Second Life Custom collision sounds Video

Get it off your chest – be the first to comment on this video!

Second Life Custom collision sounds

Friendly greetings! I’m Torley Linden as a griffon. Thanks to Racush Cheeky for this fantabolous watermelon griffon avatar. So today, I can show you on the magical wonderland that is Here Island. I’m going to show you a tip and trick appropriately enough to better your Second Life collision sounds, what they are, what they do and how they benefit you. Well, I think George Lucas once said something like sound is 50% of what you see or the movie going, something like that. But it’s a testament to how much richer changing sounds to make an experience better. Not enough people know about that. You can hear the clicking typing sounds in the background. Well, thanks to my visitors. I will show you a very quick example why this matters. Right click and create, and now we have a cube. After clicking on the ground, I will right click and edit it, and hold shift to of course copy and make another cube. We now have two cubes and in the object tab, pay attention. The material type is wood. Changing the material type does not change the physical or visible appearance, but it does change what we call the frictional coefficient and the collision sound. So, let’s listen to wood if it were a physical object, and demonstrate it. Now, listen to it if it were glass. Let me do that again because there was typing in the background. One more time. I wish you play it consistently. There we go, see? And we can do one more time, third time’s a charm, with flash. Next, I’ll go into mouselook mode, because what I’m going to do is I’m going to fire some CD roms out of this, so it’s very dynamic. It’s an in context. Presentation mostly can begin firing. Don’t listen for the initial fires. Listen for the plinks afterwards, just like that because when I right click and edit, you’ll see—I may have to go into edit link to parts. Let me check this out. Yes, you see the glass. And that’s why they make those clink clink sounds. That’s the first and most basic level of changing the collision sound. However, there is a more advanced way in which you can use any sound that you have the permissions to. Let’s show you how to do that. Every July, peas grow here. Do you really mean that? Of course I do! These peas are making custom collision sounds as they fall from a likeness of Orson Welles, and to prove it to you, right click and edit and each one of these, the content tab, I will open the script that says “change collision sound”. They are temperate by the way, and it’s very simple. All the script is doing is saying that as soon as the object is red, and in this case false, it’s activated, so a collision sound is this string. This is actually a UUID, a unique key for sound effect and this number after it happens to be the volume, the relative volume of the sound. There are a couple of other ways to do this. You can also specify, use the first sound in your inventory, or you can copy a sound from your inventory into the contents and use the string name of that. Let’s have a look at that, because that’s pretty easy. So I need to close this up and get another glimpse at Orson Welles. Now, we have got to get some awesome sounds. We’re here at soundsnap.com in my web browser, Firefox 3. There are various audio libraries on the internet, but the reason why I like sound snap so much in particular is not only is it organized by category. The keyword search is really cool because a lot of websites, they will only let you search the filename, which isn’t that useful. But this has tags and various other means of getting what you want. That’s what we want. So search for something like thunk or hits or clash or crash, okay thunk is good, and search for that. A few seconds later, it brings us this. Now what I also like of value which will save you time are these previews. Click if you want to hear it. Second Life sounds must be ten seconds or less and 44.1 kHz. In addition, they should be short as collision ones because it doesn’t make sense to have something that’s not moving and it keeps making sound, unless you are going for a special effect, so determined by the specifi

No Links were listed yet. Go ahead and share!

Friendly greetings! I’m Torley Linden as a griffon. Thanks to Racush Cheeky for this fantabolous watermelon griffon avatar.

So today, I can show you on the magical wonderland that is Here Island. I’m going to show you a tip and trick appropriately enough to better your Second Life collision sounds, what they are, what they do and how they benefit you.

Well, I think George Lucas once said something like sound is 50% of what you see or the movie going, something like that. But it’s a testament to how much richer changing sounds to make an experience better. Not enough people know about that. You can hear the clicking typing sounds in the background.

Well, thanks to my visitors. I will show you a very quick example why this matters.

Right click and create, and now we have a cube. After clicking on the ground, I will right click and edit it, and hold shift to of course copy and make another cube. We now have two cubes and in the object tab, pay attention. The material type is wood. Changing the material type does not change the physical or visible appearance, but it does change what we call the frictional coefficient and the collision sound. So, let’s listen to wood if it were a physical object, and demonstrate it.

Now, listen to it if it were glass. Let me do that again because there was typing in the background. One more time. I wish you play it consistently. There we go, see? And we can do one more time, third time’s a charm, with flash.

Next, I’ll go into mouselook mode, because what I’m going to do is I’m going to fire some CD roms out of this, so it’s very dynamic. It’s an in context. Presentation mostly can begin firing. Don’t listen for the initial fires. Listen for the plinks afterwards, just like that because when I right click and edit, you’ll see—I may have to go into edit link to parts. Let me check this out. Yes, you see the glass. And that’s why they make those clink clink sounds. That’s the first and most basic level of changing the collision sound. However, there is a more advanced way in which you can use any sound that you have the permissions to.

Let’s show you how to do that. Every July, peas grow here. Do you really mean that? Of course I do! These peas are making custom collision sounds as they fall from a likeness of Orson Welles, and to prove it to you, right click and edit and each one of these, the content tab, I will open the script that says “change collision sound”. They are temperate by the way, and it’s very simple. All the script is doing is saying that as soon as the object is red, and in this case false, it’s activated, so a collision sound is this string. This is actually a UUID, a unique key for sound effect and this number after it happens to be the volume, the relative volume of the sound. There are a couple of other ways to do this. You can also specify, use the first sound in your inventory, or you can copy a sound from your inventory into the contents and use the string name of that.

Let’s have a look at that, because that’s pretty easy. So I need to close this up and get another glimpse at Orson Welles.

Now, we have got to get some awesome sounds. We’re here at soundsnap.com in my web browser, Firefox 3. There are various audio libraries on the internet, but the reason why I like sound snap so much in particular is not only is it organized by category. The keyword search is really cool because a lot of websites, they will only let you search the filename, which isn’t that useful. But this has tags and various other means of getting what you want. That’s what we want.

So search for something like thunk or hits or clash or crash, okay thunk is good, and search for that. A few seconds later, it brings us this.

Now what I also like of value which will save you time are these previews. Click if you want to hear it. Second Life sounds must be ten seconds or less and 44.1 kHz. In addition, they should be short as collision ones because it doesn’t make sense to have something that’s not moving and it keeps making sound, unless you are going for a special effect, so determined by the specifi

Transcription by: Scribe4you Transcription Services