An EQ submix preset with just the single default band and settings below should do it!
freq = doesn’t matter
bandwith = max(10)
gain = min(-90)
Using a dynamics processor-submix, you could also set it to gate mode, and tune your threshold so nothing ever gets past it.
edit: oh and when I was last setting up source buses and sends, there was sometimes some stuff that needed an editor restart to work(i think). So maybe don’t try too much bughunting, rather do it by the book, then restart before final tests. I got it all working in 4.20.3.
What does your code or BPs look like? How and where are you feeding the synth with current/new presets? I usually do it on tick, since that’s needed for dynamic gliding parameter changes.
My mistake was that I was using Sends but I wasn’t setting submix so EQ preset with the settings was making it quieter but I could still hear myself as it was sending the capture to the master I assume. Setting up both Sound Submix and Sound Submix Sends on Audio Capture seems to do the job.
[USER=“2280276”]Illia Statkevych[/USER], I would not recommend using Submixes to do volume adjustment because there are several optimizations already done for logical volume adjustments on sources. So using a more traditional approach will probably be a more useful/cheaper method.
With that said, if you are working in a C++ project, and you say Add New C++ Class and add a new Submix Effect, then the template codegen for the starter Submix Effect actually generates a simple Volume Gain scale effect.
Wave files are saved in a different directory (Saved directory instead of Content directory), were the subdirectories Audio/Recording created in your Saved directory?
All of our backends have been built out for all UE’s supported platforms. We are focusing on battle hardening it by turning it on for Fortnite. This allows us to fortify and optimize it for a large-scale, multi-million player game project. When we’ve done this, we will turn it on by default for new projects. Currently, we’ve turned it on for Android so far.
With that said, it’s worth noting that there have already been several games which have released using the new Audio Engine. Our own Robo Recall, but also a slew of indie games (like All Walls Must Fall) and a couple of AAA titles (like A Way Out). Many licensees starting up new projects have already turned it on for their new projects and if you’re looking at starting up a project now and expect to be in development for a while, it’s probably a good idea to turn it on.
Hello @.](https://forums.unrealengine.com/member/524867--) ,
I noticed when you use the new audio engine you get another section on CPU profiling called “audioMixerRenderThread(1)” and this section takes a lot of ms, it takes ~ 7 ms on android but somehow its not affecting the performance does that mean they made audio engine work on different thread?
Another question, how can I disable Master Reverb and Master EQ on the new audio engine? as you can see its taking 6 ms even though I checked the box for “disable EQ” on project setting and I unchecked the box for effect and Reverb on my audio master sound class.
3rd and last question, what is “apply effects” on attached image regarding master sound class?
Thanks
It will be better if we can reuse the Animation Montage editor or Level Sequence Editor, so we can add custom events, rearrange audios and mixe them visually like Wwise and FMOD doing.
I’m having trouble dynamically setting source effect values when using media sound components. It seems like the media sound component only keeps the source effect values at initialization, and subsequent modifications to the source effect reference has no effect. I’m also getting weird behavior where setting the source effect value at begin play doesn’t get applied to the media sound component until I stop and start the play in editor session again. I’m pretty stumped on this one, even after stepping through the source code. Any help would be appreciated!
That’s a current bug in the latest launcher version(4.22.2 atm) of UE. If you wait for next launcher version, or grab a fresh master off github right now, dynamic source effect parameters should work normally again.
Thanks for the info! Just updated to the latest hotfix 4.22.3, and updating the source effect values at runtime now works. Still ran into the issue where setting the values at begin play on a media sound component is buggy on the first launch. My workaround is just to use a 0.5 second delay before setting the values.
Is anyone else having issues with hot reloading while using the new audio engine? My editor keeps crashing with this error:
Exception thrown at 0x00007FFDD47D9349 (UE4Editor-AudioEditor.dll) in UE4Editor.exe: 0xC0000005: Access violation reading location 0xFFFFFFFFFFFFFFFF
I have to close the editor, recompile, and then relaunch the editor every time I change any c++ code
Sorry if this has already been answered (did a search). I want to sidechain/envelope follower type of ducking. Not a “push mix/pop mix” thing. but dynamically ducking things. How would i go about that? The compressor has no sidechain input.
But i’m guessing i really dont need that.
All I want to be able to do is to control a submix audio volume, base on the envelope follower output.
How would I go about doing that?
Also another case: Modulating EQ frequencies, based on distance.
I have read about “Dynamically Setting Source Effect Values in Blueprints”, in the beginning of this thread, but I’m pretty confused.
A short youtube video about these things would be super helpful. But I perfectly understand if that isnt being made.
I switched to the new audio engine and noticed that reverb (the “classic” reverb-asset based reverb that you can apply to audio volumes) is a lot more pronounced (more echo-y?) than with the stock audio engine.
Is that expected due to the algorithm now being different, or will the discepency be fixed in a future update?
Edit: I should mention that some of the engine content reverb settings are too echo-y now, for example Engine/EngineSounds/ReverbSettings/Mountains
The reverb in the old engine was not supported on every platform and on ones where it was supported, were different sounding for each platform. That is because the reverb was an effect created by that platform. So on Windows and XBox, it was Microsoft’s own XAudio2 reverb effect. On PS4 it was Sony’s NGS2 reverb. On Mac is it was Apple’s AudioUnit reverb.
The New Unreal Audio Engine is Epic’s Reverb, it renders within our own DSP pipeline, and so it will sound exactly the same on every platform you deploy to–the old one will not.
As far as redesigning the old Engine Content, we’re aware of this issue and we’re looking at the best approach to take.
Fantastic, thanks for the explanation. This sounds like a massive step forwards. I released an update switching my Early Access game Estranged: Act II over to the new audio engine yesterday (mainly to alleviate AMD compatibility issues). I had to re-work all of the reverb, but from what you’re saying this was worth doing.
With that switch over, you will also open up the ability to apply Source Effects or Submix Effects as well (so if you wanted different EQ settings on two different sources, you could do this now). Or if you wanted to add Master Bus Compression to your Master Submix or to just a group of sounds, this is now possible.
