Hi there. The temporary array is a collection of Soundscape Color Point structures. These structures contain a gameplay tag (the color point) and a vector array. To answer your question, after dragging out from a SoundscapeColorPointVectorArray variable into an add unique, right click on the blue input pin and click "Split Struct Pin". Alternatively, you can also drag off the blue input pin without breaking it and type "Make SoundscapeColorPointVectorArray". If this doesn't work, let me know what engine version you are using and I'll take another look to see if anything has changed. Hope this helps!

@@gamedesra Cheers, a friend helped me out soon after I posted this. And yea I needed to split the struct pin as you said. Cheers for the video on this. Thanks to you I can now use the colour point system.

Hi there, there should be quite a few tutorials that cover footstep sounds already. One option would be to build on these tutorials and trace upwards as well as downwards, and from there you can use this distance returned from the trace to determine the depth. Another option would be to use a volume for your water source and compare the characters location to a relative Z height once they enter. Hope this helps!

@@gamedesra not much, yes I know the theory but implementing it is the difficult part, thanks anyway friend, it looks very good on your project

No immediate plans; this project includes some third party components. This is mainly a demonstration of what is possible with scriptable tools from an audio approach.

@@gamedesra What about putting it up on unreal snippets?

@@TheGoldenArches77 I’ll be sure to get something uploaded in the future because of all of the requests to do so. Right now is a busy time, so it might take a bit.

This is typically done through sound attenuation; you can define a curve that dictates how the sound falls off over distance.

If sounds are spawning at 0, but not when there's a min color point number, it sounds like this might be a problem with the color point detection. This could be a number of things, such as the spatial hash, or more likely, it's that the locations are not being added to the subsystem as world-space, but rather relative. If you are still struggling to get it working after trying lots of approaches, it might be best to start over and add just one world location manually to the subsystem's color point collection, such as (500,0,0) in a blank level, and see if the subsystem spawns a sound there with a min color point number of 1 (also make sure your min spawn distances are set to 0 while you test this).

@@gamedesra thank you for replying, In an empty scene, with a location of 500,0,0, if I set the point number to 1, no sound spawns. Do you have a discord? maybe you'd see something wrong with a screen capture?

@@arthiyaxn Hi again. I'm afraid I don't have time to help people on a case by case basis at the moment, however, I spent a few minutes this morning on a demo project that you can find here (UE 5.3.2): drive.google.com/file/d/1LnlQKUfmSZZn9v7_MDKhblT4oT3frMNj/view?usp=sharing This contains one palette and one color set up to spawn at 1 min color point number, which might help you diagnose what's wrong with your own project. Do remember that the less points you have, the less likely your sound is to spawn unless you adjust your spatial hash. The necessary code is contained within the third person character blueprint and the level blueprint. I hope this helps!

@@gamedesra Hi, thank you very much! It's going to take me a while to find out where the error came from, but I think I can do it.

Hello, this is a custom trace channel defined in the project settings, it does not exist in the engine by default. While you can use the visibility channel, there may be certain objects that you don't want to be blocking the trace, so it's sometimes better to make a custom channel as I have. I hope this helps!

Hi there, sorry for not clarifying this. Break the input of the soundscape color point collection structure variable and this will give you an array input (the contents of the collection). Hope this helps!

@@gamedesra Thank you for the fast reply! I didn't realise you could split pins on set/get nodes. This will be very handy

Agreed

A couple of things come to mind. When getting the instance transform of the foliage instance static mesh component make sure to tick "world space". If you need it in local space for whatever reason, then you can always use transform location to convert back to world. Let me know if this solves the problem!

@@gamedesra Thank you for replying! I tried few ways, so i found that the problem is color point problem not a vector array. because I tried this trace method in another way which is not a soundscape system, so i checked all the foliage vectors stored in vector array variable.

@@gamedesra can i ask one thing at last? if i add array vectors to colorpoint collection with colorpoint and then run add colorpoint collection node, are audios going to spawn at vector locations?

