Audio

The audio team wants to join the armor refactor so heavier suits sound and feel heavier to the wearer and the stealth suit is quietest, and footsteps in Squadron 42 now react to the environment.

A ship's sound depends on its manufacturer, size, shape, materials, thrusters and role, starting from a team kickoff, references and brainstorming, with the aim of giving each ship its own signature sound.

The audio director wanted ships to feel weighty and beautiful, and growing the team to six sound creators allows more bespoke ship sounds, helped by early kickoff sessions full of keyword ideas.

Yes, the more distinct startup and thrust sounds are intended for older ships too, but there is no promise of when they will fit into the schedule.

The flyby sounds are still in the project and the team says they will return, even better, after back-end changes and shrinking ship sound sizes for performance, which they are now reworking.

Realistic audio mode isn't in the schedule yet because every sound must be treated and ships come first; it should reach players at some point, but no dates are promised.

Star Audio is designed as a full replacement, with smarter sound budgeting, and the old system is planned to go eventually once every game system is hooked into it.

Radio calls are currently mostly scripted in Squadron 42, with discussions about making them systemic but little progress, though AI already call out, hear friendly fire, and respect audio propagation.

CCTV exists in the fiction, but they would rather not build a dedicated system with NPCs watching monitors, instead simulating that feeling through things like radio communication.

Zanelli jokingly says music is the only thing he can do, explaining that he got a guitar at almost sixteen, quickly knew it would be his career, and drifted into film and media scoring over band life.

Graham Philipson says it looks beautiful and he can't wait to tune audio for it, while Nemanja Panic adds the tracks can be raced at night and hide one to three podium Easter eggs each.

Pedro Macedo Camacho says he emailed Chris Roberts in 2012 after reading about the project, got a reply, and his first real test was the first 300i commercial, finished just before his son was born.

The main theme can be found on YouTube as the Star Citizen Main Theme, and Camacho also mentions an '80s sci-fi homage called the Arena Commander theme, which he says may have slight Superman-style influence.

Pedro Macedo Camacho cites childhood Amiga games played with his father, including a homage to The Chaos Engine in the track Speed Activated, and says he hides math patterns in melodies, as in the ArcCorp theme.

The flyby sounds are not gone, only mixed differently, and the speaker thinks better mixing and ducking should allow both the old overhead experience and clearer distant-ship cues.

Yes, NPC chatter and ambient life content is already recorded, but it will arrive later as the new AI system matures, along with a planned dynamic background murmur called walla.

Ship audio depends on messages from other game systems that audio doesn't always receive, so the team digs into code; event-based mixing and sound transfer through metal are planned but a long way off.

The team is building a simulation-style world where players can do what they expect, with webcam-driven avatar faces and processed voice to boost immersion and social interaction, still being improved.

Josh Bell says the plan is for components like power plants and life support to make sounds reflecting their condition, so players can judge their state by ear, as ship damage already affects sound.

Ship audio is mixed first for the pilot's seat, which is hard to perfect on large ships, so they hope to build per-role mixes once multi-crew roles are more solid.

Graham Philipson says the team plans a fully integrated in-game voice command system that needs no key bindings, but it is only in the internal backlog, not an immediate plan, and would reach the public roadmap once scheduled.

Graham Philipson says voice commands and VoIP overlap and will need to be worked out with design, floating options such as push-to-talk or a trigger word, and whether to cut or dampen such speech in VoIP.

Graham Philipson is polishing the first VoIP release, which is a building block toward voice commands, and asks for patience because syncing voice with facial data at this scale hasn't been done in a game before.

The railgun is Staffan Ahlstrom's favorite FPS weapon, with a charge wave through the barrel, strong sound work, and an unusual setup firing many muzzle flashes at once.

VOIP will use Opus, and Spectrum is meant to work as a deeper in-game overlay and backend service for some UI elements, but not appear inside the MobiGlas; security was not addressed.

Voice commands built into the game are on the audio team's long-term roadmap, and for now players can use community-shared Voice Attack profiles.

They want VOIP and location-based sound with voice processed by what the character wears, so close-range eavesdropping on ship chat would work, but the VOIP solution isn't decided and trade-deal eavesdropping is uncertain.