We have been working to develop the industry's best-in-class audio processing capabilities, and over a long period of time, the audio processing function will be a very important feature in Unity5.0.
To achieve this goal, we first rewrote many of the audio-related processes in unity and the resource Management section. We need to ensure a secure selection of encoders and ensure that we provide a framework that allows developers to use high-quality audio in the game. We will provide more details in the subsequent articles, but now we just want to tell you the first important audio feature we have in Unity5.0: Mixer (audiomixer)
The first step
In addition to creating a solid foundation for audio development in unity in the future, we also want to provide you with a whole new set of features as our first gift to "make your best audio", demonstrate our determination and are willing to do everything we can to bring you audio enjoyment.
In the next release cycle, there are many areas of the audio system that need to be constantly improved. Some of them are very inconspicuous, but solving the unresolved issues of unity so far can be seen as repairing the existing set of features, while others are relatively large, such as the ability to make great interactive sounds, immersive music systems, and high-detail, precise control of the audio mix.
Why Choose Audiomixer?
Why do we choose Audiomixer as the first major feature of audio 5? The answer is simple: In previous unity versions it was not possible to implement audio local blending. Sounds can be played in Audiosource, and sound effects can be added as components, all the sounds in the game are mixed in Audiolistener, and audiolistener can add effects to the entire scene.
We decided to use Audiomixer to solve the problem, and at the same time we felt we could go further and integrate many of the features you can find in existing digital audio workstation applications.
Classification of sounds
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Many sound therapists know that it is super practical to be able to combine sound collections into different classifications and to control the volume of all sounds in a category at one place. Connecting the volume and effect parameters to the logic of the game is equivalent to having effective control over the entire area of the scene in the game.
The control of the entire mixed sound is really super important, and it's a great way to control the mood and immersive feeling of audio mixing. Good mixes and music can lead players to experience a variety of emotional changes in the game, creating an atmosphere that simply cannot be created by graphic effects.
Mixing with Unity
This is the purpose of audiomixer, which is a resource that can be integrated into the scene by the user, controlling all the audio mixes in the game. All sounds played in the scene are placed in one or more audiomixer, then categorized, and the various modifications and effects are applied to the mixed audio.
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Each audiomixer has a class-defined hierarchy, which is referred to as Audiogroup in Audiomixer. You can also view these audiogroup in a traditional console layout that is more familiar to music or film people. |
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SofaLandlord| posted in 2014-10-28 05:01:28 | Just look at the author .
DSP
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of course, Audiomixer is not just about setting up a blending level. As you might expect, each audiogroup can contain a variety of DSP audio effects, which are superimposed on the audio sequentially in the form of signals.
Now we have some progress! Not only can you create custom transfer schemes and mixed hierarchies, but you can also place the good effects of a variety of dsps anywhere on the signal chain, providing a variety of effects options for your sound. You can even add a mask path, allowing it to process only a portion of the signal.
But what if you want to get more DSP control in Unity's built-in effects? This was previously handled entirely by the Onaudiofilterread script callback, which allows you to process audio samples directly in the script.
This is great for dealing with lightweight effects or making a prototype of a whim, but sometimes you want to be able to write natively compiled results for optimal performance, allowing you to write more heavyweight ideas, such as custom sampled reverb or Multiband equalizer.
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Unity now also supports customizing the DSP plug-in effect, enabling users to write their own native DSP for the game, You might also be able to put their great sound ideas into a resource store for others to use. This opens up the possibility of writing your own synth engine and even interfacing with other audio applications such as pure data. Custom DSP plug-ins can also request side-chaining support to get side-chaining data from anywhere in mixed audio! It's amazing! One of the coolest things about the effects stack in
audiogroup is that you can apply group attenuation anywhere in the stack. It is now even possible to enhance the signal as we allow up to +20 decibels of volume level. The detector even integrates a sound meter to tell you how the signal has changed at the attenuation point.
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When combined with nonlinear DSP, send/Receive, and new Dodge insertion (explained later), this becomes a super-strong way to control the audio signal by mixing. |
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BenchLandlord| posted in 2014-10-28 05:04:56 | Just look at the author .
Emotional change
I just talked about the mixing of the sound to control the mood of the game. This can be achieved by introducing or eliciting a new music backbone or ambient sound effect. Another common way to achieve this is to change the state of the mix itself. Changing the volume of the mix portion and transitioning to a different effect parameter state is an effective way to guide the player's emotions according to their own intentions.
All audiomixers have the ability to define snapshots. The snapshot captures the state of all the parameters within the audiomixer. Content such as the effect humidity level and the high level of Audiogroup sound can be captured and converted between them.
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Imagine moving from an open field on a map to a sinister cave, using a mix transition to emphasize a more subtle atmosphere, adding different instruments to the orchestra and changing the reverb characteristics of the soundtrack. Imagine that you can set the feeling of this feature without writing any line of scripting code.
Branch Signal
The ability to snapshot is especially enhanced when combined with send, receive, and Dodge.
Send
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In addition to inserting a traditional DSP effect in unity, you can also insert send at any point in the mix. Send can effectively branch the audio signal anywhere it is inserted, and within the send, you can select the amount of semaphores you want to branch.
Things are getting more interesting now! Since the signal level of your branch is part of the snapshot system, you can combine the changes in the signal flow with the snapshot transitions. As a result, potential setup possibilities start to snowball.
But where does the signal to the branch go? Currently, there are two destinations within unity that can be sent for selection, namely receive and volume Dodge.
Receive
Reception is a fairly simple processing unit. They are like any other effect that can be inserted into it, simply blending all the branch sounds that are sent to them, and passing them to the next effect in Audiogroup.
The receive can be placed anywhere in a set of effects and audiogroup decay points, which makes the branching signal to be introduced into the mix with great flexibility.
Volume Dodge
The send can also dodge the insertion unit for volume. As is the case with the receiver, these units can be placed in the mix together with other DSP effects.
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When sending aiming volume Dodge insert, it acts like a side chain compressor setting, which means you can do the side chain from anywhere in the mix and apply volume Dodge from any other location!
What does this mean for the layman? Imagine that you are mixing FPS games and you want the player to suddenly hear a burst of gunfire and explosions. Okay, but what if you need to hear what they're saying when you go to the NPCs on the battlefield? Volume Dodge allows you to dynamically adjust the volume of the entire portion of the mix (in this case all the ordnance sounds), making it lower than the other part of the volume (NPC voice). You only need to send the Audiogroup to the volume Dodge unit on the Ordnance Audiogroup from the one containing all NPC conversations.
You can even apply side-chain compression to music settings dynamically, allowing the remaining instruments to compress the bass tracks.
The best part is that you can set all of this in the editor without any line of code!
Conclusion
Although I've just covered the possibilities offered by audiomixer in this article, I hope it's enough to inspire interest in the possibility of audio in Unity 5.0.
We really want to drive the future of game sound with Unity 5.0 and follow-on products, providing you with the tools you need to create stunning sound effects!
Let us know what you think!
Audio Team |
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unity5x--------Music Mixer Parameters Detailed
