Battlefield 3 Sound Fix

[Mirtha Shikles]

Thesound problem is still present and none of the above so called "fixes" are actually repairing this. I didnt buy a bluetooth headset for battlefield. I bought headset with mic for more stuff than occasional battlefield play and I will not disable my microphone (thats what the fixes suggest) to be able to hear something.

Developers - BF V is 3 years old and you were unable to repair it since. Is it really too much to repair this? You are literally the only ones on market. Are you really unable to work with bluetooth headset?

I would also like to point out that bluetooth has been established in 1994 and you can't play BT sound in 2021... I wanted to buy the next battlefield but I guess I am gonna go for Call of duty...

Same PC, same bluetooth headset, same everything else, all my other games are working fine, the only issue I have (and many others) is just Battlefield V in multiplayer mode, Please fix.

Yes, i know that sound mods like this already exist, to a degree. The issue is that alot of the mods that do fill this specific niche are horribly outdated, missing the majority of sounds of newer guns, breaking the sounds in the game, the audio quality....not being the best. I felt like the need for a new soundpack involving Battlefield was needed. That is one of the reasons i decided to make this.

Now i will have to say, this is mostly a work in progress. Most reload sounds are done but not all, some akimbos may not be done and 84% of suppressors are still base game. This is due to one of 2 things. 1 i do not have easy access to these sounds (ie do not have them unlocked in game, no recordings of it or unable to piece together the gunshot in the game files). Or 2 i lack the current motivation for them. (but having released this will definitely motivate me more)

But don't worry, i am planning on replacing every sound i reasonably can. Expect weekly(ish) updates :)

This mod has been worked on since late 2020 and i am seriously glad to say that it's in a excellent state for the public.

A major thanks to everyone who has helped me along this long journey.

Alcat for his support in my rookie modding career

A major, serious thanks Gnederz for the Thumbnail, Banner certain recordings of a few sounds. If you haven't checked out his mods i please encourage you to absolutely do so, i use his tan merc glove reskin all the time.

And everyone else who has contributed to this. Thank you all.

Please, if you have any issues with certain sounds, things that could be improved upon please i encourage you to leave your thoughts in the comments. I will be improving and perfecting this mod as time goes on.

ON THE SECOND FILE I have also decided to add a firerate rebalance to help along with the sounds. As some sounds in hardline were designed around the firerate. Does this make make some weapons overpowered? Eh, not really. Completely optional and goes in mods.

ON THE THIRD FILE I decided to include an optional menu track intended for preplanning, it uses BFH's spawn menu tracks that i mixed together myself. This also goes in mod_overrides.

To access these files, you can get them from here. as the beardlib auto updater doesn't support multiple files in the same workshop page.

PLEASE CHECK THE DEPENDANCIES ON HOW TO INSTALL

or if you don't wanna check it's mod_overrides and requires SuperBLT

AND Please check the license for more info about the addition of non-weapon SFX before commenting about reverting back to the game's default sounds

I really could not stand it. I wanted to play, but instead I started designing and replacing sounds in existing games. I was working with music production at the time and expanded into working as a freelance sound designer for commercials, web and games. 7 years ago I started at DICE working with Rallisport Challenge 2 and from there on it has been more or less Battlefield audio production to this date.

Basically the majority of the production time is spent on getting stuff to work. It was a constantly broken engine and the whole team really struggled to get that game done.

When we started making the sequel things were solid and we could focus on ideas and polish rather than technological struggles.

Even though the sound team working with Battlefield is isolated in sound studios we are very visible to the team and this time around the audio production was very much a part of the game team. We are actually THE department at DICE that pushes hard for cross disciplinary actions. Sound is extremely important to the studio and we have set high goals for ourselves.

DS: You already have a lot of sound material recorded and created for the previous Battlefield games. Did you use some of those sounds on Bad Company 2? How much new material was recorded?

SS: Every project needs new content. Even though we worked hard on keeping the identity from the previous game, the majority of the sounds for this game were re-designed from scratch. We did another huge gun recording outside LA together with several EA studios. We recorded a lot of new vehicles, foley and ambients for our winter themed levels as well.

SS: Yes this was a team effort. I was actually surprised by the amount of destructibility and how it well it played. There were a lot more sounds that needed to be done for destruction 2.0.

