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MetaSound Source - MSS

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Pages List
List view
Summation
Devlog
Sound Design
Knowledges
Unreal Engine
Acustic Theory
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2-way Speaker
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A/B Spaced Pair
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Additive Synthesis
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Aliasing
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Ambience
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Ampere - A (μ „λ₯˜)
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Amplitude (진폭)
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Analog-to-Digital Converter - ADC
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Anti-Aliasing
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ATSC A/85
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Auditory Illusion (청각 μ°©μ‹œ)
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Binaural Hearing (양이 μ²­μ·¨)
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Bit
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Bit Depth
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Bit Error Rate - BER
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Brown Noise
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Chiptune
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Clipping
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Clock
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Cocktail Party Effect (μΉ΅ν…ŒμΌ νŒŒν‹° 효과)
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Comb Filtering
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Convolution
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Crest Factor
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Damping (감쇠)
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dBm
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dBu
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dBV
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dBW
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Decibel - dB
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Diaphragm (μ§„λ™νŒ)
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Diegetic
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Digital Audio Interface
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Digital Audio Workstation - DAW
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Digital-to-Analog Converter - DAC
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Dipole Gain - dBd
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Distortion (μ™œκ³‘)
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Dithering
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Downsampling
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Dynamic Range - DR
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EBU R128
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Loudness - LU
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Frequency - Hz (주파수)
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Pitch
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Fundamental Frequency - F0 (기본 주파수)
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Harmonics (배음)
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Inharmonics (λΉ„λ°°μŒ)
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Overtone (μƒμŒ)
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Fourier Transform (푸리에 λ³€ν™˜)
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Period - T (μ£ΌκΈ°)
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Phase - Ο† (μœ„μƒ)
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In-Phase (동상)
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Out-of-Phase (역상)
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Polarity (κ·Ήμ„±)
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Wavelength - Ξ» (파μž₯)
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Envelope - ENV
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Transient - TR
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Power - W (μ „λ ₯)
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Unity Gain
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Relative Average Loudness - RAL
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Gain
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Sound Pressure Level - dB SPL
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Full Scale - dBFS
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True Peak - dBTP
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Hearing Level - dB HL
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Weighting Filters - A / B / C Weighting
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Loudness Units relative to Full Scale - LUFS
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Loudness K-weighted relative to Full Scale - LKFS
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Loudness Range - LRA
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Isotropic Gain - dBi
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Sound Power, Acustic Power (음ν–₯ νŒŒμ›Œ)
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Signal-to-Noise Ratio - SNR (μ‹ ν˜Έ λŒ€ μž‘μŒλΉ„)
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Total Harmonic Distortion - THD
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Root Mean Square - RMS
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Threshold (Parameter)
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Resistance - R (μ €ν•­)
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Sine Wave (μ •ν˜„νŒŒ)
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Mode of Vibration (λΉ„μ‘°ν™” λͺ¨λ“œ)
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Fletcher-Munson Curve
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ITU-R BS.1770
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Equal Loudness Contour (등청감곑선)
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Headroom
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Noise Floor
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Noise (작음)
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Nyquist Theorem (λ‚˜μ΄ν€΄μŠ€νŠΈ 이둠)
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Effective Number of Bits - ENOB
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Sampling
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Quantization (μ–‘μžν™”)
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Compressor
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Reverb
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Delay
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Equalizer
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Tape
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Parameter (Parameter)
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Unit
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Amplifier (증폭기)
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Speaker
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Hi-Fi
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Hyper Cardioid
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Lobar
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Gooseneck Microphone
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Boom Microphone
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Headset Microphone
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Earset Microphone
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Boundary / PZM Microphone
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Parabolic Microphone
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Wireless Microphone
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USB Microphone
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Measurement Microphone
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Mic Level
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Line Level
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Speaker Level
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Level
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Auditory Masking (청각 λ§ˆμŠ€ν‚Ή)
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Precedence Effect, Haas Effect (μ„ ν–‰ 효과)
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Auditory Scene Analysis (청각 μž₯λ©΄ 뢄석)
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Temporal Integration (μ‹œκ°„μ  적뢄)
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Missing Fundamental (결손 기본주파수)
