Version 3.4.0: Edit tab (edit list, large subtitle, replacements with effects and presets), Sounds tab only browses, ackit fx (pedalboard + own reverb) and replace --fx, first Linux build, catalog without a mod package
This commit is contained in:
@@ -1,7 +1,8 @@
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# Building Unheard City
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The build is a PyInstaller **one-folder** bundle: Python, Qt (incl. Qt Multimedia), libsndfile (libvorbis,
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FLAC, opus, mpg123) and soxr are all inside; nothing else is installed or needed at runtime. Build on each
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FLAC, opus, mpg123), soxr and pedalboard (the effects) are all inside; nothing else is installed or needed at
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runtime. Build on each
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target OS (no cross-compiling).
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## Windows (x86-64)
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@@ -42,6 +43,9 @@ QT_QPA_PLATFORM=offscreen pytest -q
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python tools/build_app.py # -> dist/UnheardCity-<ver>-linux-x86_64.tar.gz
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QT_QPA_PLATFORM=offscreen dist/UnheardCity/UnheardCity --smoke-test --game /path/to/game
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```
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First built with version 3.4.0 (Debian 13 in a container, Python 3.14.8 built from source because Debian has no
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3.14 package): ~124 MB tar.gz, ~330 MB unpacked; the smoke test passes with `PATH=/usr/bin:/bin` and the GUI
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starts.
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Notes:
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- The `soundfile` and `soxr` wheels for manylinux bundle libsndfile/libsoxr; the PySide6 wheels bundle Qt and
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Qt Multimedia's FFmpeg backend (PulseAudio/PipeWire output). The target desktop only needs the usual X11/
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@@ -22,6 +22,13 @@ The first toolkit used ffmpeg (decoding inputs and libvorbis encoding) and vgmst
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ffmpeg: an ffmpeg found on the system is used if present, otherwise the user gets a clear "convert to WAV/MP3"
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message. Bundling ffmpeg (~80-100 MB, GPL/LGPL build care) for rare formats was judged not worth it.
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- **Resampling:** `soxr` (LGPL-2.1).
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- **Effects for replacements (any sound):** `pedalboard` (Spotify, GPL-3.0, compatible with this project's GPL-3.0; it
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statically contains JUCE and the Rubber Band library): filters, distortion, codec, delay and pitch/formant
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shifting (`ackit/fx.py`). The reverb is not pedalboard's (Freeverb sounded metallic): a generated room response
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(early reflections + a 4-band noise tail, the highs decaying first) convolved with numpy's FFT. Chosen over
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writing the DSP ourselves (user: "just use some libraries") and over scipy (no ready pitch shifter). Its
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high/low-pass filters are first order only, so the voice-band cuts are Butterworth magnitudes applied with
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numpy's FFT. Wheels for Python 3.14 on Windows and Linux (0.9.26); it needs only numpy.
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So there are **no vendor binaries to fetch** (no `tools/fetch_vendor` script was needed): every native
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dependency comes from version-pinned PyPI wheels (which embed libsndfile, libvorbis, libogg, FLAC, opus, mpg123,
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Qt and Qt Multimedia's FFmpeg backend) that PyInstaller bundles, resolved relative to the app (never `PATH`).
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@@ -30,7 +37,7 @@ plus official texts kept in `tools/licenses/` (sources in SOURCES.txt; no networ
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its decode/encode/inject smoke test with `PATH` reduced to `C:\Windows` (no ffmpeg, vgmstream or Python).
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**Licenses:** PySide6/Qt LGPL-3.0 (dynamic linking, unmodified Qt shared libraries in the one-folder build,
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source at https://code.qt.io), libsndfile LGPL-2.1, mpg123 LGPL-2.1, soxr LGPL-2.1, libvorbis/libogg/FLAC/opus
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BSD, numpy BSD, Python PSF. One-folder (not one-file) builds keep the LGPL libraries replaceable.
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BSD, numpy BSD, pedalboard GPL-3.0, Python PSF. One-folder (not one-file) builds keep the LGPL libraries replaceable.
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The only Windows-only part is the in-game test harness (`ackit verify --ingame`, uses WinDbg/cdb and WASAPI
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loopback); it is a developer tool and not part of the editor.
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@@ -162,15 +169,22 @@ copy per voice language) is filtered the same way, so the sound list never mixes
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store does not need it.
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## 7. Editor UX choices
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- One window with three tabs. *Sounds*: filters (left) and sound table on top, the editor of the selected
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sound below across the full width, in three resizable columns (Listen | Replace | Subtitle). Inside each
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column the controls are aligned, not packed in rows that wrap: Replace's edit fields in a grid with one
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label column, and every column's actions in one full-width bar at its bottom, level across the three
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columns (Listen: Original | Installed | Stop; Replace: Apply to game, twice as wide, | Revert | Save WAV;
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Subtitle: Apply | Revert). Every row of buttons fills its column's width (Load file / device / Record; Trim
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silence / Replacement; Show in list). A/B and Loop are icon buttons with tooltips next to the volume. The editor fits a 1000-pixel-wide window without horizontal scrolling (measured:
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minimum 984 px with the window's vertical scroll bar). *Subtitles* and *Menu text*: search, filters, table, editor. The primary flow
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(search -> select -> Space to listen -> Load file/Record -> Apply) needs no menus; power features (tags,
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- One window with four tabs; browsing and editing are separate (user, mission 4: "the browser for browsing, the
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edit tab for editing, not both for both"). *Sounds*: filters (left), sound table, and below it a compact
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preview (details, subtitle as text, original/installed waveforms with play buttons, **Edit** / **Add to edit
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list**); no editing tools: details | player (Play original, Play installed, Stop together above the
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waveforms) | Edit, Add to edit list. *Edit*: the edit list (sounds sent from the browser, kept in the user
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data folder with each sound's replacement audio, trim/level values and effects; `app/edit.py`) | the editor
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(`app/editor.py`, top to bottom: SUBTITLE large, with the original and the English line, room counter and
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buttons on one row; LISTEN = original, installed and replacement, one row each with its play button, the
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waveforms take the free height, transport row; REPLACEMENT = Record / input / level / Load file, trim and
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level in an aligned grid) with its action bar (Previous | Apply to game | Revert | Save WAV | Next) pinned
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below | the effects (`app/effects.py`: a preset list, the effect chain = one line per effect, tick = on, click
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= its settings shown below: preset buttons and sliders with readable values, logarithmic for frequencies and
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times). No scrolling at 1400 x 900 and 1280 x 800 (tested). Wording is generic (replacement, effects), not
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dubbing-specific: the tab edits every kind of sound. *Subtitles* and *Menu text*:
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search, filters, table, editor. The primary flow
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(search -> select -> Space to listen -> Edit -> Record/Load file -> Apply -> Next) needs no menus; power features (tags,
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favorites, multi-select revert, mod packages, settings) are in the toolbar and context menu.
