsc.edu/ems/Music/tech_background/TE-20/Proximity_Effect.html
- 8,713
The sound picked up by the back of the mic is not a reflection, though.
- 858
- United Kingdom
- 8,713
Nice effort, but the dates don't match. 
- 1,240
- Italy
- 858
- United Kingdom
I don't like time to fly by anyways.Nice effort, but the dates don't match.
- 8,713
Ah, that's a spectrum plot (the noisy bit) with the time plot on the right, and a spectrogram showing a strongly harmonic sound overlaid on top (easily an engine sound). It's not indicative of anything, but I suspect there will be a bit about how they analysed engine sounds so that they could better reproduce them...
EDIT: ooh. "Added June 17"
- 28,470
- Windsor, Ontario, Canada
- Johnnypenso
When i was young, i used to play "Vroom", on amiga, which was a nice game. But it is a bit dated now. Fact is, when i play GT6 and hear the same kind of sound i found cool 20+ years ago, i suddenly feel like making the people responsible for that massacre eat my ps3 bit by bit.
In GT6, i cannot hear "engines". I hear a sound which pitches up and down, and somehow my brain goes "that is supposed to be the sound of the engine revving, i need to forget i ever heard an engine in my whole life and base my gear changes on that crappy miserable thing" .
It makes me sad and angry, especially after playing forza 4 - which i can't play anymore until i buy another 360.
- 8,713
Why do you assume that recording hasn't been ongoing the whole time?
How do you account for the fact that cars added after 2003, when the recording method was changed, sound the same as cars added before that time?
What evidence is there to suggest that recording is even the delay at this point?
Every other racing game/sim that has come out in the last 5-6 years still has FAR better car sounds that GT4,GT5, GT6. Any reason to think that PD even gives a rats arse about the car sounds by now?
- 8,713
- 29,726
- a baby, candy, it's like taking.
- TexRex72
That may well be the case (on both counts), but there's a point when that goes away and the task at hand occupies the driver's attention. Would I prefer cars that sound the way they should whether modified or not? Emphatically YES, but not having them really isn't a big deal to me.
- 974
- GOTHEBURG
Im just curious, why is soundissue so big now? Is it competition from other games?
I my self want more, alot more but i always assumed it was a hardware issue and PD went for graphics and framerate.
And that is also one of the reasons i want it on ps4. But if they actually are lousy soundproducers i see a problem with whatever hardware they develop on.
I really hope the final answer in the long awaited Kaz soundblog really says it is hardwareproblem and all will be great on ps4.
Updates on blog start to be far apart already.
I my self want more, alot more but i always assumed it was a hardware issue and PD went for graphics and framerate.
And that is also one of the reasons i want it on ps4. But if they actually are lousy soundproducers i see a problem with whatever hardware they develop on.
I really hope the final answer in the long awaited Kaz soundblog really says it is hardwareproblem and all will be great on ps4.
Updates on blog start to be far apart already.
- 393
- Germany
- RaceFace85
- 2,012
It's always about the competition and also about technical progress, achievements.
If it wasn't for competition we would happy with super monaco gp, which as good as it is that game cannot be compared with what's out today. If it wasn't for iRacing we wouldn't be complaining about the lack of 'flags' (racing regulations) and of consequences (no NFS rules) in GT6, or if it wasn't for Forza5 we would still think that GT6's Nordschleife cannot be surpassed. In this point consider back in the day the GT series pretty much ran a race alone, whereas nowadays there's at least 10 competitors.
Then another aspect is that everyone expects games and everything audio/video related to improve over time. What was great 10 years ago nowadays is pretty much unacceptable to be passed as a new AAA game.
In the end because of both reasons that the consumer's standards are higher and always are increasing-
With all that said, in GT6's particular case there's this weird situation about different qualities -already explained- and at the same time blaming the hardware. But the thing is, how come some cars have this updated sound (which isn't that great anyway) but 99,9% don't? How come some things that the GT team said to be impossible on the PS3 now are on the PS3, whether in GT6 or in other games? After more than 10 years of development it truly doesn't make sense.
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- 8,713
My hopes and expectations for games go well beyond what is currently available. I've no doubt that applies for most people; without that ability to imagine what doesn't exist (whilst drawing heavily from what does), we wouldn't get any progress at all. We had flags well before iRacing.
Because it is "completely new", other games are not valid as reference points (aside from pure aesthetics). That will only become clear to all once we actually hear the results of PD's work, though.
People have actually had issues with the Red Bull events that haven't been present in other parts of the game, sound wise. Those cars use a different method, also, but it is not the full version of the "completely new method" Kaz teased a year ago; that is almost certainly because of performance considerations. By my reckoning, at least.
Because it is "completely new", other games are not valid as reference points (aside from pure aesthetics). That will only become clear to all once we actually hear the results of PD's work, though.
- 374
- Germany
How do you explain that new cars in GT6 and updates later on have bad sounds, if they use a new and much better recording method?
The new method we have yet to see the results of again?
No offense
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