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Hello, everybody.

I just started learning FMOD software mainly for sound-designing purposes. So I came to a problem (after watching the powerpoint presentation and reading some parts of the manual).

For example we make a event for a particular area. We want a looping sound from an engine and we want random sounds played from time to time. Is there a way to make the sound of one layer to loop and a layer with "oneshot" properties?

And is there a point for making this in just one event?

Thanks :)
I’m sorry, I’m afraid I’ll be bothering from time to time… :(

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To make sure I understand this correctly, you want for example, an engine that is looping that also occasionally plays random one-shots, like sputters and backfires, rightt?

If that’s the case, first create your engine loop setup in a single layer. Then create a second layer an carefully place a one-shot event at the same parameter value as your looped engine event (in most cases, where your sustain point is). Make sure this event has a min and max spawn value in its definition, and that should do it.

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Thank you very much for your response and sorry about writing an answer to you so late.

Yes, I came into a decision close to this one, but here comes another question: for example we want to make an ambient sound of a factory, which’s 3D – our player might come in and out of the building and therefore all the cutoffs and volume-downs should take place.

So what’s the thing with the sustain point? And if we really make a beginning sound (entering), an end part (leaving) and a loop part, where the sustain point is exactly, then WHAT triggers the "key off" feature?

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[quote="Shaiolgul":1jur3d7l]Thank you very much for your response and sorry about writing an answer to you so late.

Yes, I came into a decision close to this one, but here comes another question: for example we want to make an ambient sound of a factory, which’s 3D – our player might come in and out of the building and therefore all the cutoffs and volume-downs should take place.

So what’s the thing with the sustain point? And if we really make a beginning sound (entering), an end part (leaving) and a loop part, where the sustain point is exactly, then WHAT triggers the "key off" feature?[/quote:1jur3d7l]

You can fortunately have both a 3D distance and ASR parameter on the same layer without having them conflict.

Let’s say you make a looping engine event that has an Attack and Release, with the Sustaining section in the middle (ASR). You’d first create a time-based parameter with a velocity. Then you’d arrange the sound definitions on the layer so that the parameter triggers them in sequence. Now of course, you want the loop section to actually loop, so you’d like click on the parameter timeline and drop a sustain point. This will make the parameter pause (or sustain) on the looping content. When appropriate, you can send a Keyoff command through code to release the parameter from the sustain point and conclude the event.

So how do you create a custom rolloff that doesn’t interfere? First add the 3D distance parameter. Here’s the important part: Edit the layer properties and look at the Control parameter section. This is the parameter that controls when the sound definitions on the canvas actually fire. There can only ever be one. In this case, we want the ASR parameter you created earlier to be the Control parameter. Click Ok. Now you can adjust your 3D rolloff all you want, and it won’t show any concern toward which part of the ASR is playing and which is not.

I hope this helps.

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Thanks, man, I’ll try it right away and will write if there are some problems.

And another dumb question – if you can audition everything from the Designer program, what’s the purpose of Sandbox?

And moreover – are there other tuts or powerpoint files in the net? I found (after google-ing) only these on fmod.org and just a beginners tutorial on Audiotuts.com (which was quite helpful by the way).

Thanks very much.

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[quote="Shaiolgul":2s15b31q]Thanks, man, I’ll try it right away and will write if there are some problems.

And another dumb question – if you can audition everything from the Designer program, what’s the purpose of Sandbox?

And moreover – are there other tuts or powerpoint files in the net? I found (after google-ing) only these on fmod.org and just a beginners tutorial on Audiotuts.com (which was quite helpful by the way).

Thanks very much.[/quote:2s15b31q]

Sandbox lets you audition multiple events at once and allows you to construct 3d scenes, of sorts, so that you can have a better idea of how everything sounds together. I personally haven’t gotten any use out of it, but it’s certainly useful for some workflows.

Regarding tutorials, I’ve never really looked into any. I just learned it while I worked with it. This forum has been the most useful resource for me, but the wiki has some decent information in it too.

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Thanks again for your feedback, man. Really sorry ’bout posting stuff like that, but the more threads I read in the forum, the more I get confused :( I will try to fetch up. :)

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[quote="AnimusSonitus":3mk4eavu]

You can fortunately have both a 3D distance and ASR parameter on the same layer without having them conflict.

Let’s say you make a looping engine event that has an Attack and Release, with the Sustaining section in the middle (ASR). You’d first create a time-based parameter with a velocity. Then you’d arrange the sound definitions on the layer so that the parameter triggers them in sequence. Now of course, you want the loop section to actually loop, so you’d like click on the parameter timeline and drop a sustain point. This will make the parameter pause (or sustain) on the looping content. When appropriate, you can send a Keyoff command through code to release the parameter from the sustain point and conclude the event.

So how do you create a custom rolloff that doesn’t interfere? First add the 3D distance parameter. Here’s the important part: Edit the layer properties and look at the Control parameter section. This is the parameter that controls when the sound definitions on the canvas actually fire. There can only ever be one. In this case, we want the ASR parameter you created earlier to be the Control parameter. Click Ok. Now you can adjust your 3D rolloff all you want, and it won’t show any concern toward which part of the ASR is playing and which is not.

I hope this helps.[/quote:3mk4eavu]

Great explanation. I missed the controller parameter part when reading the docs and my brain was in an endless loop trying to figure out how FMOD knew what parameter to pay attention to when triggering the sound definitions.

Thanks,
Sean

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