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- Long work (loading, encoding, writing 0.5 GB WADs) runs in background jobs with status messages; the
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window stays responsive. Errors are shown as plain sentences (game running/locked file, wrong folder,
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@@ -10,11 +10,11 @@ Survey of the installed game (buildid 3718300), 2026-10-09.
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| where | banks | unique in-memory WEMs |
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|-------|-------|-----------------------|
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| loose `SFX\*.bnk` (Batman/Catwoman footsteps, 32 surfaces each, + `TST_Prep_Media`) | 65 | 1,117 |
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| banks embedded in `.upk` packages (in 1,432 of the 2,650 packages) | 3,340 | 14,802 |
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| banks embedded in `.upk` packages (in 1,431 of the 2,648 packages) | 3,340 | 14,802 |
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All of them are in the catalog (archive `BANK`).
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The two sets share 119 media IDs: 15,800 unique media IDs in 96,011 places (bank copies). 396 of them are
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The two sets share 119 media IDs: 15,800 unique media IDs in 95,887 places (bank copies). 396 of them are
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**prefetch heads** of streamed WAD sounds and 49 are **whole copies** of WAD recordings (below), so there are
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**15,355 in-memory sounds**. All copies of a
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media ID are byte-identical except `1C898731` (two variants). The WADs, by comparison, are fully covered: the
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@@ -47,7 +47,7 @@ HIRC Sound object (type 2) payload: u32 object id, u32 plugin id (`0x00040001` =
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(0 = in memory, 1 = streamed, 2 = prefetch), u32 media id, u32 bank id of the media; for in-memory sources
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then u32 offset, u32 size, where offset = `DATA` payload position (from the start of the bank) + DIDX offset
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and size = DIDX size (checked on every in-memory source of the footstep banks and of `BmGame.upk`).
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Source kinds over all bank copies: 115,861 in-memory sources of the bank's own media; 2,233 in-memory sources
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Source kinds over all bank copies: 115,737 in-memory sources of the bank's own media; 2,233 in-memory sources
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with bank id 0 whose media is not in the same bank (loaded by another bank); 133,075 streamed sources;
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2,101 **prefetch** sources. Every streamed or prefetched media ID is in a BKPK table, i.e. a WAD sound
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(`wad.md`). A prefetch source's media is also in the bank's DIDX: that in-memory copy is the **head** of the
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@@ -106,8 +106,8 @@ and the game ties the recordings together itself:
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- The packages are LZO-compressed UE3 packages (`upk.md`); ackit decompresses them itself and searches the
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uncompressed data for `BKHD` (banks) and `BKPK` (WAD indexes). (The first survey used Gildor's
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decompress.exe; `ackit/upk.py` gives identical data.)
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- Bank blobs in packages: 41,798 for 3,340 bank IDs. Many banks are copied into several packages (e.g.
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`CHR_CatwomanFoleySuit` 31 times, `CHR_BatmanFoleyBelt` 26). 302 bank IDs occur as several blobs with
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- Bank blobs in packages: 41,797 for 3,340 bank IDs. Many banks are copied into several packages (e.g.
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`CHR_CatwomanFoleySuit` 31 times, `CHR_BatmanFoleyBelt` 25). 302 bank IDs occur as several blobs with
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*different* media subsets (often one WEM each, several per package), so a bank's media set is the union
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of all its blobs.
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- Largest: `CHR_RobinFoleyCape` 300 WEMs, `CHR_BatmanFoleyCape` 282, `CHR_Clayface` 263,
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@@ -1,6 +1,6 @@
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# UE3 packages (`*.upk`)
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Arkham City's 2,650 packages in `BmGame\CookedPCConsole` are Unreal Engine 3 packages, version 805,
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Arkham City's 2,648 packages in `BmGame\CookedPCConsole` are Unreal Engine 3 packages, version 805,
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licensee 101. 2,647 are fully LZO-compressed, 2 are stored uncompressed, and `UnrealX.upk` (512 bytes)
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is not a readable package. ackit reads and patches them with `ackit/upk.py` and `ackit/lzo.py` (no external
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tools). Soundbanks inside them: `banks.md`.
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284
docs/history/mission4_dubbing_plan.md
Normal file
284
docs/history/mission4_dubbing_plan.md
Normal file
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# Plan: dubbing voice lines, with the game's voice effects
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Status (2026-10-27): stage 0 done (section 9); the scope changed after it (section 10: manual effect controls,
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no automatic profiles); stages 1-2 of section 10 done (effects engine, Dubbing tab). The user's answers are in section 8. Sections 1-7 are the original proposal, written
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from the code, the docs and the shipped catalog CSVs; the steps marked **(game)** read the game files.
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The game is also installed on the Linux machine (Steam Flatpak, mounted into the podman container at
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`/home/gora/.var/app/com.valvesoftware.Steam/.local/share/Steam/steamapps/common/Batman Arkham City GOTY`;
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the container's HOME differs, so it is passed with `--game`), so the read-only stages can run there; in-game
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checks still need the Windows PC.
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Sections 3-7 name modules and files that were proposed but not built after the scope change (`ackit/fxdetect.py`,
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`ackit/dub.py`, `data/catalog/FX.csv`, `fx_profiles.json`, `docs/formats/effects.md`); what was built is in
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sections 10-11 and `NOTES.md`: `ackit/fx.py`, `app/edit.py`, `app/editor.py`, `app/effects.py`, `app/preview.py`.
