spaceship/audio/Sfx.gd

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#146: shots, deaths and collapses are heard Three events get a sound: a shot leaving a gun, a vessel dying, a structure coming down. The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py generates all three from scratch, and is committed alongside them. The ticket asked for free sources and the good ones are in its comments (Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0), but a generated sound has no licence to track, no attribution to keep, and no binary in the repository whose provenance nobody can check a year from now. It also makes the sounds DATA: too sharp a shot is a number in that file and a re-run, not a hunt through a library. Dropping in a pack file later means replacing a .wav and nothing else. A voice POOL, not a player, because these overlap constantly - a fleet firing is several shots inside one shot's length. Twelve voices, and when they are all busy the one furthest through its own sound is recycled, which is the one with the least left to lose. Parented to the tree root, for the reason that matters: every one of these sounds is started by something that is being freed on the same frame. A dying ship cannot own the sound of its own death. Levels are per sound rather than shared - a shot fires constantly and a death happens once, so equal volumes are not proportionate ones - and shots get a little pitch spread so a stream of them does not flatten into one machine-gun note. The deaths get none: a wobbling explosion sounds broken rather than varied. The test goes at the failures a play-through would hide for weeks: firing three times the pool size must leave exactly the pool's worth sounding and no leaked voices, and the ship-death case is checked from a node that really has been freed on that frame.
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class_name Sfx
extends RefCounted
# Forgejo #146: the three things that happen to something and should be
# heard - a shot leaving a gun, a vessel dying, a structure coming down.
#
# The sounds themselves are synthesised (see audio/make_sfx.py) rather than
# downloaded. The ticket asked for free sources and the good ones are in its
# comments, but a generated sound has no licence to track, no attribution to
# keep, and no binary in the repository whose provenance nobody can check
# later. Swapping in a file from one of those packs is a matter of replacing
# the .wav - nothing here knows or cares which it is.
#
# Parented to the tree root for the same reason Music is: a sound started by
# something that is about to be freed - which is every one of these, a dying
# ship being the obvious case - cannot live on the thing that started it.
#
# A POOL rather than one player, because these overlap constantly: a fleet
# firing is several shots inside one shot's length. The oldest is recycled
# when they are all busy, which is the right thing to lose.
const NODE_NAME: String = "SfxPlayers"
const VOICES: int = 12
const SHOT: String = "shot"
const SHIP_DEATH: String = "ship_death"
const ENEMY_DEATH: String = "enemy_death"
#146: shots, deaths and collapses are heard Three events get a sound: a shot leaving a gun, a vessel dying, a structure coming down. The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py generates all three from scratch, and is committed alongside them. The ticket asked for free sources and the good ones are in its comments (Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0), but a generated sound has no licence to track, no attribution to keep, and no binary in the repository whose provenance nobody can check a year from now. It also makes the sounds DATA: too sharp a shot is a number in that file and a re-run, not a hunt through a library. Dropping in a pack file later means replacing a .wav and nothing else. A voice POOL, not a player, because these overlap constantly - a fleet firing is several shots inside one shot's length. Twelve voices, and when they are all busy the one furthest through its own sound is recycled, which is the one with the least left to lose. Parented to the tree root, for the reason that matters: every one of these sounds is started by something that is being freed on the same frame. A dying ship cannot own the sound of its own death. Levels are per sound rather than shared - a shot fires constantly and a death happens once, so equal volumes are not proportionate ones - and shots get a little pitch spread so a stream of them does not flatten into one machine-gun note. The deaths get none: a wobbling explosion sounds broken rather than varied. The test goes at the failures a play-through would hide for weeks: firing three times the pool size must leave exactly the pool's worth sounding and no leaked voices, and the ship-death case is checked from a node that really has been freed on that frame.
