forcing mono in nVidia shadowplay

Recently I’ve been recording some of my gameplay when playing Overwatch in an effort to see if there’s any obvious places where I’m screwing up, when I noticed something odd when reviewing the recordings. Whilst all the audio for the game as well as the audio from Discord would be coming through both channels in stereo, my voice was only being played back through the right channel. Since I’m not producing videos for public consumption, it really shouldn’t be too much of an issue, but it’s enough to annoy me enough to find out what on earth is going on.

So a quick look into my setup to see what on earth is going on here.

My microphone setup is rather convoluted as compared to the usual USB condenser setups, for the sole reason that I didn’t want to add another USB sound card into my system. I’m currently running a Presonus AudioBox 22VSL, which is a very nice USB 2.0 audio interface which has an MXL 550 condenser mic as my main microphone. In terms of bang for buck at the time, it’s serving me well. The AudioBox software also allows you to change the panning on the fly, which in most software is good enough to get a centred output.

The problem seems to have come up with Shadowplay, nVidia’s inbuilt streaming and recording software. For streaming, Shadowplay is far below par, with OBS knocking it right out of the park in terms of stability and customisation. However for recording game sessions, Shadowplay is actually the better option from my experimentation. The only problem is that Shadowplay uses a direct input from the communication devices to gather the local mic inputs – which the AudioBox software can’t directly utilise.

I did find a solution, and it is a bit of a hack, but it seems to work.

First and foremost, the mic you want to use must be plugged into the no. 1 input jack. I’ll explain why in a moment why this is important, but you can mirror any settings you wish on the hardware and it will be exactly the same.

Second you’ll want to go into your Recording Devices tab of the Sound properties in the Windows Control Panel. Easiest way to do this is to right click on the little speaker in the system tray and select it from there. You’ll get a window like this:


Now there’ll be a couple of devices here, but you’ll want to right click on whatever device is going to be your input device, in my case it’s the AudioBox 22VSL Audio. This will bring up the line properties.

Lastly, select the Advanced tab and you’ll see this screen:


The Default Format section is what’s of interest here, and the setting that’s found here is what needs to be set in order to force applications like Shadowplay to recognise the left channel mic as a single mono input. Here’s the reason why plugging the mic into input 1 was so important. With this option Windows will take only the first input and use it as a mono input. If you have anything on inputs 2 and above, Windows will just ignore them.

Apply all the changes and hey presto. You’ve got a single mono input that isn’t stuck on one channel. While this something that I’ve found that works with the Presonus AudioBox, I can’t guarantee that it will work with other USB ASIO interfaces. I’ll also recommend that you set things back to the previous settings if you want to use multiple inputs at once through ASIO. I haven’t run into issues, but it’s better to be safe than sorry.

The ideal solution would to have nVidia implement a Force Mono within the Shadowplay software, but until then, this workaround seems to work. I’ll also point out that I’m running Windows 7, so there may be some differences between this and Windows 8 or Windows 10, so again, your mileage may vary.



unreal engine config resolution

Just a quick bit of info about a little issue I ran into recently in regards to XCOM2, and it’s a very niche occurrence but here’s the gist of what happened.

I recently switched from using an LG TV as a primary display back to using my old dedicated computer monitor instead. In essence, I’ve traded resolution and screen size for refresh rate. For reference my TV is a standard 1920×1080 @ 60Hz and this monitor is 1440×900 @ 75Hz. The difference between the two is night and day when playing games like Overwatch. With that change in resolution has brought back an old little problem that isn’t seen much nowadays – how games handle a change in resolution. Going from a lower resolution to a higher resolution is normally easy, if the display can support it, but going down is a nightmare at times.

I’m going to cut to the chase and explain what happened to me and how I fixed it.

I run most games in Borderless Window if I can, so I can easily switch over to discord and engage in some jolly banter at will. The issue popped up after I switched back to the smaller monitor, as XCOM2 kept the same resolution but in borderless window mode. Essentially I had the bottom right section of my screen missing. This normally could be dealt with in other games, but all the actual menu buttons are at the bottom of the screen.

This can happen in a lot of games, so having to change config files is a handy skill to pick up. What I’m describing here applies to the majority of Unreal Engine games, both old and new, although there is going to be changes between the config files according to what Unreal version is being used.

Depending on the game, the config files can be found in two different places most of the time. The earlier Unreal Engine games kept their config files in their install directory, for example Unreal Tournament 1999 the config file is found at *game path*\System\unrealtournament.ini . Unreal Engine 3 and beyond has changed this, with the config files being found in the user’s documents folder instead, in this example XCOM2’s config files are found under *user*\My Documents\My Games\XCOM2\XComGame\Config. There’s also a lot more config files as compared to earlier Unreal games, but they all perform the same function.

When it comes to editing graphical settings, the config file you’re going to want to look at is the Engine.ini file. The actual name of the file will change depending on what game you’re looking at, but it’s function stays the same, and it’s where you can tweak a lot of options that aren’t found in the game’s options menu, mainly because some developers can be lazy at times.

There’s a lot of technical stuff in here, and a lot isn’t that useful to tweak for the general user, but there is one section that I’ll focus on. After opening up the relevant engine.ini file in a text editor for [SystemSettings] will get you to the section where you can tweak and potentially correct errors. Some of these you may recognise, but there’s a lot in here.

In my case, fixing the mismatched resolution had two solutions. The first, and arguably the most direct way was to find the ResX and ResY entries and simply set them to the desired resolution. This is another way to set custom resolutions, although that is to be done at your own risk and doesn’t always work properly. Strangely, that wasn’t the solution I used – mainly because in XCOM2’s case the ResX/Y option is at the bottom of SystemSettings and sometimes there’s another solution earlier in the config.