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## 1. The problem
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A dub replaces a character's lines with new recordings. Some original lines are not dry: they sound like a
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telephone or radio (band-limited EQ), a PA announcement over the city (echo, several speakers), a room (reverb),
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a suit or a machine (Mr. Freeze). A dry dub next to them sounds wrong. Two questions:
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1. **Where is the effect applied?** This decides everything:
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- **Baked into the WEM** (applied in the studio, or by Wwise when the bank was built, *rendered* effect):
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the dry dub loses it, so the dub must get the effect before it is written.
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- **Applied by the game at run time** (a Wwise effect on the Sound, on a parent container or on a bus, an
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environmental/reverb zone, attenuation, obstruction): the game also applies it to the replacement. The
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dub must stay **dry**, or it gets the effect twice.
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The user heard effects "in game and here": the ones heard *here* (the editor plays the WEM) are baked; the ones
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heard only in game are run-time and need nothing.
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2. **Which effects exist?** Unknown, so they have to be found in the game data (section 3).
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## 2. What the catalog already shows (INT, measured on the shipped `data/catalog/INT.csv`)
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Cheap signals that are already in the catalog (`rate`, `channels`) and point to baked effects:
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| signal | lines | groups (examples) | likely effect |
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|--------|-------|-------------------|---------------|
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| 3 or more channels | 858 WAD speech rows (mostly 5 ch, then 4 and 3 ch), plus 86 in-memory 5 ch | Predator chatter 251, story 211, Riddler 90: `PRED_RIDDLER`, `PRED_J`, `PRED_STRANGE`, `PRED_MAYOR`, `RIDDLER_R`, `GAME_OVER`, `COURT_B`, `UNDER_S` | PA / hacked-speaker broadcasts: one voice spread over several channels, probably with delays (echo) between them |
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| 32,000 Hz | 110 (102 are `CHAR_FREEZE`) | Mr. Freeze | suit voice filter |
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| 11,025 / 12,000 Hz | 91 | `CHR_RadioScanner_*` | police radio (band-limited) |
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| 6,000 Hz | 25 | `PSO_CarRadio_Chatter_*` | car radio |
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| category *Radio & TV* (`Speech_RADIO`, `Speech_TV`, `Speech_CAMERAS`, `DIA_`) | see `categories.md` | Vicki Vale reports, TV, cameras | radio/TV EQ, maybe noise |
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These are hypotheses until someone listens and the metadata scan (3a) confirms them. Two things follow already:
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- A mono dub of a 5-channel line is copied to every channel today (`audio.to_channels`): the spatial echo between
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the channels is lost. Multichannel lines need a per-channel layout (gain + delay per channel) in their effect.
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- Low-rate lines limit the band themselves (6 kHz = nothing above 3 kHz), so part of the "radio" sound is just
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the encode rate; the rest (low cut, mid boost, distortion, noise) has to be added.
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## 3. Finding every effect the game uses
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Three independent sources, from exact to fuzzy. Every result goes into the catalog, so the editor can say
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for each line: *baked: Radio EQ (from metadata)*, *baked?: echo, 3 channels (analysis, 0.8)*, *game adds: room
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reverb (run time, record dry)*.
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### 3a. Wwise metadata (exact, where it exists) **(game)**
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The banks (version 56, Wwise 2011.1) describe effects in HIRC; `ackit/bnk.py` reads only the Sound sources today.
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To add (`ackit/bnk.py` + a survey tool, like the bank survey of mission 3):
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- Parse the **node base parameters** of Sounds, containers, actor-mixers and buses: the effect list (slot,
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effect object ID, and a **"rendered"** flag in this bank version, per wwiser's v56 layout, to confirm on the
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game's banks), the parent ID (effects are inherited unless the child overrides them), the output bus.
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- Parse the **effect objects** (HIRC effect / share-set type; the type number for v56 to confirm): plugin ID
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(Audiokinetic Parametric EQ, Delay, RoomVerb, Matrix Reverb, Peak Limiter, Compressor, Expander, Pitch
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Shifter, Flanger, Guitar Distortion, Tremolo, ...; plugin ID = company + type + number) and its **parameters**
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(EQ band frequencies/gains/Q, delay time and feedback, reverb time ...). The `FXPR` chunk the parser already
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recognizes and `ENVS` in `Init.bnk` (environments, i.e. run-time reverb zones) belong here too.
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- Walk each line's Sound object up the parent chain to the master bus: list of `(effect, plugin, params,
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where: sound/parent/bus, rendered or run time)`.
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- Line identity helps: Sound objects are the same in every language (`banks.md` *Lines*), so a line's chain is
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the same in all 5 languages.
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Expected result: run-time effects (bus reverbs, environments) are fully known, with parameters. Rendered
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effects are known **with their exact parameters**, which is the best case for a dub. Effects applied in the
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studio before the files reached Wwise leave **no metadata at all**: likely many of the radio/PA lines. Those need 3b.
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### 3b. Signal analysis of the WEMs (no metadata needed) **(game, ~minutes over all speech)**
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`ackit/fxdetect.py` (numpy only), per recording, a small feature vector:
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- **Band limits**: frequency below which / above which 1 % of the energy lies (telephone ~300-3,400 Hz), steepness.
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- **Effect EQ curve**: long-term average spectrum (LTAS) of the line divided by the LTAS of the **same speaker's
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dry lines** (speaker from `characters.csv` / the line's speaker). The voice cancels out and what is left is the
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effect's frequency response: directly usable as the dub's EQ.
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- **Reverb**: energy decay after speech offsets (Schroeder-style decay fit -> RT60 estimate), direct-to-
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reverberant ratio, tail length after the last word.
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- **Echo / delay**: peaks in the autocorrelation of the onset envelope, or in the cepstrum, at lags 30-800 ms;
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for multichannel lines the cross-correlation **between channels** (delay and gain per channel).
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- **Distortion / noise**: crest factor, clipping, spectral flatness of the gaps between words (static, hiss),
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harmonics added to a narrow band.
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- **Modulation / pitch**: envelope modulation 2-20 Hz (tremolo), pitch and formant shift against the speaker's
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dry lines (masks, Freeze, Clayface, synthesized voices).
