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It may be right in front of my eyes, but I’m trying to figure out how to essentially nudge the start times of sounds, so that I can better sync to animations.

Would this/should this be done on an event layer level? I.e. if I have several layers, and I want one or more of the layers to be delayed by some amount of time, how would this be done?

Under sound instance properties I see ‘Start position’, but the description states "Where the sound starts in ruler units". And the ruler is clearly not a timeline.

I’m also looking in the sound defintions properties, and not seeing anyway to offset the start of a sound.

Thanks!

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[quote="jcobb":2d613nub]I am concerned that initial time delay implemented as a realtime dsp will be unnecessarily expensive compared to a property in the sound instance or sound definition. Are you actually suggesting using dsp workspace memory for buffering an audio delay of the sound, or do you have something more optimal in mind? I would use initial time delay extensively if it is not going to cost dsp ram and cpu.

Also, it is not as if a sound definition or instance property can’t be set up to have an effects parameter curve. For instance spawn intensity works this way.

Why would initial time delay not be just a property of the sound definition or instance?

regards
-jason[/quote:2d613nub]

You are right Jason, I should have called it a ‘Property Automation’ effect, not DSP Effect. I was originally just trying to point out, it would be nice if this pre-delay could be automated (or randomized) in some way.

cheers,
Templar

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<whew> that is a relief!

I’ll second initial time delay automation and randomization.
(mix/max times scaled by the property automation effect)

cheers
-jason

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[quote="Flying Poo":2p3kbcdw]
Would this/should this be done on an event layer level? I.e. if I have several layers, and I want one or more of the layers to be delayed by some amount of time, how would this be done?
Thanks![/quote:2p3kbcdw]

This could be done in a number of ways, however I think you’d be most interested in the following method:

You are going to need a ‘velocity’ based parameter. A parameter with a velocity, will automatically move from the minimum to maximum parameter values, therefore doesn’t require a programmer callback to set the parameter. This property allows us to create time-based sequences, which is what you are trying to do.

To do this:

  1. Add a parameter.

  2. Right click the parameter, and select Parameter Properties. A dialog window should appear.

  3. In the velocity cell enter 1. This number represents the speed at which the parameter cursor will move, and is expressed units per second. With the parameter’s minimum at 0, maximum at 1 (1 unit) and velocity at 1. It means it will take 1 sec to move from the minimum to maximum. If the maximum was increased to 2 (giving us 2 units), it would take 2 secs. I suggest experimenting with these numbers, and watching the parameter cursor’s behavior to get a feel for this relationship.

  4. Make 2 layers.

  5. Place a sound definition on each layer. Imagining the parameter ruler is a timeline, size the definitions so they are separated by ‘time’.

  6. For each sound definition instance, right click and select ‘Sound instance properties….’. A dialog window should appear, then set the loop mode to ‘One shot’.

  7. Press the audition play button. The parameter cursor should automatically move from left to right. You should notice, that the sound definitions still trigger as the cursor passes over them. To set up a time offset, all you need do is move the sound definition away from the left margin.

If you require looping, you can use sustain points…but I’ll let you try out the above first.

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It would seem that while working with 3d events (events already containing a 3d distance parameter) that I had to create the velocity parameter and make it the primary parameter BEFORE creating my second layer, in order to audition in the designer…interesting. Is this a bug, or am I missing something?

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Thanks you for the reply. And it is important for me to understand this time based parameter.

But is there a simple way to just nudge a sound by just typing in a number?

What are these other methods you describe?

Thank you,

Robert

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[quote="bioware_jeremie":2lftfifb]It would seem that while working with 3d events (events already containing a 3d distance parameter) that I had to create the velocity parameter and make it the primary parameter BEFORE creating my second layer, in order to audition in the designer…interesting. Is this a bug, or am I missing something?[/quote:2lftfifb]

It sounds like your second layer’s control parameter is set to the 3d distance parameter. The control parameter controls which sound definitions on the layer play. It defaults to the primary parameter, which is why the procedure you describe works.

You can change it by right-clicking on the layer controls (on the left in the event editor, where the layer name is), and selecting "Layer properties…". Change the control parameter field to your velocity parameter.

Ben

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Ok, I followed your instructions, and I have a much better understanding of the velocity parameter. I must admit it is a bit confusing as your tutorials make such a specific point that the ruler should NOT be perceived as a timeline in the traditional sense, yet by using the velocity parameter it in fact does become exactly a timeline. I can grasp that, but here’s the problem I ran into immediately.

It seems as though the parameter cursor comes to a stop if the sound on one layer ends.

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[quote="Flying Poo":1yt9yhhf]Thanks you for the reply. And it is important for me to understand this time based parameter.
[/quote:1yt9yhhf]

I think the velocity-based parameter is really powerful, and is a good technique to master with Designer.

[quote:1yt9yhhf]
But is there a simple way to just nudge a sound by just typing in a number?
What are these other methods you describe?
[/quote:1yt9yhhf]

Well, the easiest (and hackiest!) way you could create an offset is by padding the front of the sample with some silence. You could then use the time-offset property to fine-tune the amount of padding.

Using a delay effect (100% wet, no feedback) may also work.

Perhaps a feature request for is in order!

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[quote="Flying Poo":2x0k401j]Ok, I followed your instructions, and I have a much better understanding of the velocity parameter. I must admit it is a bit confusing as your tutorials make such a specific point that the ruler should NOT be perceived as a timeline in the traditional sense, yet by using the velocity parameter it in fact does become exactly a timeline. I can grasp that, but here’s the problem I ran into immediately.
[/quote:2x0k401j]

I accept your point, but I don’t think it is quite a ‘timeline’ because the velocity rate doesn’t necessarily align intuitively with the ruler.

[quote="Flying Poo":2x0k401j]
It seems as though the parameter cursor comes to a stop if the sound on one layer ends.[/quote:2x0k401j]

Make sure the event’s oneshot property is set to ‘No’. A oneshot event will stop as soon as it detects silence.

cheers,
Templar

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Thanks again. That did the trick!

Yeah, it would be nice to have a simple and quick way to delay the playback of a sound by a simple fixed time amount. I formally request this feature lol.

But now that I have a better understanding of it, your original solution seems to work nicely. Good stuff.

😀

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[quote="Flying Poo":g1ltrbbt]Thanks again. That did the trick!

Yeah, it would be nice to have a simple and quick way to delay the playback of a sound by a simple fixed time amount. I formally request this feature lol.

But now that I have a better understanding of it, your original solution seems to work nicely. Good stuff.

:D[/quote:g1ltrbbt]

I think I’d like to see it as a dsp effect rather than a sound instance property. If it is an effect, you can automate the length of the delay, via a parameter and effect envelope!

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Splendid thinking.

So I assume that should be implemented by morning?

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I am concerned that initial time delay implemented as a realtime dsp will be unnecessarily expensive compared to a property in the sound instance or sound definition. Are you actually suggesting using dsp workspace memory for buffering an audio delay of the sound, or do you have something more optimal in mind? I would use initial time delay extensively if it is not going to cost dsp ram and cpu.

Also, it is not as if a sound definition or instance property can’t be set up to have an effects parameter curve. For instance spawn intensity works this way.

Why would initial time delay not be just a property of the sound definition or instance?

regards
-jason

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