Battlefield 1 Sound Files

[Shaquita]

Ireally 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.

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

We had a lot of microphones with us and we placed them in all possible positions around the explosion spot. We have very close mics, close mics, medium distance mics, distant mics, mics in front of buildings, mics behind buildings, mics inside of buildings. Each explosion in the URBAN EXPLOSIONS CONSTRUCTION KIT comes with a minimum of 24 channels, including a 4 channel ambisonic file, so you can simply drag all channels to your DAW and easily mix the sound exactly as you want.

BOOM Library sound FX come as WAV files, meaning you can import and work with them in any software that can handle this file type. Here are the most common audio and video editing software tools that work perfectly with our sound FX

The DESIGNED collections feature fully designed sounds which originate from the CONSTRUCTION KIT stock. The sounds are of a specific topic and ready to use: mixed, processed, compressed, mastered etc. They can be easily put into all kind of projects, for example trailers, commercials, movies, TV shows and so forth or used as in-game sounds. This collection provides a quick and easy workflow and you can still use those sounds as a basic and layer, stretch or otherwise adjust them to suit your specific needs.

We differentiate between sound FX and sound file. Each sound file can contain multiple variations of a sound (up to 6 variations based on the product).

That way, we assure to provide you with different styles of a single sound in one file instead of multiple files, keeping your database nice and clear and speeding up your workflow as you have multiple variations available by dragging only one file to your audio host software.

Secondly, another feature (again, if even possible) that would be nice to have is the capability to stream other XML files currently unsupported by the server and client such as popcycle.dat, dispatch.meta, or gameconfig.xml files.

For the first time ever, custom .dat151.rel/.dat54.rel files have been created for the audio subsystem, and (on canary now!) some CitizenFX shortcomings have been fixed allowing WAVEPACK_FILE to be used in data_file contexts.

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