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const BUILDING_DEATH: String = "building_death"
const DIALOG: String = "dialog"
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const BOSS_SCREAM: String = "boss_scream"
# #210, #213, #214, #208.
const PICKUP: String = "pickup"
const ASTEROID_BREAK: String = "asteroid_break"
const GAS_BLAST: String = "gas_blast"
const BLACK_HOLE: String = "black_hole"
#146: shots, deaths and collapses are heard Three events get a sound: a shot leaving a gun, a vessel dying, a structure coming down. The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py generates all three from scratch, and is committed alongside them. The ticket asked for free sources and the good ones are in its comments (Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0), but a generated sound has no licence to track, no attribution to keep, and no binary in the repository whose provenance nobody can check a year from now. It also makes the sounds DATA: too sharp a shot is a number in that file and a re-run, not a hunt through a library. Dropping in a pack file later means replacing a .wav and nothing else. A voice POOL, not a player, because these overlap constantly - a fleet firing is several shots inside one shot's length. Twelve voices, and when they are all busy the one furthest through its own sound is recycled, which is the one with the least left to lose. Parented to the tree root, for the reason that matters: every one of these sounds is started by something that is being freed on the same frame. A dying ship cannot own the sound of its own death. Levels are per sound rather than shared - a shot fires constantly and a death happens once, so equal volumes are not proportionate ones - and shots get a little pitch spread so a stream of them does not flatten into one machine-gun note. The deaths get none: a wobbling explosion sounds broken rather than varied. The test goes at the failures a play-through would hide for weeks: firing three times the pool size must leave exactly the pool's worth sounding and no leaked voices, and the ship-death case is checked from a node that really has been freed on that frame.
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Stop the first play of each sound paying for its own load Reported from the game: sounds sometimes start a bit late. The samples were the suspect, so they were measured first - and they are clean. True digital silence at the head of each file: seven of nine start on sample 1 sfx_gas_blast 0.2ms sfx_black_hole 1.5ms, then a deliberate swell The black hole's slow attack is the sound it was written to be - make_sfx.py says it "swells across most of its length instead of decaying from the first sample" - so there is nothing to trim without breaking it. The delay was in the playback path, and "sometimes" was the clue: play() called load() every time. A cache hit after the first, but the FIRST play of each sound was a synchronous read and decode on the frame the sound was asked for. Ten sounds, ten occasional late starts. _pool() built its twelve AudioStreamPlayer nodes lazily, on the first play() call - one bigger stall, every session. The catalog is preloaded now, so play() never touches the disk, and Sfx.warm() builds the voices next to Music.ensure() at startup. Case F pins the thing that was originally suspected, since make_sfx.py regenerates these and a lazy envelope would hide the delay somewhere nobody would look. It reads the source .wav's RIFF chunks rather than the imported stream: these import as QOA (compress/mode=2), so AudioStreamWAV.data is not PCM. The first version of that check was vacuous for exactly that reason and passed at a 0.5ms threshold; it now reports "9 samples checked, worst attack sfx_black_hole.wav at 1.5ms" and fails when tightened. Not touched: project.godot has no [audio] section, so output_latency is at its default. On Android that buffer is usually the dominant latency, but lowering it risks crackle on real hardware - worth doing with someone listening, not blind. 172/172. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_019AJMdB7iuHuLFZM1aBu3GD
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# PRELOADED, not paths. play() used to load() on every call, which is a
# cache hit after the first time but a synchronous disk read and decode the
# first time - on the frame the sound was asked for. Ten sounds meant ten
# occasional late starts, one per sound, which is what "sometimes starting a
# bit late" was. Swapping in a different file is still just replacing the
# .wav; nothing here knows or cares which it is.
#146: shots, deaths and collapses are heard Three events get a sound: a shot leaving a gun, a vessel dying, a structure coming down. The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py generates all three from scratch, and is committed alongside them. The ticket asked for free sources and the good ones are in its comments (Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0), but a generated sound has no licence to track, no attribution to keep, and no binary in the repository whose provenance nobody can check a year from now. It also makes the sounds DATA: too sharp a shot is a number in that file and a re-run, not a hunt through a library. Dropping in a pack file later means replacing a .wav and nothing else. A voice POOL, not a player, because these overlap constantly - a fleet firing is several shots inside one shot's length. Twelve voices, and when they are all busy the one furthest through its own sound is recycled, which is the one with the least left to lose. Parented to the tree root, for the reason that matters: every one of these sounds is started by something that is being freed on the same frame. A dying ship cannot own the sound of its own death. Levels are per sound rather than shared - a shot fires constantly and a death happens once, so equal volumes are not proportionate ones - and shots get a little pitch spread so a stream of them does not flatten into one machine-gun note. The deaths get none: a wobbling explosion sounds broken rather than varied. The test goes at the failures a play-through would hide for weeks: firing three times the pool size must leave exactly the pool's worth sounding and no leaked voices, and the ship-death case is checked from a node that really has been freed on that frame.