Let me explain. One of the first things we noticed in the internal multiplayer tests during production is that repetition and the patterns of iconic sounds are completely devastating to a believable soundscape. A gun shot might sound good when you design it and play it back in its own, but together with 50 other weapons and fired thousands and thousands of times you have to start thinking about all guns at the same time, and be very careful to treat them as individuals. All the weapons have to become one but still have identity, and they need to sit in the world.

We worked a lot with reflections layers and identity of place. We expanded on the way the weapons sounds in different environments going though urban, forests, canyons, open fields and indoor areas. It was key to build diversity on top of the identity of each weapon.

They share their footprint in the place they are fired, so in this way we could keep key signatures that built identity for specific weapons. The shared firing layers and reflections builds a believable homogenous lingering sound while the core weapon sound is there as a vital identity for players to identify.

The HDR audio mixing that we developed for the first Bad Company takes care of the abundance of sounds triggered and automatically mixes the soundscape with a fantastic transparency, you would be surprised how many sounds you can actually remove when you have something as dynamic as our HDR mixer, which selectively mixes based upon 1 rule of a dynamic loudness.

SS: When we did the gigantic recording of guns in LA we had closer to 80 microphones and it was amazing to hear that cheaper recording equipment can outperform expensive gear. Because there is more to it than to capture all of the sound pressure from a weapon, and some of the cheaper portable recorders captures another side, or a different flavour of a gun. So in this particular case, the cheap and the expensive combined can create results we did not expect initially.

Every sound designer has their own preference when it comes to tools. I still believe that ideas and imagination are the best tools.

Well, we use industry standard wave editors and multitrack tools to create the content and then a lot of the sounds are created in runtime by a set of rules or blueprints that the sound designers design. The content creation is only step one.

A sound designer using our own frostbite engine can easily create a multilayered waterfall and apply LFO triggered filters and tweak panning, mixing and many many other parameters in real time.

It can be very creative process.

The toolset that the frostbite engine provides is really powerful. It is shaped by the content creators to a large extent and this engine is very versatile when it comes to audio implementation in a game like Battlefield.

Amazing sound. My dads been in Northern Ireland and the Falklands with the Royal Marines and the first thing he said when he saw me playing battlefield was how realistic the sound effects were. Great job everyone who worked on it!

anyways I love the bc2 sound! although I think the footsteps should be louder. also soldiers make a lot more noise than just footsteps when they run. having the body movement and gear clanging around would really help for localization of soldiers on the move.

I finally learned what was causing the chipmunk audio problem with BF1942 and the Inspiron8500 (and all Sigmatel based laptops I assume), and how to fix it! It turns out the porblem is related to sounds in the game that were sampled at the incorrect rate.

However when I used the RFA Explorer and opened the "sound.rfa" file in the C:\Program Files\Battlefield 1942\Archives directory and listened to the sounds under 11khz, 22khz, & 44khz the voices and sound effects sounded normal. But when I play the game with 11, 22, or 44khz the sounds are messed up and sound too fast.

When I change the sound configuration in BF1942 to 44khz it sounds close to what the sound effects and voices are supposed to, but when you open up the RFA file or listen to BF1942 on another computer (i8000 for ex.) and listen to the 44khz effects you can still tell a difference.

When you open the sound.rfa file in the RFA editor, and then double click on any sound to play it, it will always play correctly since windows is managing the playback and will correctly determine the sampling rate from the header of the actual sound file you're playing... Battlefield apparently tries to play the sound back at a rate based not on the actual rate encoded in each sound file, but based on the folder it was located in. Now I don't know the specifics here, but apparently at this point some sound cards are smart enough to catch this mistake and playback the sound correctly, and some (Inspiron hardware) aren't. With the Desert Combat mod there were sound files sampled at 22khz that were located in the 44khz folder. The only way to discover this was actually open every single sound file in some type of editor (I used shareware called Goldwave) and see if the sample is encoded at the same frequency as the folder it's stored in. If not, resample it using the same software and save it back out at the new rate. Goldwave was great for this because you can set up a batch process to resample everything in a folder, and it will only resample the ones that aren't already at the target rate. At the end repack the rfa file with the fixed samples and everything should be fine.

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