{"id":1879,"date":"2019-07-11T05:52:11","date_gmt":"2019-07-11T05:52:11","guid":{"rendered":"http:\/\/procedural-audio.com\/blog\/?p=1879"},"modified":"2022-01-06T10:09:12","modified_gmt":"2022-01-06T10:09:12","slug":"design-a-fighting-robot","status":"publish","type":"post","link":"http:\/\/procedural-audio.com\/blog\/2019\/07\/11\/design-a-fighting-robot\/","title":{"rendered":"Design a Fighting Robot"},"content":{"rendered":"<h2 style=\"border-left: 4px solid; padding-left: 10px; margin-top: 0px;\">Introduction<\/h2>\n<p>This is the second post in our series devoted to the sound design of effects for sci-fi games and animations, all procedurally, all in GameSynth! Our previous post focused on the creation of a <a href=\"http:\/\/procedural-audio.com\/blog\/2019\/07\/03\/scifi-city-ambience\/\" target=\"_blank\" rel=\"noopener\">futuristic city ambience<\/a>. It is now time for giant robots and blipping user interfaces, with a mecha that would not be out place in the Gundam universe. This will be the perfect opportunity to put many of the GameSynth models to contribution, from Retro, Whoosh and Modular to Particles and VoiceFX. But first, let\u2019s check our animation!<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/JQgGwlej2nI?rel=0\" width=\"670\" height=\"375\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div style=\"margin-top: 50px;\"><\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog thematic-blog-scifi-1b\">\n<h2 style=\"border-left: 4px solid; padding-left: 10px; margin-top: 0px;\">Bleeps and blops<\/h2>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-1885\" style=\"width: 100%;\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/1b.gif\" alt=\"1b\" width=\"670\" height=\"170\" \/><\/p>\n<p>The scene starts inside a mecha\u2019s cockpit, which is the ideal setting to explore the creation of UI sound effects. The Retro model is the weapon of choice to create bleeps and blops in GameSynth (although the Modular comes a close second with modules such as Blip, Chirp, and its multiple oscillators and LFOs).<br \/>\nWe first created a patch with a lot of pitch movement, both by drawing on the SketchPad and by modulating the pitch with a LFO (Sample &amp; Hold type).<\/p>\n<p><video style=\"width: 670px; height: 380px;\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/1.mp4\" controls=\"controls\" width=\"300\" height=\"150\"><\/video><\/p>\n<p>We also added random ranges to the main parameters and, thanks to GameSynth ability to quickly generate <a href=\"http:\/\/procedural-audio.com\/blog\/2018\/03\/15\/creating-sound-variations-in-gamesynth\/\" target=\"blank\" rel=\"noopener\">random sound variations<\/a>, \u00a0we were able to render many sounds at once, some of them a bit reminiscent of R2D2! \u00a0Still in GameSynth, we automatically <a href=\"http:\/\/procedural-audio.com\/blog\/2019\/04\/17\/gamesynth-integration-with-reaper\/\" target=\"_blank\" rel=\"noopener\">exported the sound to Reaper<\/a>, at which point we selected the most appropriate while checking with the animation.<\/p>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog_2col clearfix\">\n<div class=\"left\"><a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/01 - UISelect.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/01 - UISelect.png\" alt=\"2\" \/><\/a>\n<\/div>\n<div class=\"left\"><\/div>\n<div class=\"right\">\n<p>\nFor the sound of the small UI elements on the console at the bottom, we designed a couple of tonal bleeps. For example, we used the arpeggiator of the Retro model with only 2 steps to create a \u201cselection\u201d sound.<\/p>\n<p><audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/01 - SciFi_Stage2_UISelect_Validation.mp3\" controls=\"controls\"><\/audio>\n<\/div>\n<\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog_2col clearfix\">\n<div class=\"left\">\n<p><a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/12 - UI.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/12 - UI.png\" alt=\"2\" \/><\/a><\/p>\n<\/div>\n<div class=\"right\">\n<p>\nFinally, the telemetry sound effect, which consists of a quick succession of beeps, was also created in the Retro model using a simple amplitude modulation.