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const SOUNDS: Dictionary = {
Stop the first play of each sound paying for its own load Reported from the game: sounds sometimes start a bit late. The samples were the suspect, so they were measured first - and they are clean. True digital silence at the head of each file: seven of nine start on sample 1 sfx_gas_blast 0.2ms sfx_black_hole 1.5ms, then a deliberate swell The black hole's slow attack is the sound it was written to be - make_sfx.py says it "swells across most of its length instead of decaying from the first sample" - so there is nothing to trim without breaking it. The delay was in the playback path, and "sometimes" was the clue: play() called load() every time. A cache hit after the first, but the FIRST play of each sound was a synchronous read and decode on the frame the sound was asked for. Ten sounds, ten occasional late starts. _pool() built its twelve AudioStreamPlayer nodes lazily, on the first play() call - one bigger stall, every session. The catalog is preloaded now, so play() never touches the disk, and Sfx.warm() builds the voices next to Music.ensure() at startup. Case F pins the thing that was originally suspected, since make_sfx.py regenerates these and a lazy envelope would hide the delay somewhere nobody would look. It reads the source .wav's RIFF chunks rather than the imported stream: these import as QOA (compress/mode=2), so AudioStreamWAV.data is not PCM. The first version of that check was vacuous for exactly that reason and passed at a 0.5ms threshold; it now reports "9 samples checked, worst attack sfx_black_hole.wav at 1.5ms" and fails when tightened. Not touched: project.godot has no [audio] section, so output_latency is at its default. On Android that buffer is usually the dominant latency, but lowering it risks crackle on real hardware - worth doing with someone listening, not blind. 172/172. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_019AJMdB7iuHuLFZM1aBu3GD
2026-09-09 11:40:28 +02:00
SHOT: preload("res://audio/sfx_shot.wav"),
SHIP_DEATH: preload("res://audio/sfx_ship_death.wav"),
ENEMY_DEATH: preload("res://audio/sfx_ship_death.wav"),
BUILDING_DEATH: preload("res://audio/sfx_building_death.wav"),
DIALOG: preload("res://audio/sfx_dialog.wav"),
BOSS_SCREAM: preload("res://audio/sfx_boss_scream.wav"),
PICKUP: preload("res://audio/sfx_pickup.wav"),
ASTEROID_BREAK: preload("res://audio/sfx_asteroid_break.wav"),
GAS_BLAST: preload("res://audio/sfx_gas_blast.wav"),
BLACK_HOLE: preload("res://audio/sfx_black_hole.wav"),
#146: shots, deaths and collapses are heard Three events get a sound: a shot leaving a gun, a vessel dying, a structure coming down. The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py generates all three from scratch, and is committed alongside them. The ticket asked for free sources and the good ones are in its comments (Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0), but a generated sound has no licence to track, no attribution to keep, and no binary in the repository whose provenance nobody can check a year from now. It also makes the sounds DATA: too sharp a shot is a number in that file and a re-run, not a hunt through a library. Dropping in a pack file later means replacing a .wav and nothing else. A voice POOL, not a player, because these overlap constantly - a fleet firing is several shots inside one shot's length. Twelve voices, and when they are all busy the one furthest through its own sound is recycled, which is the one with the least left to lose. Parented to the tree root, for the reason that matters: every one of these sounds is started by something that is being freed on the same frame. A dying ship cannot own the sound of its own death. Levels are per sound rather than shared - a shot fires constantly and a death happens once, so equal volumes are not proportionate ones - and shots get a little pitch spread so a stream of them does not flatten into one machine-gun note. The deaths get none: a wobbling explosion sounds broken rather than varied. The test goes at the failures a play-through would hide for weeks: firing three times the pool size must leave exactly the pool's worth sounding and no leaked voices, and the ship-death case is checked from a node that really has been freed on that frame.
