Sound Research WIKINDX
Sound Research WIKINDX |
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Shilling, R., & Krebs, E. 2002, Videogame and entertainment industry standard sound design techniques and architectures for use in videogames, virtual environments and training. Naval Postgraduate School. Added by: Mark Grimshaw-Aagaard (2/2/09, 8:17 AM) |
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| Resource type: Conference Paper BibTeX citation key: Shilling Email resource to friend View all bibliographic details  |
Categories: Sound Design Keywords: Virtual environment Creators: Krebs, Shilling Publisher: MOVES Institute (Naval Postgraduate School) |
Views: 7/840
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| Abstract |
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"The design and development of auditory interfaces in virtual environments has lagged behind visual interfaces. However, the auditory interface should be considered an essential component to VE that adds ambience, emotion, and a sense of presence to the simulation. The entertainment industry has long recognized the importance of sound to add these perceptual elements to film and videogames. As a result, the film industry has devoted many of its resources to developing techniques for producing sound effects and ambiences that evoke emotional responses and immerse the viewer in the film. Many of these techniques can be applied to simulations and virtual environments. The current paper will discuss how auditory researchers at the MOVES Institute have applied these sound design techniques used by the entertainment industry for creating highly immersive environments in both their videogame efforts and in high-end simulations. In order to implement this type of sound design, the audio architecture must be capable of producing a complex, spatialized auditory environments. Currently, videogame development tools usually offer more flexibility and control in developing auditory environments than tools used for creating virtual environments. Thus, we look at the use of OpenAL, DirectSound, DirectSound3D, and EAX as alternatives to more expensive audio servers. Additionally, on the high-end, we examine Ausim3D’s Goldserver Audio System for employment of low-latency live voice in virtual environments."
Added by: Mark Grimshaw-Aagaard |
| Notes |
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A useful comparitive overview of the possibilities OpenAL and DirectX/DirectSound combined with EAX.
Added by: Mark Grimshaw-Aagaard |
| Paraphrases |
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Notes that it is difficult to record the exact sound of a weapon (such as the M16 rifle): neither microphones nore reproduction systems can handle the dynamic range. Additionally, attempting to use as accurate as possible weapon recordings produced complaints from listeners that the sounds were 'unrealistic'.
Added by: Mark Grimshaw-Aagaard
Keywords: Sound Recording |