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Then **cluster** the vectors (e.g. k-means on normalized features, or simple thresholds first) and **listen to a
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few lines per cluster** (the user names it: "Radio scanner", "Freeze suit", "Strange PA", "Riddler hacked
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speakers", "Interview tape", ...). The names and cluster labels go into a profile table (3d). Cross-language
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check: the 5 recordings of one line must land in the same cluster; disagreements are lines to listen to.
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### 3c. Comparing with the game's output (optional, run-time effects only) **(game)**
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The in-game harness can already play sounds and record the loopback (`ackit/verify/ingame.py`, `loopback.py`).
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For a sample of lines with a run-time effect, the same features computed on the game's output vs on the WEM
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show what the game adds. **Never save raw captures** (CLAUDE.md: they can contain voice chat): compute the
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features in memory and keep only the numbers. Useful to confirm, not needed for the dub itself.
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### 3d. What gets stored
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- `data/catalog/FX.csv`: per line (`line` identity, language-independent where the metadata says so): `profile`,
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`baked` (yes / no / unknown), `source` (metadata / analysis / manual), `confidence`, `runtime` (what the game
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adds, for the "record dry" hint). Built by `tools/build_catalog.py` from the original files only, like the rest.
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- `data/catalog/fx_profiles.json`: the profiles (section 4), with where each parameter came from.
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- `docs/formats/effects.md` (format of the HIRC effect data, survey figures) and claims in `tools/check_docs.py`
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for every figure; `ackit verify --catalog` re-derives the metadata part.
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- Manual labels of the user live in user data (like notes/tags), never in `source/`.
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## 4. Re-creating the effects on a dub
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An **effect profile** = a chain of simple, deterministic processors with parameters (data, not code), rendered by
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`ackit/fx.py`:
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| block | parameters | source of the numbers |
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|-------|------------|-----------------------|
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| high-pass / low-pass / peaking / shelf (biquads) | freq, gain, Q | metadata EQ, or fitted to the 3b EQ curve |
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| matched EQ (FIR) | the 3b curve itself | analysis (generic fallback for any baked EQ) |
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| delay / echo | time, feedback, mix, per-channel delays/gains | metadata, or 3b autocorrelation / inter-channel lags |
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| reverb | RT60, pre-delay, damping, mix | metadata (RoomVerb), or 3b decay fit; convolution with a generated IR (filtered, exponentially decaying noise) keeps it deterministic |
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| distortion / bit-crush / noise bed | drive, bits, noise level and colour | 3b, tuned by ear |
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| compressor / limiter | threshold, ratio | metadata, or by ear |
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| channel layout | per-channel gain + delay (replaces the plain mono copy for 3-5 channel lines) | 3b inter-channel analysis |
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The rendered dub then goes through the existing chain: loudness matched to the original, encoded at the
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original's rate/channels, fitted to the size limit (`Workspace.prepare`). A reverb or echo tail makes the audio
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longer: the editor's length warning and size fitting already cover that, but a dub UI should show the room.
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**DSP dependency** (user: "just use some libraries", no own DSP, no VST hosting):
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- Effects: **pedalboard** (Spotify, GPL-3.0, compatible with this project's GPL-3.0): ready filters (high/low-
|
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pass, peak, shelf), reverb, delay, chorus, phaser, distortion, bit-crush, GSM compression (telephone),
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compressor/limiter, pitch shift. A profile is a list of pedalboard plugins with parameters; the per-channel
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layout (gain + delay per channel) is a few numpy lines. To check before stage 1: wheels for the project's Python
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(3.14) on Windows and Linux, and that PyInstaller bundles it.
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- Analysis (3b): numpy (FFT, correlations), scipy only if a step really needs it.
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- Decision goes into `docs/decisions.md` like the other dependencies, licenses into `THIRD_PARTY_LICENSES.txt`.
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||||
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||||
## 5. Where to build it: new app or the existing editor?
|
||||
|
||||
| | Separate dubbing app on `ackit` | Inside Unheard City (new **Dubbing** tab) |
|
||||
|-|-------------------------------|------------------------------------------|
|
||||
| Write safety | `Workspace.lock` is a `threading.RLock`: it serializes writes **inside one process** only. Two apps open on the same game and store can write one package at the same time (the lost-edit bug of 2026-10-13, across processes). Needs a cross-process file lock + "changed outside" handling in both apps. | Same process, same lock, same store, same changed-outside banner: nothing new. |
|
||||
| Reuse | Re-implements catalog loading (background jobs, spinners), language setting, line identity, subtitles, waveform, player/recorder, encode/fit, apply/revert, mod export/import, settings, packaging. | All of that exists (`app/editor.py`, `audioio.py`, `waveform.py`, `textpanel.py`, `modpack.py`). |
|
||||
| Users | Two programs, two installs, two settings files, two originals stores to keep apart. | One program; a dub is just another kind of change (and a mod package). |
|
||||
| Complexity | The editor stays as it is. | `mainwindow.py` (774 lines) and `editor.py` (590) must not grow into one blob: the tab is its own package. |
|
||||
| UX | Free to design a session-based workflow. | Same freedom inside a tab; the Sounds tab stays for one-off replacements. |
|
||||
|
||||
**Recommendation: build it into Unheard City, with the engine in `ackit`.**
|
||||
- `ackit/fx.py` (profiles + rendering), `ackit/fxdetect.py` (features, clustering), `ackit/dub.py` (dub
|
||||
sessions/takes: files, states; no Qt), CLI `ackit fx survey | scan | render` and `ackit dub ...`: all headless,
|
||||
testable, usable from scripts.
|
||||
- `app/dubbing/` (own package): the **Dubbing** tab.
|
||||
- The **Sounds** editor gets one small row: *Effect: [profile ▾] (detected: Radio EQ, metadata)* and a *game
|
||||
adds ... record dry* hint, so single replacements benefit too.
|
||||
- A separate program makes sense only later, if voice actors record **without the game** (remote dubbing): a
|
||||
small recorder that reads a script export and writes a take pack (WAVs + JSON), which Unheard City imports.
|
||||
It never touches game files, so the lock problem does not arise.
