I tried applying it to the Sound Class, but it didn't work. 🥲However, when I applied it directly to Metaound, it worked. Do you have any idea why this is happening? *The Sound Class is assigned correctly, and if I set the volume to 0 in the general settings of the Sound Class, all audio responds.
Sound classes are not audio. They are not effected by audio modulation. Sound classes are more of a “classification” type thing. A way to apply general properties to a bunch of stuff as a group
Hi Brian - thanks so much for the wonderful work you're doing! If you have a moment, I was wondering if you might have any videos (or could point towards any resources) re: using the output from these MIDI files to trigger events via blueprint, like the spawning here - I've taken a look at the Harmonix tutorials you put together, and have been having a blast playing MIDI/using the fusion sampler, but I'm struggling to find any resources on using the notes/CC of a MIDI file to 'output' information back into a blueprint - I see the 'Watch Output (Metasound output subsystem)" node used here, but for the life of me I cant seem to figure out what its target should be, or how to configure my harmonix nodes in the metasound to output/expose MIDI notes/cc. Thanks so much!
hey boss, I was having a marathon of your tutorials and I can very gratefully tell you that the concept of audio in the game no longer seems impossible to me, I have a question for you, I need to make my character, when touching the water, create these sounds of collision that change as I go deeper I know you have a tutorial that can help me achieve this, could you tell me which one it is so I can focus on it? Thanks again
Try an audio gameplay volume: Try adding these other Audio Gameplay Volume component types to a new or existing volume: dev.epicgames.com/documentation/en-us/unreal-engine/audio-gameplay-volumes-quick-start Submix Override: Adds a Submix Effect Chain to a Sound Submix. When the listener enters the volume, this effect applies to all sounds regardless of whether they are inside or outside of the volume Filter: Applies a low pass filter to the audio. You can configure the effect to apply to sounds inside of the volume while the listener is outside, or the other way around.
Do you know if there's at all an ordinary audio mixer like in any DAW, Fmod or Wwise in UE, and if there's a master output you can slap compressors and limiters on? I'm just getting started with MetaSounds, but wohoy it seems like an unfinished product to an audio pro.
@@posebukse No. there is no built in Mixing board style interface… but you can build one using audio modulation and widgets. Check out my videos on using a widget to control audio
Even if you’ve been in game audio for a bit, revisiting the basics and hearing another way of explaining or demonstrating concepts and methods always reinforces one’s understanding. A very nice intro for people new to this, and a good recap for those who are not.
I can't thank you enough for your Unreal Engine / Metasounds videos dude. I'm learning an incredible amount in a very short time and that's making a huge difference on several projects I'm working on! You're a wonderful teacher, cheers for that!!
You can treat directional footsteps like any 3d sound. Use attenuation and spatialization and it will be in the world according to the listener position
Thanks for going over this plugin, Fuller. I watched the first three videos, and then when I saw the preview of your drum machine at the end of the last video, I got inspired to go try and build one myself. It's been tons of fun playing with the plugin.
Yeah, the Patchwork stuff is fun, too, for sure. I had been playing with that for a bit, setting up little jam rooms and trying to build my own version of the Heist demo that Epic made for their Patchwork tutorial, until I found out about the Harmonix toys in UE. I'm sure I'll end up back playing with it more. Thanks again!
I wish the modulate input on oscillators worked like a real modular synth and you didn't need to multiply by float and use an input to crank the gain like a VCA. Great video though!
I am 100% following until you get to skip over how to reference the meta sound. I figure that is in another video, but I watched from part one until now and haven't caught it. would you kindly point me in the right direction.
@@brianmichaelfuller So I am still having a bit of trouble. I have tried Both creating and spawning a 2d sound on begin play, and have my metasound theremin selected, I promote to variable, and see the variable in my components menu. I have On actor begin overlap (Bp_TheraminStrip) set up. (However when trying to pull up more of these today I was unable to find this event type again and instead could only find event begin overlap.) I have it setting a boolean (is on strip) to true, and that is going out to execute Trigger parameter, I target the Audio component referencing my meta sound, and typed in the name of my attack trigger. however when i compile and play, overlaping does not seem to trigger my metasound. I have watched all your basics video's and your synth 101 serries, and I can't seem to find the piece I seem to be missing. I really felt like I was learning a lot up to this point, but now I am just stuck and becoming quite discouraged.