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}
# Per-sound level. A shot is fired constantly and a death happens once, so
# they cannot share a volume and stay in proportion.
const LEVELS: Dictionary = {
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SHOT: -26.0,
SHIP_DEATH: -23.0,
ENEMY_DEATH: -23.0,
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BUILDING_DEATH: -23.0,
DIALOG: -19.0,
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BOSS_SCREAM: -13.0,
# Quieter than everything else by a clear margin: it is the only sound
# here that can happen several times a second for minutes at a time, and
# a pickup blip at shot volume would be the loudest thing in the game.
PICKUP: -32.0,
ASTEROID_BREAK: -24.0,
GAS_BLAST: -21.0,
# The prologue's one irreversible moment, and nothing else is playing
# under it.
BLACK_HOLE: -11.0,
#146: shots, deaths and collapses are heard Three events get a sound: a shot leaving a gun, a vessel dying, a structure coming down. The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py generates all three from scratch, and is committed alongside them. The ticket asked for free sources and the good ones are in its comments (Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0), but a generated sound has no licence to track, no attribution to keep, and no binary in the repository whose provenance nobody can check a year from now. It also makes the sounds DATA: too sharp a shot is a number in that file and a re-run, not a hunt through a library. Dropping in a pack file later means replacing a .wav and nothing else. A voice POOL, not a player, because these overlap constantly - a fleet firing is several shots inside one shot's length. Twelve voices, and when they are all busy the one furthest through its own sound is recycled, which is the one with the least left to lose. Parented to the tree root, for the reason that matters: every one of these sounds is started by something that is being freed on the same frame. A dying ship cannot own the sound of its own death. Levels are per sound rather than shared - a shot fires constantly and a death happens once, so equal volumes are not proportionate ones - and shots get a little pitch spread so a stream of them does not flatten into one machine-gun note. The deaths get none: a wobbling explosion sounds broken rather than varied. The test goes at the failures a play-through would hide for weeks: firing three times the pool size must leave exactly the pool's worth sounding and no leaked voices, and the ship-death case is checked from a node that really has been freed on that frame.
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}
# Shots vary a little in pitch so a stream of them does not turn into one
# flat machine-gun note. The deaths do not: they are events, and a wobbling
# explosion sounds broken rather than varied.
const SHOT_PITCH_SPREAD: float = 0.12
# Pickups repeat harder than shots do, so they vary too - but less, because a
# pickup is a short bright tone and a wide spread on one reads as wrong notes
# rather than as variety. Rocks also break in twos and threes.
const PITCH_SPREAD: Dictionary = {
SHOT: SHOT_PITCH_SPREAD,
PICKUP: 0.07,
ASTEROID_BREAK: 0.09,
}
#146: shots, deaths and collapses are heard Three events get a sound: a shot leaving a gun, a vessel dying, a structure coming down. The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py generates all three from scratch, and is committed alongside them. The ticket asked for free sources and the good ones are in its comments (Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0), but a generated sound has no licence to track, no attribution to keep, and no binary in the repository whose provenance nobody can check a year from now. It also makes the sounds DATA: too sharp a shot is a number in that file and a re-run, not a hunt through a library. Dropping in a pack file later means replacing a .wav and nothing else. A voice POOL, not a player, because these overlap constantly - a fleet firing is several shots inside one shot's length. Twelve voices, and when they are all busy the one furthest through its own sound is recycled, which is the one with the least left to lose. Parented to the tree root, for the reason that matters: every one of these sounds is started by something that is being freed on the same frame. A dying ship cannot own the sound of its own death. Levels are per sound rather than shared - a shot fires constantly and a death happens once, so equal volumes are not proportionate ones - and shots get a little pitch spread so a stream of them does not flatten into one machine-gun note. The deaths get none: a wobbling explosion sounds broken rather than varied. The test goes at the failures a play-through would hide for weeks: firing three times the pool size must leave exactly the pool's worth sounding and no leaked voices, and the ship-death case is checked from a node that really has been freed on that frame.
