That sounds and looks nice to me.
Not sure if they are using gain control on audio and a high range volume though?! GT5 P had that half a decade ago nearly so AC should be able to do something similar. Anyone know for sure?
gain control? whats that? every sound that goes louder and quiter has "gain control"
and "high range volume" ??? what does that mean ?
high dynamic range? or the opposite heavy compression to get quiter sounds louder and let them duck away through louder sounds?
never heard that terms especially high range volume? gain control I heard but thats just make somehting louder or quiter lol
for example volume automation of a singer or such things...
sounds to me as a soundguy like some simple things putted into a good for marketing bla bla word...
to the the other point I read here.. like the comparsion of athmospheric graphical gimmicks and such things...
it's alot differend with audio... yes ofcourse they could add bird sounds and crowd sounds and all that kind of stuff.. thats very very simple...
but for example... things like shadows or reflections and so are in the graphical thing quite easy... because the game is in a graphical 3dimensional world... that is nowadys possible through the immense powerfull graphiccards...
but we don't have the hardware yet to provide that same 3dimensional world in sound... you would need a sound processor/card which is as strong as a graphic card for that... which is not available...
soundwise we are in the time where the graphics were in the early / middle 90s ... we don't have the dedicated power to built a complete 3dimensional world of sound...
so you need to do a lot of tricks.. for example because you can't built a complete 3 dimensional sound world... you need to trigger differend "canned" effects like reverbs and echos at differend parts of the track... that works for example for the driving view...
because in the driving view you are at the sound source... so you travel together with the sound source so you can trigger these effects...
but for replays you need a complete differend system...
in replays with tv cams and so... you are not the sound source... but the sound source is moving somewhere and so should the soundwaves do.. till the ear or microphone receives them...
and there it's getting very complicated... because the sound of the moving source spreads in all directions... for example... the source (car) come through a turn with a wall behind it... and then driving through an area with trees towards you... with for example another wall at the next turn.... now you would need to hear the echos of the walls but delayed in relationship to the sound source and the listener.. and you also need the flattering echoreverb of the trees.. but they also need to stay in the right relationship....
if you would just fade through these effects it would sound wrong... because you are not the source so you need to have a dynamical delay including filters for air dampening and so on... and if you want to do it very correct you would also need to get the reflections of the between the walls and the trees too... which are then no longer from the "actice" sound source (the car) but from passive one (the reflections from the trees to the wall)...
to get a picture you could imagine a cannon on a car which shoots alot ALOT of gum balls in all directions.... and now you see where thy are bouncing off every surface (forget about ballistics in this case
)
that would be the correct 3d sound world... (which is like I think you can understand not possible on todays hardware)
so for replays it's very hard to trick around in a way that sounds at least a bit realistic...
one solution would be to forget about distance and sound travel... so that the delays of the the walls and trees just stay all the same all the time...
so you would need to do a fixed reverb echo "scene" for every cam position... which just blends with the dry car sound... a pre fader send for example.... for people who are not into sound...: the source (car) is sending the sound into the reverb generator before the actual car sound is volume controlled... so if the car is far away and the volume of the car is still quite low... you still hear x amount of reverb... and when the car is near.. and the volume of the car is louder.. you still hear x amount of reverb but the ratio between the reverb and the car is now differend... so lets say... reverb sound is x and to put it into a random number that is now 50..... when the car is far it is for example 10... so you have 10 amount of car.. and 50 amount of reverb.... if the car is near it's for example 90 then you have 90 amount of car and 50 amount of reverb... and while the car travveled away again... it's again far let say again 10 amount of car and 50 amount of reverb....
that would be "physically" more or less correct (if you forget about the real physic like sound travling delay etc)...
the thing is... our ears work a bit differend they are compressing at high sound levels.... so even if that would be some kind of physically correct.. there would still be a little touch what could make it more exciting....
for that there are now 2,5 additional solutions... one way would be to also controll the send amaount... or wet/dry level... so if the car is far away you have for ecample 50 reverb... if the car is near you only have for example 20 reverb and if it is far again you have again 50 reverb...
secound solution would to put a compressor on that... so the reverb gets "compressed away..." by the sound level of the car... that could sound more intense in some cases but could also couse a bit strange effects at volume peaks like gearshift bangs for excample...
I think a combintion of the both would get a quite good result... so you let the send amount or wet dry amount.. controlled by the distance of the source.. (car works like somekind of fader)
and then put a tiny tiny bit of compression on the summing of that..
so ... and now... you have only one car..
so you need to make a channel for every car (but ok well every car already has it's own channel) and every car is it's own send knob/fader to the reverb generator...... but would work I think....
but like you see that is quite differend to what you can do with graphics... because all the reverb thing and so is canned... it's like blending a texture in and out... because there isn't the power to do a real 3d sound enviroment yet...
however if that is done right.. (good reverb echo modeling and such things) I think it can sound quite good... however a good reverb generator alone is not very cpu friendly.... ok in this case it doesn't need the abbility to do long creamy spacey reverb tails... it just need to do reflection stuff... so it doesn't need to fight with long clear reverb tails (which are often the most cpu consuming part of reverbs)
then there is the choice between convultion reverbs and algorithmic reverbs... (convolution is you could say kind of a audio photo of a scene and alghorithmic ones are processed ones)... I would choose algorithmic over the convultion ones... because you don't have to travel to a specific place and build up a sound and recording system to get that "photo" (impulse response) .. with a alghortimic one you could just programm it till it sounds quite right... so you are much more flexible..
however... long post again
like everytime some one feeds me with sound things
but well... I don't think AC gets that kind of sound FX implemantation... if it would .. I would love to the reverb modeling !