|
||||
|
||||
## 6. The Dubbing tab (workflow)
|
||||
1. **Session**: language + character (or a filter: category, a list of lines). Lists the character's lines via the
|
||||
line identity; shows the script (subtitle of the loaded language, the INT text as reference), the original's
|
||||
length, the effect profile and baked/run-time status, and a state per line: *to do / recorded / approved /
|
||||
applied*. Sessions and takes are stored in user data (`%APPDATA%\UnheardCity\dubs\...`), never in the game.
|
||||
2. **Record**: play the original as a cue, count-in, record, auto-trim silence, several takes per line, pick one;
|
||||
length vs the original (and optional time-stretch to fit, if pedalboard or a WSOLA stretch is added).
|
||||
3. **Process**: clean-up (high-pass, gate), loudness match to the original (exists), the effect profile
|
||||
(suggested from FX.csv, editable, A/B against the original with and without the effect).
|
||||
4. **Apply** the approved lines in one `Workspace.apply` call (it takes a list); **export** the session as a mod
|
||||
package (`modpack.export_mod`, with edited subtitles if the dub's wording changed, within their room).
|
||||
5. Non-destructive: raw takes + parameters are kept, so a changed profile re-renders every line.
|
||||
|
||||
Warnings the tab must show (from the existing data):
|
||||
- Lines the game shares between languages (167 in-memory voice lines stored once for every language; 616-651 WAD
|
||||
lines per language identical to INT, `banks.md` *Lines*): dubbing one changes it for every language that uses it.
|
||||
- Size limit (speech in place, never larger than the original WEM): long takes plus reverb tails get squeezed or
|
||||
refused; show the room.
|
||||
- Subtitle room (NUL-padded in place).
|
||||
- Lines without a speaker label or with a disputed one (19 listed in `categories.md`).
|
||||
|
||||
## 7. Stages (one commit each: code + tests + docs + NOTES status)
|
||||
0. **Evidence (game)**: HIRC effect survey (3a) and a first feature scan (3b) over all speech; listen to samples
|
||||
per cluster with the user; write `docs/formats/effects.md` with figures (+ `check_docs` claims). Outcome: how
|
||||
many lines are baked vs run time, and the list of profiles. **This decides the size of everything after it.**
|
||||
1. `ackit/fx.py` on pedalboard: profiles JSON, render; tests with synthetic signals (an EQ's
|
||||
measured response, a delay's lag, an RT60 measured back from the rendered reverb).
|
||||
2. `ackit/fxdetect.py` + `FX.csv` / `fx_profiles.json` in `build_catalog.py`; `verify --catalog` checks; CLI.
|
||||
Test: render a profile onto a dry synthetic voice, detect it back.
|
||||
3. Sounds editor: effect row + run-time hint; GUI tests.
|
||||
4. `ackit/dub.py` + Dubbing tab (sessions, takes, script, batch apply, mod export); GUI tests.
|
||||
5. Real-game round trips (`tools/e2e_features.py` / `e2e_editor.py` cases for a dubbed line with an effect,
|
||||
reverted in `finally`), the user listens in game, packaging (`build_app.py`, licenses), version 3.4.0 or 4.0.0.
|
||||
|
||||
## 8. Decisions (user, 2026-10-27)
|
||||
- **All characters** can be dubbed, from the existing catalogs (no per-character priority): every effect group
|
||||
found in stage 0 needs a profile.
|
||||
- **Approximate effects** are enough; profiles are tuned later by ear (the Riddler lines' effect is complex).
|
||||
- **Libraries, not own DSP**: pedalboard for effects (section 4); no VST hosting, no time stretching for now.
|
||||
- **Everyone has the game**: no separate recorder or take packs; everything lives in Unheard City (section 5).
|
||||
- Still open, out of scope unless asked: audio inside video files (pre-rendered movies carry their own sound
|
||||
track, not in the WADs or banks; to check whether the game has any with speech).
|
||||
|
||||
## 9. Stage 0 results (2026-10-27, INT, read-only)
|
||||
Measured with scratch scripts (HIRC survey of every bank, signal features of 12,430 INT speech recordings),
|
||||
then the user listened to 77 candidate groups (`external/fx_samples/INDEX.md`, git-ignored). Figures here are a
|
||||
record of that day, not re-checked by `tools/check_docs.py`.
|
||||
|
||||
**Metadata (Wwise, v56).** Layouts from wwiser: node base params = u8 override-parent-fx, u8 count, [u8 bypass,
|
||||
count x {u8 slot, u32 fx id, u8 share-set, u8 rendered}], u32 output bus, u32 parent; a Sound has them after its
|
||||
source (+ u8 source bits); a bus (v56) has u8 is-environmental at payload offset 33, ducks of 17 bytes, then its
|
||||
effects. Effect objects are HIRC types 0x12 (share-set) / 0x13 (custom): u32 plugin, u32 size, parameters.
|
||||
- Run time (the game adds them; the files are clean, so a dub is recorded **dry**): McDSP FutzBox share-set
|
||||
`4272216A` (in 1,125 speech banks, on 464 actor-mixer slots, RTPC-driven) -> 2,858 speech rows; Parametric EQ
|
||||
on a bus (30 rows) or on the sound (3); the ML1 limiter on the top bus (everything); 84 RoomVerb + 6 Matrix
|
||||
Reverb share-sets in `Init` = the environments the game switches per area.
|
||||
- Rendered (baked by Wwise): 33 speech rows (car radio 25, radio scanner 3, museum thug-to-Penguin 4, Steel HQ
|
||||
1); the slot's fx id is zeroed, so the effect type is lost.
|
||||
- Everything else that is baked was made in the studio and has no metadata.
|
||||
|
||||
**Channels.** Speech WEMs with 2-5 channels carry the WAVE channel mask: 2 ch `0x3` (L R), 3 ch `0x7` (L R C),
|
||||
4 ch `0x33` (L R SL SR), 5 ch `0x37` (L R C SL SR); ackit decodes and encodes them in that order. PA lines put
|
||||
the dry voice in C and an echo 160-173 ms later in the surrounds (Harley/HQ 121 ms; Freeze's quad rears 73 ms);
|
||||
Riddler, Ivy and Ra's 5-channel lines are processed differently per channel.