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Stop the first play of each sound paying for its own load Reported from the game: sounds sometimes start a bit late. The samples were the suspect, so they were measured first - and they are clean. True digital silence at the head of each file: seven of nine start on sample 1 sfx_gas_blast 0.2ms sfx_black_hole 1.5ms, then a deliberate swell The black hole's slow attack is the sound it was written to be - make_sfx.py says it "swells across most of its length instead of decaying from the first sample" - so there is nothing to trim without breaking it. The delay was in the playback path, and "sometimes" was the clue: play() called load() every time. A cache hit after the first, but the FIRST play of each sound was a synchronous read and decode on the frame the sound was asked for. Ten sounds, ten occasional late starts. _pool() built its twelve AudioStreamPlayer nodes lazily, on the first play() call - one bigger stall, every session. The catalog is preloaded now, so play() never touches the disk, and Sfx.warm() builds the voices next to Music.ensure() at startup. Case F pins the thing that was originally suspected, since make_sfx.py regenerates these and a lazy envelope would hide the delay somewhere nobody would look. It reads the source .wav's RIFF chunks rather than the imported stream: these import as QOA (compress/mode=2), so AudioStreamWAV.data is not PCM. The first version of that check was vacuous for exactly that reason and passed at a 0.5ms threshold; it now reports "9 samples checked, worst attack sfx_black_hole.wav at 1.5ms" and fails when tightened. Not touched: project.godot has no [audio] section, so output_latency is at its default. On Android that buffer is usually the dominant latency, but lowering it risks crackle on real hardware - worth doing with someone listening, not blind. 172/172. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_019AJMdB7iuHuLFZM1aBu3GD
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# Builds the voice pool before anything needs it. _pool() is lazy, so without
# this the first sound in a session paid for twelve AudioStreamPlayer nodes
# being created on the frame it was asked for - the worst late start of all,
# and the one that happens every session.
static func warm(tree: SceneTree) -> void:
if tree == null:
return
_pool(tree)
#146: shots, deaths and collapses are heard Three events get a sound: a shot leaving a gun, a vessel dying, a structure coming down. The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py generates all three from scratch, and is committed alongside them. The ticket asked for free sources and the good ones are in its comments (Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0), but a generated sound has no licence to track, no attribution to keep, and no binary in the repository whose provenance nobody can check a year from now. It also makes the sounds DATA: too sharp a shot is a number in that file and a re-run, not a hunt through a library. Dropping in a pack file later means replacing a .wav and nothing else. A voice POOL, not a player, because these overlap constantly - a fleet firing is several shots inside one shot's length. Twelve voices, and when they are all busy the one furthest through its own sound is recycled, which is the one with the least left to lose. Parented to the tree root, for the reason that matters: every one of these sounds is started by something that is being freed on the same frame. A dying ship cannot own the sound of its own death. Levels are per sound rather than shared - a shot fires constantly and a death happens once, so equal volumes are not proportionate ones - and shots get a little pitch spread so a stream of them does not flatten into one machine-gun note. The deaths get none: a wobbling explosion sounds broken rather than varied. The test goes at the failures a play-through would hide for weeks: firing three times the pool size must leave exactly the pool's worth sounding and no leaked voices, and the ship-death case is checked from a node that really has been freed on that frame.
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static func _pool(tree: SceneTree) -> Node:
var existing: Node = tree.root.get_node_or_null(NODE_NAME)
if existing != null:
return existing
var pool := Node.new()
pool.name = NODE_NAME
# #128 stops the tree for dialogs. A sound already in flight should
# finish rather than freeze mid-bang.
pool.process_mode = Node.PROCESS_MODE_ALWAYS
tree.root.add_child(pool)
for i in range(VOICES):
var voice := AudioStreamPlayer.new()
voice.process_mode = Node.PROCESS_MODE_ALWAYS
pool.add_child(voice)