\n<\/p>\n<p><audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/02 - SciFi_Stage2_UIAnalyseTelemetry.mp3\" controls=\"controls\"><\/audio>\n<\/div>\n<\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog_2col clearfix\">\n<div class=\"left\">\n<p><a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/02 - UINoiseUp01.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/02 - UINoiseUp01.png\" alt=\"2\" \/><\/a><\/p>\n<\/div>\n<div class=\"right\">\n<p>In addition to the various bleeps and blops of the interface, a number of short noise-based effects also help reinforcing the sense of motion of the UI elements on screen. Most of them have been designed in the Retro model as well.<br \/>\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/03 - SciFi_Stage2_UINoiseUp.mp3\" controls=\"controls\"><\/audio><\/p>\n<\/div>\n<\/div>\n<\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog thematic-blog-scifi-1\">\n<h2 style=\"border-left: 4px solid; padding-left: 10px; margin-top: 0px;\">Using a particle system to design noise sweeps<\/h2>\n<p>However, the first noise-based effect you hear in the cockpit is a combination of Modular and Particles patches. We first generated a noise signal in the Modular model that we then used as a sound source in the Particles model.<\/p>\n<p>This allows us to draw noise sweeps very accurately while modulating up to three parameters in real-time from the sketch pad (for the x-axis, y-axis, and pressure). The Particles Model is a great choice for this as it offers many modulation destinations such as amplitude, pitch, pan, particles emission rate and lifetime, filter cutoff and resonance, position in sample, delay etc. This particular sound is quite simple, so we just modulate the pan in X, the cutoff in Y and control the amplitude through the pressure.<\/p>\n<p><video style=\"width: 610px; height: 345px;\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/2.mp4\" controls=\"controls\" width=\"300\" height=\"150\"><\/video><\/p>\n<p>Of course, we could add many more samples for the sound sources and play with the LFO, saturation, EQ etc. to generate a large palette of noise sweeps very easily.<\/p>\n<div style=\"height:25px;\"><\/div>\n<\/div>\n<div class=\"thematic-blog thematic-blog-scifi-1b\">\n<h2 style=\"border-left: 4px solid; padding-left: 10px; margin-top: 0px;\">Mecha on the move<\/h2>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-large wp-image-1886\" style=\"width: 100%;\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/2c.gif\" alt=\"2c\" width=\"640\" height=\"162\" \/><\/p>\n<p>Both inside and outside of the mecha\u2019s cockpit, we can hear its engine, first rising during startup and then quietly humming. A single patch was built in the Modular model for this. To get a rich but tonal spectrum, several oscillators and noise generators are mixed together. Flanger and chorus modules have also been added to make the sound richer and an LFO simulates a pulsating feeling. Automation curves modulate the pitch of the oscillators as well as the cutoff frequency of the filters the noise goes thru.<\/p>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog_2col clearfix\">\n<div class=\"left\"><a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/03 - Engine.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/03 - Engine.png\" alt=\"2\" \/><\/a><br \/>\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/04 - SciFi_Stage2_EngineStartUp.mp3\" controls=\"controls\"><\/audio><\/div>\n<div class=\"right\">\n<p>Note: the reason automation curves were used here is because once they terminate the patch holds onto their last value while envelopes return to 0. Therefore, it simplifies the patch: once the rise is over, the sustained part happens automatically!<\/p>\n<\/div>\n<\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog_2col clearfix\">\n<div class=\"left\">\n<p>\nSurprisingly, the basic walking cycle of the mecha is based on the T-Rex Foot preset from the Modular model. Of course, a Motor module was added to simulate the robot servos and a third branch of the patch adds a more synthetic feel to the impact thanks to a vocoder and some tube modules.\n<\/p>\n<\/div>\n<div class=\"right\"><a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/04 - MechaMovement.