Godot's sound interface is designed to meet the expectations of sound design professionals. To this end, it primarily uses the decibel scale.
The decibel (dB) scale is a relative scale. It represents the ratio of sound power by using 20 times the base 10 logarithm of the ratio (20 × log10(P/P0)).
For every 6 dB, sound amplitude doubles or halves. 12 dB represents a factor of 4, 18 dB a factor of 8, 20 dB a factor of 10, 40 dB a factor of 100, etc.
0 dB is the maximum amplitude possible in a digital audio system. This limit is not the human limit, but a limit from the sound hardware. Audio with amplitudes that are too high to be represented properly below 0 dB create a kind of distortion called clipping.
To avoid clipping, your sound mix should be arranged so that the output of the master bus (more on that later) never exceeds 0 dB.
Every 6 dB below the 0 dB limit, sound energy is halved. It means the sound volume at -6 dB is half as loud as 0dB. -12 dB is half as loud as -6 dB and so on.
When working with decibels, sound is considered no longer audible between -60 dB and -80 dB. This makes your working range generally between -60 dB and 0 dB.
Audio buses can be found in the bottom panel of the Godot editor:
An audio bus (also called an audio channel) can be considered a place that audio is channeled through on the way to playback through a device's speakers. Audio data can be modified and re-routed by an audio bus. An audio bus has a VU meter (the bars that light up when sound is played) which indicates the amplitude of the signal passing through.
最左边的总线是 主总线 。 此总线将混音输出到您的扬声器，因此，正如之前*分贝刻度*部分所述，请确保您在此总线中的混音水平永远不会达到 0 dB。其余的音频总线可以被灵活路由。 在修改声音之后，它们会将其送往位于左侧的另一个总线。非主总线的目标总线可以被单独设置。右侧总线的音频总是会被路由至左侧总线，这避免了无限循环。
In the above image, the output of Bus 2 has been routed to the Master bus.
Playback of audio through a bus¶
To test passing audio to a bus, create an AudioStreamPlayer node, load an AudioStream and select a target bus for playback:
Finally, toggle the Playing property to On and sound will flow.
You may also be interested in reading about 音频流 now.
Try them all out to get a sense of how they alter sound. Here follows a short description of the available effects:
BandLimit and BandPass¶
The Chorus effect duplicates the incoming audio, delays the duplicate slightly and uses an LFO to continuously modulate the pitch of the duplicated signal before mixing the duplicated signal(s) and the original together again. This creates a shimmering effect and adds stereo width to the sound.
The compressor has many uses. For example:
It can be sidechained. This means it can reduce the sound level of one signal using the level of another audio bus for threshold detection. This technique is very common in video game mixing to "duck" the level of music or sound effects when voices need to be heard.
It can accentuate transients by using a slower attack. This can make sound effects more punchy.
If your goal is to prevent a signal from exceeding a given amplitude altogether, rather than to reduce the dynamic range of the signal, a limiter is likely a better choice than a compressor.
Adds an "echo" effect with a feedback loop. It can be used together with Reverb to simulate wide rooms, canyons, etc. where sound bounces are far apart.
Makes the sound distorted. Godot offers several types of distortion: overdrive, tan and bit crushing. Distortion can be used to simulate sound coming through a low-quality speaker or device.
EQ6, EQ10, EQ21¶
Godot provides three equalizers with different numbers of bands. An equalizer on the Master bus can be useful to cut frequencies that the device's speakers can't reproduce well (e.g. a mobile phone's speakers won't reproduce bass content well). The equalizer effect can be disabled when headphones are plugged in.
Filter is what all other filters inherit from and should not be used directly.
Cuts frequencies below a specific Cutoff frequency. HighPassFilter is used to reduce the bass content of a signal.
A limiter is similar to a compressor, but it's less flexible and designed to prevent a signal's amplitude exceeding a given dB threshold. Adding a limiter to the Master bus is a safeguard against clipping.
Cuts frequencies above a specific Cutoff frequency and can also resonate (boost frequencies close to the Cutoff frequency). Low pass filters can be used to simulate "muffled" sound. For instance, underwater sounds, sounds blocked by walls, or distant sounds.
The opposite of the BandPassFilter, it removes a band of sound from the frequency spectrum at a given Cutoff frequency.
The Panner allows the stereo balance of a signal to be adjusted between the left and right channels (wear headphones to audition this effect).
It probably does not make much sense to explain that this effect is formed by two signals being dephased and cancelling each other out. You can make a Darth Vader voice with it, or jet-like sounds.
This effect allows the adjustment of the signal's pitch independently of its speed. All frequencies can be increased/decreased with minimal effect on transients. PitchShift can be useful to create unusually high or deep voices.
Reverb simulates rooms of different sizes. It has adjustable parameters that can be tweaked to obtain the sound of a specific room. Reverb is commonly outputted from Areas (see Reverb buses), or to apply a "chamber" feel to all sounds.
This effect uses a few algorithms to enhance a signal's stereo spectrum.
There is no need to disable buses manually when not in use. Godot detects that the bus has been silent for a few seconds and disables it (including all effects).
Stream Players use bus names to identify a bus, which allows adding, removing and moving buses around while the reference to them is kept. However, if a bus is renamed, the reference will be lost and the Stream Player will output to Master. This system was chosen because rearranging buses is a more common process than renaming them.
The default bus layout is automatically saved to the
res://default_bus_layout.tres file. Custom bus arrangements can be saved
and loaded from disk.