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Recorder (λ…ΉμŒκΈ°)
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Mixing Console
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Direct Box
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Cue System
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Audio Cable
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Connector
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Rack
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Patch Bay
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Mixdown
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Signal Flow
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Phantom Power
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Slap Echo
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Multiply Echo
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Modulation
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Flanger
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Phaser
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Pitch Shifter
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Chorus
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Tremolo
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Auto-Tune
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Pitch Correction
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Vibration
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Delay Time (Parameter)
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Sync (Parameter)
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Note Value (Parameter)
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Offset (Parameter)
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Feedback (Parameter)
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Mix (Parameter)
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Damping (Parameter)
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Stereo Width (Parameter)
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Pan (Parameter)
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Ping-pong (Parameter)
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Cross Feedback (Parameter)
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Transmission Medium (맀질)
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Wave (νŒŒλ™)
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Outer Ear (외이)
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Middle Ear (쀑이)
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Inner Ear (내이)
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Ear Drum (고막)
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Ossicles (μ΄μ†Œκ³¨)
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Cochlear Duct (λ‹¬νŒ½μ΄κ΄€)
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Phase Distortion
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Electric Guitar
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Overdrive
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Effector
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Bitrate
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Block Noise
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Digital Artifact
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Synthesizer
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Hiss
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Hum
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Clipping Point
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Norminal Level
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S/PDIF
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ASIO
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Core Audio
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Latency
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Word Clock
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Preamplifier
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Acustic Guitar
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Plug-In
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Studio
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Low Frequency Oscillator - LFO
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Subtractive Synthesis
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Arpeggio
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Polyphony
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Pure Tone
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Non-Destructive Editing (λΉ„νŒŒκ΄΄ νŽΈμ§‘)
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Foley
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Sound Effects - SFX
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One-shot
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Layering
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Sidechain
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Dialog
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Ducking
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Asset
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Non-diegetic
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On-screen
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Off-screen
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Extra-diegetic
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Mickey Mousing
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Audio Bridge
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L-Cut
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J-Cut
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Leitmotif
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Walla
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Granular Synthesis
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Sweetener
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Drone
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Braam
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Riser
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Morphing
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Soundscape
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Whoosh
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Impact
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Squelch
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Stinger
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Rumble
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Glitch
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Filter Sweep
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Reverse
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Room Tone
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Background Noise
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Post Production
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XLR
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Sub Woofer
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Driver
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Unit
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Enclosure
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Capacitor
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Dynamic Speaker
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Woofer
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Recording
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Mixing
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Mastering
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Dynamic Audio Processor - DSP
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Fast Fourier Transform - FFT
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Bit Crusher
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Buffer
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Ambisonics
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Dolby Atmos
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Spherical Harmonics
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Mono
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Stereo
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SoundField
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Envelope Tracker
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Envelope Follower
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Semitone
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Peak Programme Meter - dBPPM
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Speech Interference Level - SIL
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Voltage - V (μ „μ••)