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/04 - MechaMovement.png\" alt=\"2\" \/><\/a><br \/>\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/05 - SciFi_Stage2_MechaMovement.mp3\" controls=\"controls\"><\/audio><\/div>\n<\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<p>\nA whoosh sound is layered on top of it to complete the walking sequence of the mecha.  As for the noise sweep we encountered earlier, a filtered noise is generated in the Modular model before being used as sound source in the Particles model.\n<\/p>\n<div class=\"thematic-blog_2col clearfix\" style=\"margin-bottom:0px;\">\n<div class=\"left\">\n<p><a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/05 - MechaMovementWhooshLayer.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/05 - MechaMovementWhooshLayer.png\" alt=\"2\" \/><\/a><br \/>\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/06-SciFi_Stage2_MechaWhooshLayerNoise.mp3\" controls=\"controls\"><\/audio><\/p>\n<\/div>\n<div class=\"right\">\n<p><a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/06 - MechaMovementWhooshLayerParticles.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/06 - MechaMovementWhooshLayerParticles.png\" alt=\"2\" \/><\/a><br \/>\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/07-SciFi_Stage2_MechaWhooshLayerParticles.mp3\" controls=\"controls\"><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"thematic-blog_2col thematic-blog-finalsound clearfix\">\n<div class=\"left\">\n<p style=\"text-align: center; margin-top: 15px;\">The final walking sequence sounds like this:<\/p>\n<\/div>\n<div class=\"right\">\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/08-SciFi_Stage2_MechaMovement_FINALMIX.mp3\" controls=\"controls\" style=\"\n    display: block;\n    margin: 0 auto;\n\"><\/audio><\/p>\n<\/div>\n<\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<p>The very synthetic sound of the mecha\u2019s axe being turned on is mainly generated by a Blip module, although the outputs of an Electricity module and a Pulse oscillator are also put to contribution. The characteristic weapon charging sound is done in the Modular model as well, by mixing several noise modules that have been sent through highly resonant filters.<\/p>\n<div class=\"thematic-blog_2col clearfix\">\n<div class=\"left\">\n<a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/07 - MechaAxeON.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/07 - MechaAxeON.png\" alt=\"2\" \/><\/a><br \/>\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/09-SciFi_Stage2_MechaAxeON\" controls=\"controls\"><\/audio>\n<\/div>\n<div class=\"right\">\n<p><a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/08 - MechaChargingAttack.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/08 - MechaChargingAttack.png\" alt=\"2\" \/><\/a><br \/>\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/10-SciFi_Stage2_MechaChargingAttack.mp3\" controls=\"controls\"><\/audio><\/p>\n<\/div>\n<\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog_2col clearfix\">\n<p>\nThe powerful end of the mecha sequence consists in an impact sound made in the Modular layered with a Whoosh patch in which we re-use the initial axe sound as a source.\n<\/p>\n<div class=\"left\">\n<a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/09 - MechaImpact.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/09 - MechaImpact.png\" alt=\"2\" \/><\/a><br \/>\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/11-SciFi_Stage2_MechaImpact.mp3\" controls=\"controls\"><\/audio>\n<\/div>\n<div class=\"right\">\n<a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/10 - MechaAxeWhooshLayer.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/10 - MechaAxeWhooshLayer.png\" alt=\"2\" \/><\/a><br \/>\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/12-SciFi_Stage2_MechaAxeWhoosh.mp3\" controls=\"controls\"><\/audio>\n<\/div>\n<\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog_2col thematic-blog-finalsound clearfix\">\n<div class=\"left\">\n<p style=\"text-align: center; margin-top: 15px;\">This is the resulting sound:<\/p>\n<\/div>\n<div class=\"right\">\n<audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/13-SciFi_Stage2_MechaImpact_FINALMIX.mp3\" controls=\"controls\"><\/audio>\n<\/div>\n<\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col stop\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div id=\"mecha-ai\"><\/div>\n<p>Did you think we forgot about it? The mecha\u2019s AI voice is also 100% procedural; we first used <a href=\"http:\/\/procedural-audio.com\/web\/en\/products-alto.html\" target=\"_blank\" rel=\"noopener\">Alto Studio<\/a>\u2019s Speech Synthesizer to generate the \u201cclear to engage\u201d line and then applied sound effects in the VoiceFX model.