|
||||
|
||||
**What the user heard** (per group; "no effects" groups omitted: thug/Ninja/Catwoman/JR efforts, combat barks,
|
||||
Riddler `RIDDLER_R`, DLC `PDLC_PDLC`/`PDLC_EMOTES`/Robin/Harley, Outcast, Penguin `MUSEUM_B`, Steel/Church Harley,
|
||||
Bully hobo, Talia `UNDER_B`, `CH_ZERO` Strange, Strange/Black Mask game-over):
|
||||
|
||||
| effect heard | groups |
|
||||
|--------------|--------|
|
||||
| radio EQ | radio scanner, Alfred/Oracle/Penguin/Strange/Ra's comms, copter, cameras, Gordon radio, car radio |
|
||||
| phone EQ | Penguin PRED, Zsasz calls, Two-Face court, Joker (PRED, theatre), Strange/Mayor/Harley PA, Riddler (Enigma, cameos), Vicki Vale radio scan, Penguin exhibits |
|
||||
| phone-mic EQ / TV-speaker EQ | interview tapes (Vicki Vale, Joker), Strange on TV, Joker church message, `UNDER_C` TV |
|
||||
| radio noise | copter, car radio, radio scanner (Vicki), Vicki Vale radio scan, map radio |
|
||||
| distortion (slight, speaker) | Penguin exhibits, radio scanner (Vicki), `UNDER_C` TV |
|
||||
| echo (PA delay) | Strange/Mayor/Harley/Joker/Two-Face PA and court lines, Catwoman side mission (Strange) |
|
||||
| very short delay (width) | Riddler cameos, radio scanner (Riddler) |
|
||||
| reverb (small/short room, slight wide room) | Riddler PRED, Harley 5 ch, Strange TV, Joker church, Talia sequence, Harley DLC, game-over lines (barely) |
|
||||
| reverse reverb (occasional) | Riddler (PRED, cameos, radio scanner), Poison Ivy |
|
||||
| glitches (parts repeat at another pitch), small repeats | Riddler (PRED, cameos, Enigma, radio scanner) |
|
||||
| pitch shift, fixed, down | Clayface |
|
||||
| pitch shift over time + robot + pan over time | Mr. Freeze |
|
||||
| octaves overlaid (down), formant shift, stereo width | Ra's al Ghul (giant, trials), Poison Ivy |
|
||||
| formant shift, unintelligible voice | car radio |
|
||||
|
||||
## 10. Scope after stage 0 (user, 2026-10-27)
|
||||
Matching effects automatically per line is too complex: the Dubbing section gets **manual controls for every
|
||||
effect found** (section 9), which the user sets by ear. Dropped: automatic profiles, `FX.csv` /
|
||||
`fx_profiles.json`, detection in the catalog build (stage 2 of section 7). Kept: pedalboard, the Dubbing tab in
|
||||
Unheard City, everything else of sections 5-6.
|
||||
|
||||
Effects rack (`ackit/fx.py`, one table of blocks and parameters that the UI is generated from; every block off
|
||||
by default; fixed order; seeded randomness, so a setting always renders the same audio):
|
||||
|
||||
| # | block | controls | built on |
|
||||
|---|-------|----------|----------|
|
||||
| 1 | Pitch | shift (semitones), formant shift, drift depth + rate (pitch over time) | `pedalboard.time_stretch` (pitch curve, formants) |
|
||||
| 2 | Octave layers | two layers: interval + level | `time_stretch` pitch, mixed |
|
||||
| 3 | Robot | ring modulator frequency + mix, metallic comb (delay, feedback) | numpy |
|
||||
| 4 | Glitch | events per 10 s, length, repeats, pitch of the repeats, seed | numpy + `time_stretch` |
|
||||
| 5 | Voice band (EQ) | low cut, high cut, slope, mid boost (freq, gain, Q) | `HighpassFilter`, `LowpassFilter`, `PeakFilter` |
|
||||
| 6 | Distortion | drive, clip, bit depth, phone codec (GSM) | `Distortion`, `Clipping`, `Bitcrush`, `GSMFullRateCompressor` |
|
||||
| 7 | Noise | level, colour (band), crackle | numpy |
|
||||
| 8 | Echo | time, feedback, mix | `Delay` |
|
||||
| 9 | Reverb | room size, damping, wet, width; reverse reverb amount + how often | `Reverb` (reversed for the reverse swell) |
|
||||
| 10 | Channels (2-5 ch lines) | width (L/R delay), auto-pan rate + depth, surround echo delay + level, dry voice in C | numpy, channel order of section 9 |
|
||||
|
||||
Then the existing chain: loudness match / normalize / gain, encode within the size limit.
|
||||
|
||||
Stages from here (one commit each; 1 and 2 done on 2026-10-27, see NOTES.md):
|
||||
1. `ackit/fx.py` + tests (synthetic signals: each block measured back) + pedalboard dependency
|
||||
(`pyproject.toml`, `docs/decisions.md`, licenses).
|
||||
2. Dubbing tab (`app/dubbing/`): line list (character/category/search filters, state per line), the existing
|
||||
sound editor embedded (record/load, trim, A/B, subtitle, apply/revert), the effects rack between the take and
|
||||
the loudness step, settings saved per line in user data; GUI tests; user guide.
|
||||
3. Real-game round trip of a dubbed line with effects, packaging (PyInstaller + pedalboard), version bump.
|
||||
|
||||
## 11. UI revision (user, 2026-10-27, after trying stages 1-2)
|
||||
- The subtitle box was too small for dubbing, and the Sounds tab and the Dubbing tab both had an editor:
|
||||
browsing and editing are now separate. **Sounds** only browses (list + a compact preview with **Edit** / **Add
|
||||
to edit list**); **Dubbing** became **Edit**, for every kind of sound, with an edit list instead of a second
|
||||
browser, the subtitle as a large **script**, and Previous / Next.
|
||||
- The effects panel was "raw": sliders with readable values (log scale for frequencies and times), **looks**
|
||||
for the voices heard in the game (section 9) and **preset buttons** per effect that set the sliders in place.