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Impedance - Ξ©
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Peak
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Linear (μ„ ν˜•)
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Timbre (μŒμƒ‰)
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Resonance (곡진)
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Formant
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phon
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Transister
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Fundamental RMS
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Oscillator
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Oversampling
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Filter
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Limiter
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Sample Peak
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Jitter
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ISO 226
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Convolution Reverb
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Gate
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Expander
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De-Esser
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Ratio (Parameter)
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Knee (Parameter)
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Attack (Parameter)
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Decay (Parameter)
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Sustain (Parameter)
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Release (Parameter)
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Square Wave (μ‚¬κ°νŒŒ)
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Saw Wave (ν†±λ‹ˆνŒŒ)
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Triangle Wave (μ‚Όκ°νŒŒ)
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Pulse Wave
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White Noise (백색 작음)
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Pink Noise
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Frequency Response
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Brownian Motion (브라운 μš΄λ™)
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Octave
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Cent
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Digital Signal Process
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Saturation
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Vibrato
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Intonation
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Drift
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Format
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Sample Rate
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Microphone
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Dynamic Microphone
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Condenser Microphone
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Ribbon Microphone
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Omni-Directional (무지ν–₯μ„±)
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Super Cardioid (μ΄ˆμ§€ν–₯μ„±)
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Shotgun Microphone
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Lavalier Microphone
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High-pass Filter
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Low-pass Filter
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Band-pass Filter
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Band-stop Filter
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Notch Filter
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Shelving Filter
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Peak Filter
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Bell Filter
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Q Factor
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Cutoff Frequency
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Center Frequency
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Pad
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Uni-Directional (단일지ν–₯μ„±)
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Bi-Directional (μ–‘μ§€ν–₯μ„±)
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Proximity Effect (κ·Όμ ‘ 효과)
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Off-axis Coloration (μ˜€ν”„μΆ• 착색)
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Inverse-square Law (μ—­μ œκ³± 법칙)
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Polar Pattern (μ§€ν–₯μ„± νŒ¨ν„΄)
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Head-related Transfer Function
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Distance Attenuation
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Room Modes
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Boundary Effect
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Doppler Effect
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Lombard Effect
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Transient Reponse
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Sensitivity
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Electret Condenser Microphone
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Dummy Head
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Stereo Microphone
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Shock Mount
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Pop Filter
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Windscreen
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3:1 Microphone Rule
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X/Y Coincident Pair
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M/S Mid Side Technique
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Electrodynamic Speaker Drive
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Crossover
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Loudspeaker Enclosure
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Loudspeaker
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Nearfield Speaker
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Headphone
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Full Range Speaker
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3-way Speaker
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Graphic Equalizer
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Parametric Equalizer
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Dynamic Equalizer
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Enhancer
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Variable-Mu Compressor
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VCA Compressor
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FET Compressor
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Optical Compressor
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Digital Compressor
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Hold (Parameter)
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Gain Reduction Meter - GR
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Make-up Gain (Parameter)
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Stereo Compressor
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Multiband Compressor
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Sidechain
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De-noiser
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Hall (Parameter)
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Plate (Parameter)
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Room (Parameter)
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Ambience (Parameter)
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Chamber (Parameter)
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Spring (Parameter)
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Gate (Parameter)
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Size (Parameter)
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Pre-Delay (Parameter)
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Early Reflection (Parameter)
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Diffusion (Parameter)
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Wet/Dry (Parameter)
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Doubling
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Echo
Load more
Introduction
Β 