@@joon1809 ​Should do. If you have any problems then make sure to check: - Your hash sizes. - That your colors have your color points defined in the advanced spawn behaviour. - Your colors are present in your palette, and the palette is applied to the project. - If you are using states, make sure that this has been set as well. - As mentioned at the end of the video, you might encounter issues with negative Z world height for colors with clamped height, just something to keep in mind.

@@gamedesra Thank you so much!!👍

Hi Mason, thanks for the comment. I have updated this video with a link to the project zip in the description for free. Let me know if you have any problems!

​@@gamedesra Amazing! Thank you so much for sharing your knowledge.

Thank you for the comment! You're 100% right to want to avoid traces, there's definitely a more optimized way to deal with the data. Wishing you the best with your project!

I have a few upcoming videos planned, but I can certainly note it down for a future upload!

Definitely don't stop them coming@@gamedesra this is so much cool stuff newbies like myself can learn about in my early days as the Sound Designer (+ implementer) job :)

Thank you. I have a couple of other videos planned already, but I’ll definitely do one on crossfading in general later down the line.

Are you using physical materials to detect surface changes?

Hello. At the time I was focused on showcase content, however, I am beginning to make tutorial content now. You should be able to recreate this in Metasounds with a float input plugged into the pitch; combine this with trigger inputs to stop and start the sounds and you're set.

@@gamedesra Thanks! Actually I was more interested in the capture point logic 😂

You could do this in many different ways. You could store an array of actors and check against the array when a player/enemy enters/exits, or add/subtract from two integers on the point that represents the number of players from each team within.

@@gamedesra Thanks, yeah I've managed to figure something out for it.

Hello, thanks for the comment. Yes, I made this environment myself mainly for presentation purposes; I have been using it less and less recently, as it takes longer to load each time I add to it. If you want to set up some sort of testing environment, I would suggest using different maps for things such as reverb, footsteps, splines, and so on. Just add as you go. A custom character might be good to practice different sounds as the player walks beside footsteps, such as equipment. Hope this helps!

Have a look at the commands here: docs.unrealengine.com/4.26/en-US/WorkingWithMedia/Audio/AudioConsoleCommands/ I believe the one I used in this video was au.3dVisualize.Enabled 1

@@gamedesra thx！！！a lot of help！

My channel is predominantly showcase videos at the moment. When I have more time I’ll move towards tutorials if people are interested 👍

Believe me this is any video in KZbin show that u will be so famous when u uploaded this video u will get alot of views and sup

Hello. These are retrieved from a struct variable on a save SaveGame Object when the widget is constructed. Hope this helps.

Hello. If this was a group of crows I’d likely use the colour point system, because the player would not be able to identity if the spatialisation is slightly off. For static individuals like the crow in the video however, I just handled it manually. I hope this answers your question.

@@gamedesra It does, thanks. I figured you handled it manually since the sfx emitted at the crow location, but wanted to ask in case you had come up with a way to retarget audio from a random location in the color point spatial hash grid to a specific actor if it happens to be in the area. Thanks for answering, and impressive work!

@@homerosanchez8481 Perhaps that’s an idea for a future video. I’ll be starting a small C++ series soon so I may tweak a few things in soundscape.

Thank you very much 👍

Thank you, it means a lot!

I have not looked into this aspect too much, but I believe platform-specific settings should apply when you package your game for the respective platform.

@@gamedesra The documentation talks about potentially creating like Android_Low or Windows_Low subplatforms but I couldn't find how you would load them, at least not for UE because there was some C# Unity code I found

I have not had a chance to check out R6 content yet, maybe that is something for the future. In the conclusion I mentioned CSGO and physical materials, which is something I want to explore in another system. Perhaps a later video on this will also include the Wwise portal system with a spatial volume to work alongside it.

I am working on a non-binary spline based occlusion system soon to drive a low pass filter in both horizontal and vertical spaces. Hopefully this will cover what you are talking about.

@@gamedesra I found a Blog by Alex Hynes that uses splines in the environment to help with audio travelling between rooms and around corners but its extra level design work but it was pretty old and unmaintained