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over 1 year
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VOID Interactive
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| 0s | sound is a very important aspect of |
|---|---|
| 3s | ready or not and today |
| 5s | we want to show off something we've been |
| 7s | cooking under the hood for quite some |
| 8s | time |
| 10s | spearheaded by our very own code or |
| 12s | Quantum nuke |
| 13s | we present to you |
| 15s | our updated Sound Manager system or |
| 17s | Quantum Sound Manager |
| 19s | this is a culmination of enhancements |
| 21s | and improvements we've made to our audio |
| 23s | backend particularly with how we handle |
| 26s | sound occlusion and obstruction |
| 29s | occlusion and obstruction simply put are |
| 32s | ways in which the higher frequencies of |
| 34s | sounds fall off based on a number of |
| 36s | environmental factors |
| 37s | a sound coming from another room or |
| 40s | floor is probably going to sound more |
| 42s | muffled than if you were right next to |
| 43s | it |
| 44s | with the new Sound Manager system this |
| 47s | distance is now properly taken into |
| 49s | account |
| 50s | previously to calculate occlusion and |
| 52s | obstruction we do two traces one from |
| 55s | the player position going directly to |
| 57s | the sound and one from the sound going |
| 59s | directly to the player |
| 61s | the first hit for each Trace in the |
| 63s | environment would create a sort of depth |
| 65s | check which we then use to change how |
| 67s | much a sound is filtered |
| 69s | this was serviceable but we'd end up |
| 72s | with too many situations where sounds |
| 74s | were too filtered or not filtered enough |
| 78s | now we Trace multiple paths from each |
| 80s | sound through the environment using |
| 82s | specially placed volumes throughout each |
| 84s | level |
| 85s | these paths take the shortest and second |
| 87s | shortest routes to get to the player |
| 88s | which culminates in a combined value |
| 90s | which we apply to filters within fmod |
| 92s | our sound engine |
| 94s | if the sound and listener are in the |
| 96s | same room or Zone we simplify this check |
| 98s | but dampen the effect so it isn't too |
| 101s | strong |
| 109s | foreign |
| 148s | foreign |
| 192s | not only is this more consistent but |
| 195s | also more performant so less system |
| 197s | resources are used for sound checks |
| 200s | we do a number of additional things to |
| 202s | make the filtering as granular as |
| 204s | possible |
| 205s | to simulate obstruction we get the |
| 208s | player's angle in relation to certain |
| 209s | sound portal points |
| 211s | within these points an additional check |
| 213s | is done to determine whether a door is |
| 216s | open |
| 217s | or closed or if there's a door at all |
| 220s | as we improve on The Sound Manager the |
| 223s | angle at which a door is open and |
| 225s | whether or not it's opening towards or |
| 227s | away from the player will all have an |
| 229s | impact on sounds and rooms different |
| 230s | from the player |
| 232s | when a player is outside as they get |
| 234s | further from a sound some filtering is |
| 237s | also applied to simulate how the |
| 238s | environment absorbs sound waves |
| 240s | this is also known as acoustic |
| 242s | absorption |
| 244s | in the future we're planning on |
| 246s | expanding The Sound Manager even further |
| 248s | to maximize how moving through an |
| 250s | environment impacts sounds |
| 252s | keep an ear out for this updated system |
| 254s | in a Future Ready or Not patch and as |
| 257s | always put them on safe and let them |
| 259s | hang |