μ •μ˜

Unreal Engine λ‚΄λΆ€μ—μ„œ Audio Dataλ₯Ό Sample λ‹¨μœ„λ‘œ μ •λ°€ν•˜κ²Œ ν•©μ„±ν•˜κ³  절차적인 λ‘œμ§μ„ 톡해 μ‹€μ‹œκ°„μœΌλ‘œ μ†Œλ¦¬λ₯Ό μƒμ„±ν•˜λŠ” Node 기반의 κ³ μ„±λŠ₯ Audio 처리 Asset이닀.

μ„€λͺ…

과거 Unreal Engine의
πŸ“„
Sound Cue - SC
μ‹œμŠ€ν…œμ€ λ‹¨μˆœν•œ Audio 파일 μž¬μƒκ³Ό 기초적인 믹싱에 머물러 λ³΅μž‘ν•œ 동적 Audio μ‹œμŠ€ν…œμ„ κ΅¬ν˜„ν•˜κΈ°μ— μ„±λŠ₯적 ν•œκ³„κ°€ λͺ…ν™•ν–ˆλ‹€.
Epic GamesλŠ” 이λ₯Ό κ·Ήλ³΅ν•˜κΈ° μœ„ν•΄ Audio μ „μš© Rendering Threadμ—μ„œ 직접 μž‘λ™ν•˜λŠ”
πŸ“„
Dynamic Audio Processor - DSP
기반의 MetaSound μ‹œμŠ€ν…œμ„ μ „λ©΄μ μœΌλ‘œ λ„μž…ν–ˆλ‹€.
기쑴의 Sound Cueλ₯Ό μ™„μ „νžˆ λŒ€μ²΄ν•˜λŠ” μ°¨μ„ΈλŒ€ Audio Pipeline으둜 ν”„λ‘œκ·Έλž˜λ¨Έκ°€ μ•„λ‹Œ Sound Designer도 μ‹œκ°μ  Nodeλ₯Ό 톡해
πŸ“„
Synthesizer
μˆ˜μ€€μ˜ λ³΅μž‘ν•œ 절차적 μ†Œλ¦¬λ₯Ό 직접 ν•©μ„±ν•˜κ³  μ œμ–΄ν•  수 μžˆλ‹€.
ν˜„μ—… Pipelineμ—μ„œλŠ” 무기 λ°œμ‚¬μŒμ΄λ‚˜ μ°¨λŸ‰ μ—”μ§„μŒμ²˜λŸΌ Game λ‚΄ 물리적 λ³€μˆ˜μ— 따라 μ‹€μ‹œκ°„μœΌλ‘œ λ³€ν™”ν•˜λŠ” λ°˜μ‘ν˜• Audioλ₯Ό κ΅¬μΆ•ν•˜λŠ” μ΅œμƒμœ„ 생성 및 좜λ ₯ 개체둜 μ‚¬μš©λœλ‹€.

원리

  1. Sample Accurate μ—°μ‚° 처리
    1. ν”„λ ˆμž„ λ‹¨μœ„λ‘œ κ°±μ‹ λ˜λŠ” κΈ°μ‘΄ Game Engine 둜직과 달리 Audio Hardware의
      πŸ“„
      Sample Rate
      와 μ •ν™•νžˆ μΌμΉ˜ν•˜λŠ” 주기둜 연산을 μˆ˜ν–‰ν•˜μ—¬ μ§€μ—° μ—†λŠ” κ·Ήλ„λ‘œ μ •λ°€ν•œ Audio 합성을 μ§€μ›ν•œλ‹€.
  1. Data Parameter μ‹€μ‹œκ°„ 바인딩
    1. Game Worldμ—μ„œ λ°œμƒν•˜λŠ” Character의 μ†λ„λ‚˜ 무기의 탄약 수 같은 μ‹€μ‹œκ°„ 물리 Dataλ₯Ό μž…λ ₯ ν•€μœΌλ‘œ λ°›μ•„λ“€μ—¬ Audio νŒŒν˜•μ˜ μ§„ν­μ΄λ‚˜ 주파수 λ³€μˆ˜λ₯Ό μ¦‰κ°μ μœΌλ‘œ μˆ˜ν•™μ  λ³€μ‘° μ²˜λ¦¬ν•œλ‹€.
  1. 절차적 Waveform ν•©μ„±
    1. μ™ΈλΆ€μ—μ„œ μž„ν¬νŠΈν•œ λ…ΉμŒ νŒŒμΌμ— μ˜μ‘΄ν•˜μ§€ μ•Šκ³  λ‚΄λΆ€μ˜
      πŸ“„
      Oscillator
      Nodeλ₯Ό ν™œμš©ν•˜μ—¬
      πŸ“„
      Sine Wave (μ •ν˜„νŒŒ)
      ν˜Ήμ€
      πŸ“„
      Square Wave (μ‚¬κ°νŒŒ)
      λ₯Ό 직접 μƒμ„±ν•˜κ³  μ‘°ν•©ν•¨μœΌλ‘œμ¨ μš©λŸ‰ μ œμ•½ 없이 λ¬΄ν•œν•œ μ†Œλ¦¬λ₯Ό μ°½μ‘°ν•œλ‹€.
  1. λͺ¨λ“ˆν˜• Component μž¬μ‚¬μš©
    1. 자주 μ‚¬μš©ν•˜λŠ” νŠΉμ • 효과음 처리 λ‘œμ§μ΄λ‚˜ μˆ˜ν•™μ  μ—°μ‚° 트리λ₯Ό ν•˜μœ„ MetaSound Patch Asset으둜 λ¬Άμ–΄ μ €μž₯ν•œ λ’€ λ‹€λ₯Έ MetaSound Source λ‚΄λΆ€μ—μ„œ 단일 Node처럼 λΆˆλŸ¬μ™€ μž¬μ‚¬μš©μ„±μ„ κ·ΉλŒ€ν™”ν•œλ‹€.