My second solution was switch the game from borderless window back to dedicated fullscreen. This will force the game to look at what display is being used and realise that it can’t render to the old resolution and reset it to a default value that can be displayed. (XCOM2 defaulted to 1280×720 which seems to be a common trend) From there you can use the in-game menus to correct the resolution settings. There’s always going to be times where simply setting the resolution via the config files results in weirdness, so using the game’s option menus can help in getting back to a stable configuration.

The other options in the SystemSettings section can be tweaked to squeeze out more performance on lower end systems, especially if you know what settings hit your system’s performance the hardest. It’s also a handy way to disable motion blur, even if the developers think that their game absolutely has to have it.

Just remember to back up your config files before going on an edit spree, although that’s solid advice when editing anything.

sympathy for a machine – the turing test

Yeah, it’s been a while, but between classes, assignments, and the never-ending quest for enlightenment through alcohol, I haven’t had much chance to actually just sit down and actually play something new. So, with the semester break coming up, I figured I’d get a head start and look into some of the newer releases, and by look into new releases, I mean go through the listings provided by the various podcasts I occasionally listen to.

Top of the list was The Turing Test, which when I first heard the title & description I let out a near audible groan. “Oh great,” I thought, “A game where we solve puzzles whilst an AI monologues at us in a subterranean science lab. Boy, I can’t wait for the jaunty song afterwards that recaps everything.” Whilst the game draws heavily from Portal, and I really should reign in my cynicism more often, the sheer surprise at the quality on offer here was a very pleasant surprise.

Set on a research outpost under the ice of Jupiter’s moon Europa, the plot follows Ava, resident icy pole on an orbital satellite that hangs above the other satellite. Sure, nearly everything’s a satellite if you think about it hard enough, but that’s besides the point. Freshly defrosted, Ava is put right to work by her friendly AI pal, TOM. Apparently, there’s a communications problem, and the scientists on the surface haven’t been heard from for over a couple of weeks, so TOM thinks it’s probably best for everyone that Ava go check things out and make sure it’s all hunky dory. Sure, the opening is cliche as hell, but it serves the pace of the game very well to not waste time and get on with the show.

The plot unfolds in rather predictable ways at first, to an almost suspicious degree, and I spent the first half of the game trying to predict exactly what the twist would be. Let’s say that I was close, but way off at the same time. I’m not going to spoil, but the second half of the game introduces a whole new suite of mechanics that add even more context to some of the brain bending things that I ran into in the first half.

From a visual standpoint, the game is pretty damn good looking, although it’s budget origins are visible in some places – the textures on coffee mugs look like they’re from the Unreal Tournament era, rather than running on Unreal 4. Overall, whilst the visuals don’t push the limit of fidelity, the overall aesthetic suits the tone and does the job well. What I will say is that performance wise, the game runs flawlessly on my rig, keeping a steady 60+ at 1080p. I did find it kinda funny that the game defaults to the highest resolution, which in my case is 4k, but that’s through DSP rather than having an actual 4k monitor.

A puzzle game is only as good as it’s puzzles, and this is where the Portal comparisons are going to come thick and fast, and it’s really tempting to just say that The Turing Test isn’t as good as Portal and call it a day. That would be really freaking shitty to do though, so let’s get into detail. The central mechanic here isn’t a gun that shoots blue and orange portals, instead you’ve got a gun that can pickup and move various flavours of energy balls. If you remember how Portal used the energy balls from Half-Life 2, The Turing Test refines them even further. Instead of floating around freely however, they’re either locked in a socket or in the business end of Ava’s gun thingy. different combinations have different effects, and their combinations have various uses. The funny thing is that The Turing Test isn’t reminiscent of Portal to me, it’s got a closer resemblance to something I haven’t thought of in years: Final Fantasy X.

It sounds bonkers to compare the two, but hear me out. Remember the Cloister of Trials in all the temples dotted around Spira, where you had to use various coloured spheres to pick your way to the exit? Now imagine that you pick up those spheres with a gun reminiscent of the Antichamber gun, drape it in a covering of hard sci-fi and some rather interesting questions about the needs of the many, and you’re in the ball park of The Turing Test.

That being said, whilst the puzzles are at times inventive, they do lack a sense that there’s only one solution, and more often than not I found myself second-guessing a solution and wondering if I’m cheesing the solution through carefully lining up jumps rather than perfecting platforms. It also needs to be said that I didn’t find the puzzles to be a major challenge, although that may just be a personal bias – I’m one of the few people who actually enjoyed hand-coding assembly language in TIS-100. What I will say is that the optional puzzles are a real treat, with the hardest one involving logic gates that had me making a couple of hand-written notes. I miss having to do that at times, and the rewards at the end of the optional puzzles is amazing at times, with a lot of them giving some extra exposition, or just simply there to mess with your head.

In the end, The Turing Test isn’t Portal. It’s got it’s own flavour, and it’s definitely worth your time. Some have argued it’s a little short, but similar to Portal, it doesn’t overstay it’s welcome, and the final sequence had me actually reverse my decision on who the actual antagonist of the story is. The hardest part of recommending this game isn’t that there isn’t anything to recommend, it’s that if I were to talk about the things I love about it, I’d ruin it for everyone, and going in blind is definitely worth it.

The Turing Test is available on Steam for 19.99USD, and for the price of two pints, I’d say it’s worth it.