Sorry to hear that! UE can be a bit confusing sometimes. I would recommend maybe starting from the beginning again and see if it makes sense. I’m not exactly sure what your missing?
Hi Brian , i love this tutorial , i was hoping to use this technique to add spatialized sound to my movies sequences but failed to it :( , draging the ambient sound in the level sequencer do nothing .. Is there a way to do that ? thankss
Thanks so much for this information! You're awesome. Question, can we use the step sequence player to control for example a Saw Wave or an Additive Synth?
Thank you for putting your time into this! ... May I ask how can I drive a character hand motion based on a voiceover, so the hand movements are there when you can hear the audio and they stop moving when there is silence in the audio. been trying to figure this out for weeks now lol!
I don’t now a lot about animations, but what you can do is use “output watching” to get an envelope follower from your MetaSound. And then use that information as a simple float parameter to drive anything you want, including something like an animation.
@@brianmichaelfuller Brian i have one more question if i may. I totally nailed moving the character hands with the voiceover thanks to you. But inorder to make it a smooth animation ,volume up the hand play the animation and volume down the hands stop. I need a node that can catch the dip in volume a bit before it happens if that makes sense . So the animation of the hands stops more smoothly instead of instantly stoping after getting no volume from the get float. I managed to smooth it a little bit by adding a delay node but i can't establish a nice looking blend out. Sorry for the long text.
@@roaldjensen3120 that’s an option. Although 64 notes are almost like not quantizing at all and depending on the source can sound “off” - the cool thing is you can play around and experiment until you find what works for each source
One of the cooler aspects of the Step Sequencer asset is that you can update it and the change is reflected in real time in all metasounds that use it, which is great for previewing and editing, and it's all blueprint exposed and even setup for network replication, so it can have many in-game applications for interactive music.
Did you ever find an answer to the Cue Point ID numbers being off? If not, you could probably just take the Cue Point ID and subtract 1 from the Int result before printing.
What are key differences between this and using something like the Quartz system and it's clocks? I'm trying to create a "singing monsters" like system so I imagine quartz is better for the ability to subscribe to individual beat events and such, but as far as prototyping sounds and how they blend are there any downsides to this? I guess I'm struggling to see what this does differently from quartz and if quarts should even be used at all? Can I not use this in blueprints as well?
Check out my videos on Quartz if you haven’t. Quartz is for syncing external audio with each other. If everything is contained inside one MetaSound you don’t need Quartz. But the moment you want to sync 2 or more individual audio sources, that are triggered at different times, you need Quartz to sync them up
@brianmichaelfuller Thank you super fast response, and that makes since, new to the sound design aspect rn but I just need to play with it It seems. Few more things: 1. Any tutorials on how one might adjust a loop to match bpm by chance? 2. I'd also love your opinion on which you would start with. If you aren't familiar My Singing Monsters is a game where the player gets monsters that all sing at the same bpm, but have different parts, with each monster adding different layers to the music with their own loops. From what it sounds like quartz is the best for dynamically added audio at runtime, but i feel like you could set it up using variables for the audio files and triggers. 3. You're amazing for these tutorials. Seriously, they're high quality, and the amount of content you've gone over is stellar. I'm not a sound designer at all, but I at least feel confident I can learn how to use the tools Unreal has purely because your channel as of now. Thank you so much and have a great day!
Hey thanks so much for this tutorial! Super helpful. However -- and I'm somewhat new to wwise and unreal -- when I try to follow these steps, I don't see any plugin folder in my Unreal project and instead of seeing that my soundbanks folder is empty, it says that my Root Output Path in Wwise integration is empty. What am I doing wrong?