|
||||
- The reverb (pedalboard's Freeverb) sounded poor: replaced by a generated room response (decay, pre-delay,
|
||||
reflections, damping, width) with presets (small room to church, tiled cell, outdoors).
|
||||
- Second round: the browser's player keeps Play/Stop together (editing actions apart on the right); the Edit tab
|
||||
fits the window without scrolling (effects as a chain with one settings area); the app and docs use generic
|
||||
terms (replacement, effects, subtitle), since the Edit tab is for every kind of sound, not only dubbing.
|
||||
Binary file not shown.
|
Before Width: | Height: | Size: 215 KiB After Width: | Height: | Size: 358 KiB |
Binary file not shown.
|
Before Width: | Height: | Size: 45 KiB After Width: | Height: | Size: 176 KiB |
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|
Before Width: | Height: | Size: 187 KiB After Width: | Height: | Size: 315 KiB |
@@ -23,6 +23,7 @@ game is set to (Steam > game properties > Language) and applies to everything yo
|
||||
effects). The game has voices in English (INT), French, Italian, German and Spanish; for the other languages
|
||||
(Latin American Spanish, Polish, Portuguese, Russian, Japanese, Korean) it plays the English voices, so the
|
||||
editor shows those and says *voices: INT* next to the list.
|
||||
- **Edit**: the sounds of the edit list in that language (sounds of another language stay on the list, hidden).
|
||||
- **Subtitles** and **Menu text**: the texts of that language.
|
||||
Changing it reloads the lists; the next start is again in the game's language.
|
||||
Some voice lines sound English in every language: the game itself ships the English recording for most
|
||||
@@ -51,38 +52,81 @@ the same line and are changed and reverted together.
|
||||
- Click a column header to sort (length, size, status, ...). Ctrl/Shift-click selects several rows.
|
||||
- Archive **BANK** holds the short sounds stored inside soundbanks (footsteps, foley, combat,
|
||||
weapons, menu sounds, grunts). Many are named after the game event that plays them (`Play_...`), the
|
||||
rest after their bank (`CHR_BatclawGrapple_3`). The editor shows the bank and how many copies the game keeps of
|
||||
the sound; a replacement is written into every copy.
|
||||
rest after their bank (`CHR_BatclawGrapple_3`). The Edit tab shows the bank and how many copies the game keeps
|
||||
of the sound; a replacement is written into every copy.
|
||||
|
||||
|
||||
|
||||
## Listen
|
||||
The editor under the list shows the selected sound in three columns side by side (drag the dividers to
|
||||
resize them): **Listen**, **Replace** and **Subtitle**. Select a row and press **Space** to play the original
|
||||
(once a replacement is loaded, Space plays the replacement; Space again stops), or double-click it. Each column
|
||||
ends with its own buttons on one line. In **Listen**:
|
||||
- **Original** / **Installed** play the game's original and what is currently in the game; **Stop** (Esc).
|
||||
Click on a waveform to play from that point.
|
||||
- Above them: **A/B** (switch between the original and your replacement at the same position, to compare),
|
||||
**Loop**, **Volume** and the playback position. The icon buttons show their names when you point at them.
|
||||
The **Sounds** tab is for finding and listening; it does not change anything. Below the list, the selected sound
|
||||
is shown with its details and subtitle (left), a player (middle) and the way into the Edit tab (right).
|
||||
**Play original** (or Space, or double-click the row), **Play installed** (what the game has now, if you
|
||||
replaced it) and **Stop** (Esc) sit together above the waveforms; click on a waveform to play from that point.
|
||||
|
||||
## Replace
|
||||
|
||||
1. **Load file…** (Ctrl+O): WAV, FLAC, OGG, OPUS, MP3 or AIFF. (M4A/WMA work only if ffmpeg is installed.)
|
||||
Or choose a microphone in the list and press **Record**, then **Stop recording**. Listen with
|
||||
**Replacement**; record again as often as you like.
|
||||
2. Adjust: **Keep … to** trims (or right-drag on the replacement waveform), **Trim silence**, **Gain**,
|
||||
**Normalize**, **Match loudness** (to the original; recommended for voice lines).
|
||||
3. **Apply to game** (Ctrl+S). The audio is converted to the original's format and written into the game files.
|
||||
The row turns bold and shows *Modified*.
|
||||
To change sounds, select them (Ctrl/Shift-click for several) and press **Edit** (or Enter, or right-click >
|
||||
**Edit**): they go onto the **edit list** and the **Edit** tab opens on the first. **Add to edit list** puts them
|
||||
there without leaving the list, e.g. to collect all the lines of a character or all the sounds of a weapon
|
||||
first.
|
||||
|
||||
Size rule: voice lines and effects must fit into the original's size (the *Max size* column), because the
|
||||
game reads exactly that many bytes. Longer audio is encoded at lower quality to fit; if it still does not fit
|
||||
you are asked to shorten it. Music (`Music_…`) can be any length. A warning appears when your audio is longer
|
||||
than the original, since the game may cut it off.
|
||||
## Edit
|
||||
|
||||
The **Edit** tab is where sounds are replaced: voice lines, music, ambience, sound effects. Everything fits in
|
||||
the window: left the **edit list**, middle the sound you are working on, right its effects.
|
||||
- **Edit list**: filter it, **Remove** sounds you are done with, or **Remove applied**. Columns: a dot = a
|
||||
replacement is saved, FX = number of effects on, a tick = applied to the game. **Previous** / **Next**
|
||||
(Alt+Left / Alt+Right) walk the list.
|
||||
1. **Subtitle** (voice lines only): shown large, with the game's original (and the English line when you edit
|
||||
another language) under it. You can rewrite it there and **Apply** it (see *Subtitles*).
|
||||
2. **Listen**: **Original**, **Installed** and **Replacement** each have a play button and a waveform; **A/B**
|
||||
switches between the original and the replacement at the same position; **Loop**, **Volume**, **Stop**
|
||||
(Esc).
|
||||
3. **Replacement**: **Record** (choose the input in the list next to it; press again to stop) or **Load file…**
|
||||
(Ctrl+O: WAV, FLAC, OGG, OPUS, MP3 or AIFF; M4A/WMA only if ffmpeg is installed), as often as you like.