return pool
# Plays one sound. Safe from a node on its way out of the tree, and safe to
# call far more often than there are voices.
static func play(tree: SceneTree, id: String) -> void:
if tree == null or not SOUNDS.has(id):
return
Stop the first play of each sound paying for its own load Reported from the game: sounds sometimes start a bit late. The samples were the suspect, so they were measured first - and they are clean. True digital silence at the head of each file: seven of nine start on sample 1 sfx_gas_blast 0.2ms sfx_black_hole 1.5ms, then a deliberate swell The black hole's slow attack is the sound it was written to be - make_sfx.py says it "swells across most of its length instead of decaying from the first sample" - so there is nothing to trim without breaking it. The delay was in the playback path, and "sometimes" was the clue: play() called load() every time. A cache hit after the first, but the FIRST play of each sound was a synchronous read and decode on the frame the sound was asked for. Ten sounds, ten occasional late starts. _pool() built its twelve AudioStreamPlayer nodes lazily, on the first play() call - one bigger stall, every session. The catalog is preloaded now, so play() never touches the disk, and Sfx.warm() builds the voices next to Music.ensure() at startup. Case F pins the thing that was originally suspected, since make_sfx.py regenerates these and a lazy envelope would hide the delay somewhere nobody would look. It reads the source .wav's RIFF chunks rather than the imported stream: these import as QOA (compress/mode=2), so AudioStreamWAV.data is not PCM. The first version of that check was vacuous for exactly that reason and passed at a 0.5ms threshold; it now reports "9 samples checked, worst attack sfx_black_hole.wav at 1.5ms" and fails when tightened. Not touched: project.godot has no [audio] section, so output_latency is at its default. On Android that buffer is usually the dominant latency, but lowering it risks crackle on real hardware - worth doing with someone listening, not blind. 172/172. Co-Authored-By: Claude Opus 5 <noreply@anthropic.com> Claude-Session: https://claude.ai/code/session_019AJMdB7iuHuLFZM1aBu3GD
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var stream: AudioStream = SOUNDS[id] as AudioStream
#146: shots, deaths and collapses are heard Three events get a sound: a shot leaving a gun, a vessel dying, a structure coming down. The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py generates all three from scratch, and is committed alongside them. The ticket asked for free sources and the good ones are in its comments (Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0), but a generated sound has no licence to track, no attribution to keep, and no binary in the repository whose provenance nobody can check a year from now. It also makes the sounds DATA: too sharp a shot is a number in that file and a re-run, not a hunt through a library. Dropping in a pack file later means replacing a .wav and nothing else. A voice POOL, not a player, because these overlap constantly - a fleet firing is several shots inside one shot's length. Twelve voices, and when they are all busy the one furthest through its own sound is recycled, which is the one with the least left to lose. Parented to the tree root, for the reason that matters: every one of these sounds is started by something that is being freed on the same frame. A dying ship cannot own the sound of its own death. Levels are per sound rather than shared - a shot fires constantly and a death happens once, so equal volumes are not proportionate ones - and shots get a little pitch spread so a stream of them does not flatten into one machine-gun note. The deaths get none: a wobbling explosion sounds broken rather than varied. The test goes at the failures a play-through would hide for weeks: firing three times the pool size must leave exactly the pool's worth sounding and no leaked voices, and the ship-death case is checked from a node that really has been freed on that frame.
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if stream == null:
return
var pool: Node = _pool(tree)
var voice: AudioStreamPlayer = null
for child in pool.get_children():
if not (child as AudioStreamPlayer).playing:
voice = child
break
if voice == null:
# All busy. The oldest is the one furthest through its own sound, so
# it is the one with the least left to lose.
var most: float = -1.0
for child in pool.get_children():
var at: float = (child as AudioStreamPlayer).get_playback_position()
if at > most:
most = at
voice = child
if voice == null:
return
voice.stream = stream
voice.volume_db = float(LEVELS.get(id, -10.0))
var spread: float = float(PITCH_SPREAD.get(id, 0.0))
voice.pitch_scale = 1.0 if spread <= 0.0 else 1.0 + randf_range(-spread, spread)
#146: shots, deaths and collapses are heard Three events get a sound: a shot leaving a gun, a vessel dying, a structure coming down. The sounds are SYNTHESISED rather than downloaded - audio/make_sfx.py generates all three from scratch, and is committed alongside them. The ticket asked for free sources and the good ones are in its comments (Kenney's CC0 packs, OpenGameArt's CC0 sets, Freesound filtered to CC0), but a generated sound has no licence to track, no attribution to keep, and no binary in the repository whose provenance nobody can check a year from now. It also makes the sounds DATA: too sharp a shot is a number in that file and a re-run, not a hunt through a library. Dropping in a pack file later means replacing a .wav and nothing else. A voice POOL, not a player, because these overlap constantly - a fleet firing is several shots inside one shot's length. Twelve voices, and when they are all busy the one furthest through its own sound is recycled, which is the one with the least left to lose. Parented to the tree root, for the reason that matters: every one of these sounds is started by something that is being freed on the same frame. A dying ship cannot own the sound of its own death. Levels are per sound rather than shared - a shot fires constantly and a death happens once, so equal volumes are not proportionate ones - and shots get a little pitch spread so a stream of them does not flatten into one machine-gun note. The deaths get none: a wobbling explosion sounds broken rather than varied. The test goes at the failures a play-through would hide for weeks: firing three times the pool size must leave exactly the pool's worth sounding and no leaked voices, and the ship-death case is checked from a node that really has been freed on that frame.
2026-08-29 13:05:47 +02:00
voice.play()