ꡬ쑰

Β 

μ˜ˆμ‹œ

Procedural Engine Sound ν•©μ„±

λ ˆμ΄μ‹± Gameμ—μ„œ μ°¨λŸ‰μ˜ 속도와 κΈ°μ–΄ 변속 Dataλ₯Ό MetaSound λ‚΄λΆ€μ˜ Float λ³€μˆ˜λ‘œ 직접 λ„˜κ²¨λ°›λŠ”λ‹€. 이 수치λ₯Ό λ°”νƒ•μœΌλ‘œ λ‚΄λΆ€ Oscillator의
πŸ“„
Pitch
와
πŸ“„
Distortion (μ™œκ³‘)
Node의 강도λ₯Ό μ‹€μ‹œκ°„μœΌλ‘œ μˆ˜ν•™μ μœΌλ‘œ κ³±ν•˜κ³  λ³€ν˜•ν•˜μ—¬ λ‹¨μˆœνžˆ λ…ΉμŒλœ μ†Œλ¦¬λ₯Ό μž¬μƒν•˜λŠ” 것을 λ„˜μ–΄ 물리적으둜 엔진이 νšŒμ „ν•˜λŠ” λ“―ν•œ 절차적 μ§ˆκ°μ„ μ°½μΆœν•œλ‹€.

동적 Weapon λ°œμ‚¬μŒ λ³€μ‘°

Playerκ°€ 총기λ₯Ό λ°œμ‚¬ν•  λ•Œλ§ˆλ‹€ 남은 탄창 수치 Dataλ₯Ό MetaSound Source둜 μ „μ†‘ν•œλ‹€. 탄창이 가득 μ°¨ μžˆμ„ λ•ŒλŠ” λ¬΅μ§ν•˜κ³  κ°•ν•œ μ €μŒμ—­ λŒ€μ—­μ˜ 주파수λ₯Ό ν˜Όν•©ν•˜κ³  탄창이 λΉ„μ–΄κ°ˆμˆ˜λ‘
πŸ“„
High-pass Filter
의
πŸ“„
Cutoff Frequency
λ₯Ό λ―Έμ„Έν•˜κ²Œ 올렀 총기 λ‚΄λΆ€ ꡬ쑰가 λΉ„μ–΄κ°€λŠ” 물리적 빈 κ³΅κ°„μ˜ μ†Œλ¦¬λ₯Ό ν”„λ‘œκ·Έλž˜λ°ν•œλ‹€.

Interactive Ambience 생성

Player의 ν˜„μž¬ μœ„μΉ˜ μ’Œν‘œ Dataλ₯Ό MetaSound의 λΆ„κΈ° Node에 μž…λ ₯ν•œλ‹€. μ•Όμ™Έ μ‹œκ°„λŒ€μ—λŠ” λ°”λžŒ μ†Œλ¦¬λ₯Ό λ°œμƒμ‹œν‚€λŠ” Noise Generatorλ₯Ό ν™œμ„±ν™”ν•˜κ³  μ‹€λ‚΄ κ³΅κ°„μœΌλ‘œ μ§„μž…ν•˜λ©΄
πŸ“„
Low-pass Filter
λ₯Ό μ¦‰κ°μ μœΌλ‘œ μ”Œμš°λŠ” λ“± 단 ν•˜λ‚˜μ˜ Asset만으둜 μˆ˜λ§Žμ€ 상황에 λ§žλŠ” λ°°κ²½μŒμ„ 절차적으둜 λ―Ήμ‹±ν•˜μ—¬ Audio Memory μ μœ μœ¨μ„ 극적으둜 μ ˆμ•½ν•œλ‹€.

Mark as Publish
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