|
||||
**Keep … to** trims (or right-drag on the replacement's waveform), **Trim silence**, **Gain**,
|
||||
**Normalize**, **Match loudness** (to the original; on by default for voice lines). The replacement is saved
|
||||
at once in your user data folder (`edits`), with its trim, level and effect settings, so you can come back
|
||||
to it any time; nothing is written to the game until you apply it.
|
||||
4. **Apply to game** (Ctrl+S). The audio (with its effects) is converted to the original's format and written
|
||||
into the game files; the list shows a tick and the Sounds tab *Modified*.
|
||||
|
||||
Size rule: voice lines and sound effects must fit into the original's size (the *Max size* column), because
|
||||
the game reads exactly that many bytes. Longer audio is encoded at lower quality to fit; if it still does not
|
||||
fit you are asked to shorten it. Music (`Music_…`) can be any length. A warning appears when your audio is
|
||||
longer than the original, since the game may cut it off.
|
||||
|
||||
### Effects
|
||||
Many sounds are not dry in the game (radios, phones, announcements, speakers, Mr. Freeze's suit...); the
|
||||
replacement gets the effects you turn on, and **Replacement** plays it with them.
|
||||
- **Start from a preset…** sets several effects at once: Radio, Phone, Tape / phone mic, TV in a room, PA
|
||||
announcement, Mr. Freeze, Clayface, Riddler broadcast, Giant (Ra's al Ghul), Car radio.
|
||||
- The **effect chain** lists every effect in the order it runs: tick an effect to turn it on, click its name to
|
||||
see its settings below. Each effect has preset buttons that set its sliders; then adjust by ear. Moving a
|
||||
slider turns its effect on; double-click a slider to put it back.
|
||||
|
||||
| effect | in the game, for example |
|
||||
|--------|--------------------------|
|
||||
| **Pitch** (shift, formant, drift = pitch over time) | Clayface (shift down), Mr. Freeze (drift) |
|
||||
| **Octave layers** | Ra's al Ghul, Poison Ivy (octaves below the voice) |
|
||||
| **Robot** (ring modulator, metallic comb) | Mr. Freeze's suit |
|
||||
| **Glitch** (pieces repeated, at another pitch) | the Riddler's hacked broadcasts |
|
||||
| **Band-pass EQ** (low/high cut, mid boost) | radio, phone, phone microphone, TV and small speakers |
|
||||
| **Distortion** (drive, clip, bits, phone codec) | speakers, radios, the car radio |
|
||||
| **Noise** (level, colour, crackle) | radio static |
|
||||
| **Echo** | Hugo Strange, the Mayor, Joker and Harley over the city speakers (the *PA announcement* preset: 160 ms) |
|
||||
| **Reverb** (decay, mix, pre-delay, reflections, damping; reverse swells before phrases) | rooms, TV, halls; reverse: the Riddler, Poison Ivy |
|
||||
| **Channels** (sounds with 2-5 channels) | stereo width, pan over time, the PA layout: dry sound in the centre, echo in the surrounds |
|
||||
|
||||
**Copy** / **Paste** move settings between sounds; **Use these effects for the selected** gives every selected
|
||||
sound of the edit list the same settings (e.g. all of Mr. Freeze's lines), keeping their replacements.
|
||||
**Reset** turns everything off.
|
||||
|
||||
Some effects are added by the game itself while it plays, not stored in the sound (the radio sound of many
|
||||
thugs and street conversations, the reverb of rooms and areas): if the original sounds clean here but not in
|
||||
the game, keep your replacement clean too, or the effect is applied twice. Glitch, echo and reverb make a sound
|
||||
longer, which counts for the size rule.
|
||||
|
||||
## Undo
|
||||
- **Revert** in the editor puts that sound back exactly.
|
||||
- **Revert** in the Edit tab puts that sound back exactly (the replacement stays saved for later).
|
||||
- Right-click rows → **Revert selected**; toolbar **Revert all** puts every original back: all sounds,
|
||||
subtitles and menu texts you changed, in every language.
|
||||
- Originals are kept in your user data folder (`%APPDATA%\UnheardCity` on Windows,
|
||||
@@ -109,9 +153,9 @@ The **Subtitles** tab lists the subtitle of every speech line in the selected la
|
||||
(Windows-1252: accents are fine, other scripts are not); those stored as Unicode (almost all Russian,
|
||||
Japanese and Korean ones, most Polish ones) accept any character. The editor says so when a character does
|
||||
not fit.
|
||||
- **Go to the sound** opens the speech line in the Sounds tab. In the Sounds tab, the editor of a speech line
|
||||
shows its subtitle in the **Subtitle** column next to the audio: edit both side by side, **Apply** /
|
||||
**Revert** the subtitle there, or **Show in list** to jump back to the Subtitles tab.
|
||||
- **Go to the sound** selects the speech line in the Sounds tab (its subtitle shows in the preview). In the
|
||||
Edit tab, a voice line's **Subtitle** is shown large above the audio: edit it there, **Apply** / **Revert**
|
||||
it, or **Show in list** to jump back to the Subtitles tab.
|
||||
- **Find and replace…** works on the rows the filters show (texts that would not fit are listed and skipped).
|
||||
- **Revert** / **Revert all texts here** put the original text back (every copy in every game file).
|
||||
- About 30 subtitles per language have no sound in the game (texts such as the Arkham City Stories, unused
|
||||
@@ -145,7 +189,7 @@ Game folder, where originals are kept (changeable only while nothing is modified
|
||||
the playback device. The recording device
|
||||
is chosen next to the Record button. **Background**: show or hide the Arkham City wallpaper behind the filter
|
||||
panel; **Background strength**: how visible it is (10 % by default).
|
||||
The editor panel opens tall enough to show all its controls; drag the divider above it to change that.
|
||||
Drag the dividers to resize: the preview under the sound list, and the edit list, editor and effects columns of the Edit tab.
|
||||
|
||||
## Troubleshooting
|
||||
| message | what to do |
|
||||
|
||||
Reference in New Issue
Block a user