<\/p>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog_2col clearfix\">\n<div class=\"left\"><a href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/11 - VoiceFX.png\" data-lity=\"\"><img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/11 - VoiceFX.png\" alt=\"2\" \/><\/a>\n<\/div>\n<div class=\"right\">\n<p>VoiceFX is ideal for sci-fi: its 20+ racks (including vocoders, ring modulators etc.) allow for the creation of robot, monster and alien voices, while its large number of modulations (envelopes, LFOs, pitch tracking\u2026) offers countless creative venues to explore.\n<\/p>\n<\/div>\n<\/div>\n<div class=\"thematic-blog_2col clearfix\">\n<div class=\"left\"><audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/SciFi_Stage2_AIVoice.ogg\" controls=\"controls\"><\/audio><\/div>\n<div class=\"right\"><audio src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/14-SciFi_Stage2_VFX_Announcer_ClearToEngage.mp3\" controls=\"controls\"><\/audio><\/p>\n<\/div>\n<\/div>\n<p><!-- \u25a0\u25a0\u25a0\u25a0\u25a0\u25a0\u25a02col start\u25a0\u25a0\u25a0\u25a0\u25a0\u25a0 --><\/p>\n<div class=\"thematic-blog thematic-blog-scifi-1 thematic-blog-scifi-1-download\">\n<div class=\"thematic-blog_2col clearfix\">\n<div class=\"left\">\n<img decoding=\"async\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/sci-fi-2-1.png\" alt=\"\" \/>\n<\/div>\n<div class=\"right\">You can download all the patches we used in the animation below:<br \/>\n<a class=\"download\" href=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2019\/07\/GameSynth-SciFi-Blog-2.zip\">DOWNLOAD ALL PATCHES<\/a><br \/>\nThese patches require GameSynth 2019.1 or higher.<br \/>\nIn addition, they will all be added to the GameSynth \u00a0<a href=\"http:\/\/procedural-audio.com\/patch\/\" target=\"_blank\" rel=\"noopener\">online patch repository<\/a>.<\/div>\n<\/div>\n<\/div>\n<p>In our next post, things will get more dramatic as we teleport in the middle of a starship battle. Be ready for lasers, torpedoes, shields, and explosions!<\/p>\n<p><a class=\"gs-learn-more\" href=\"http:\/\/procedural-audio.com\/web\/en\/products-gamesynth.html\" target=\"_blank\" rel=\"noopener\"><br \/>\n<img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2020\/06\/2020_06_Introducing-Modular-Weapons-Modules-banner-1.png\" alt=\"2020_06_Introducing Modular Weapons Modules-banner\" width=\"521\" height=\"84\" class=\"alignnone size-full wp-image-2915\" srcset=\"http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2020\/06\/2020_06_Introducing-Modular-Weapons-Modules-banner-1.png 521w, http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2020\/06\/2020_06_Introducing-Modular-Weapons-Modules-banner-1-150x24.png 150w, http:\/\/procedural-audio.com\/blog\/wp-content\/uploads\/2020\/06\/2020_06_Introducing-Modular-Weapons-Modules-banner-1-300x48.png 300w\" sizes=\"(max-width: 521px) 100vw, 521px\" \/><br \/>\n<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Introduction This is the second post in our series devoted to the sound design of effects for sci-fi games and animations, all procedurally, all<\/p>\n","protected":false},"author":1,"featured_media":2024,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[6,15,12],"tags":[],"_links":{"self":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/1879"}],"collection":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/comments?post=1879"}],"version-history":[{"count":121,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/1879\/revisions"}],"predecessor-version":[{"id":4944,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/posts\/1879\/revisions\/4944"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media\/2024"}],"wp:attachment":[{"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/media?parent=1879"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/categories?post=1879"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/procedural-audio.com\/blog\/wp-json\/wp\/v2\/tags?post=1879"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}