“Way back when I was being trained in customer service in my IBM days, it was observed that on average, someone who ‘dislikes’ something is about nine times more likely to tell people about it than someone who ‘likes’ something, if not otherwise prodded to do so.
I have absolutely no idea what the ‘real’ opinions are of the new sounds. Personally, other than the critical hit notifications, I very much like them.
And, yes, we do go to real vehicles. We did a number of recordings last year. At the bottom of this post is part of the contract agreement we had with one location I was involved with recording a collection of WW2 vehicles. If memory serves, we did about three vehicles a day as the process takes so long.
My guess is that people complain because either (a) as mentioned, the hardware they have won’t properly produce the right sound, or (b) they have a false idea of what a tank actually sounds like when done in high fidelity at the tank itself. It was referred to me as ‘The Coconut Effect’, that people expect a certain sound and complain if they don’t get it. My personal point of reference is the cannon sounds, with people complaining that they want the impressive ‘boom’ back. But that’s not what a tank cannon really sounds like.
Anyway, below is how we recorded. This particular requirements list was for the contract which covered M7 HMC, M3A1 Light, Valentine, JgdPz38(t), M4A1, M5 Light, M18 and M24, and it was far from the only recording session we did. If you run the game and you don’t think any of these vehicles sound ‘right’, the chances are that the problem’s on your end.
RECORDING THE TANKS IN TWO MODES: ON THE MOVE AND STATIC.
A) Static (without movements but with the engine).
We will record the sounds inside and outside on the permanently installed microphones near the tank plus one microphone is inside the tower. A soundman (representative of WG) will be recording close to the exhaust system, another operator will be recording inside the turret plus one soundman is on distance of 50 meters, and will be recording in a different angles.
1. Engine start.
2. Shutdown the engine
3. Engine start and warming up (low RPM) – 1 minute.
4. Running the engine at medium speed (mid RPM) – 1 minute.
5. Running the engine at high rpm (high RPM) – up to 1 minute.
6. Running the engine at varying intensity – 2 minutes
7. Smooth and very slow increase from low RPM to high RPM – 3 times.
8. Switching off the engine
9. Checking of the recorded take – 10 minutes.
B) Static (with engine off) We will record mechanisms inside and outside the turret (of the electrical or hydraulic drives)
1. Rotation mechanism inside the turret- 3 – 5 times (a few turns on a small angle and a few on large)
2. Opening and closing the hatches – 5 minutes
3. Mechanisms shutter of barrel – 10 minutes
4. Toggling of different switches – 5 minutes
5. Technical measurements of the sound level – 5 minutes
C) Recording on move
We will record sounds inside and outside on the permanently installed microphones on the tank hull plus some microphone in the hands of the sound engineers. A soundman (representative of WG is in the open hatch of the tower during movement) another soundman – operator of the recording equipment installed inside the tower (the representative of WG is in the turret while driving) plus one soundman is on distance of 100-200 meters and will record the overall sound atmosphere (representative of WG).
1. Engine start
2. Straight-line acceleration (smooth surface without slope) in the first or second transfer with minimal acceleration – 3 times
3. Full stop of the tank after reaching the maximum RPM for the gear – 3 times
4. Straight-line acceleration on the first (second) transfer with maximum acceleration – 3 times
5. Abrupt stop after reaching the maximum RPM for the gear – 3 times.
6. Switching off the engine
7. Preliminary checking of the recorded take – 5 minutes.
8. Engine start.
9. Straight-line acceleration (smooth surface without slope) with increasing transmission with minimal acceleration (up to 3 or 4 assists) – 4 times
10. Rectilinear movement (smooth surface without slope), the downshift from 4 to minimum speed transmission – 2 times
11. Rolling on neutral gear to the full stop – 2 times.
12. Straight-line acceleration (smooth surface without slope) with increasing transmission with maximum acceleration (up to 4 or 5 assists) – 4 times
13. Abrupt stop upon reaching the maximum speed – 2 times.
14. Dynamic engine braking – 2 times.
15. Switching off the engine
16. Preliminary checking of the recorded take – 5 minutes.
17. Engine start
18. Straight-line acceleration (motion downhill, imitation load) in the first (second) transfer with minimal acceleration – 2 times
19. Rolling on neutral gear to the full stop – 2 times.
20. Rectilinear motion (movement downhill imitation load) with overdrive with maximum acceleration (up to 4 or 5 transfer) – 2 times
21. Dynamic engine braking – 2 times.
22. Switching off the engine – 1 times.
23. Preliminary checking of the recorded take – 5 minutes.
24. Engine start
25. Maneuvers: reversing move – 100-200 meters
26. Maneuvers: reversing a left turn – 100-200 meters
27. Maneuvers: reversing a right turn – 100-200 meters
28. Maneuvers: reversing a turning to the right / left (imitation maneuvering) – 100-200 meters
29. Maneuvers: the movement in the first (second) transmission from turning to the right / left (imitation maneuvering) – 100-200 meters
30. Maneuvers: turn on the spot.
31. Switching off the engine
32. Preliminary checking of the recorded take – 5 minutes.
33. Engine start
34. Tank movement over rough terrain at different speeds with maneuvering left / right with a few stops and turns on the spot – about 5 – 10 minutes (depending on field)
35. Switching off the engine “
Like I said before, I believe the new sounds are a great addition to the game (although wish I could discard the repair and six sense ones), the vehicles now sound more realistic.