Sound Technology in Games Outline
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Audio Middleware the Essential Link from Studio to Game Design
AUDIONEXT B Y A LEX A N D E R B R A NDON Audio Middleware The Essential Link From Studio to Game Design hen I first played games such as Pac Man and GameCODA. The same is true of Renderware native audio Asteroids in the early ’80s, I was fascinated. tools. One caveat: Criterion is now owned by Electronic W While others saw a cute, beeping box, I saw Arts. The Renderware site was last updated in 2005, and something to be torn open and explored. How could many developers are scrambling to Unreal 3 due to un- these games create sounds I’d never heard before? Back certainty of Renderware’s future. Pity, it’s a pretty good then, it was transistors, followed by simple, solid-state engine. sound generators programmed with individual memory Streaming is supported, though it is not revealed how registers, machine code and dumb terminals. Now, things it is supported on next-gen consoles. What is nice is you are more complex. We’re no longer at the mercy of 8-bit, can specify whether you want a sound streamed or not or handing a sound to a programmer, and saying, “Put within CAGE Producer. GameCODA also provides the it in.” Today, game audio engineers have just as much ability to create ducking/mixing groups within CAGE. In power to create an exciting soundscape as anyone at code, this can also be taken advantage of using virtual Skywalker Ranch. (Well, okay, maybe not Randy Thom, voice channels. but close, right?) Other than SoundMAX (an older audio engine by But just as a single-channel strip on a Neve or SSL once Analog Devices and Staccato), GameCODA was the first baffled me, sound-bank manipulation can baffle your audio engine I’ve seen that uses matrix technology to average recording engineer. -
Avionics Hardware Issues 2010/11/19 Chih-Hao Sun Avionics Software--Hardware Issue -History
Avionics Hardware Issues 2010/11/19 Chih-hao Sun Avionics Software--Hardware Issue -History -HW Concepts History -FPGA vs ASIC The Gyroscope, the first auto-pilot device, was -Issues on • Avionics Computer introduced a decade after the Wright Brothers -Avionics (1910s) Computer -PowerPC • holds the plane level automatically -Examples -Energy Issue • is connected to computers for missions(B-17 and - Certification B-29 bombers) and Verification • German V-2 rocket(WWII) used the earliest automatic computer control system (automatic gyro control) • contains two free gyroscopes (a horizontal and a vertical) 2 Avionics Software--Hardware Issue -History -HW Concepts History -FPGA vs ASIC Avro Canada CF-105 Arrow fighter (1958) first used -Issues on • Avionics Computer analog computer to improve flyability -Avionics Computer is used to reduce tendency to yaw back and forth -PowerPC • -Examples F-16 (1970s) was the first operational jet fighter to use a -Energy Issue • fully-automatic analog flight control system (FLCS) - Certification and Verification • the rudder pedals and joysticks are connected to “Fly-by-wire” control system, and the system adjusts controls to maintain planes • contains three computers (for redundancy) 3 Avionics Software--Hardware Issue -History -HW Concepts History -FPGA vs ASIC NASA modified Navy F-8 with digital fly-by wire system in -Issues on • Avionics Computer 1972. -Avionics Computer • MD-11(1970s) was the first commercial aircraft to adopt -PowerPC computer-assisted flight control -Examples -Energy Issue The Airbus A320 series, late 1980s, used the first fully-digital - • Certification fly-by-wire controls in a commercial airliner and Verification • incorporates “flight envelope protection” • calculates that flight envelope (and adds a margin of safety) and uses this information to stop pilots from making aircraft outside that flight envelope. -
The Videogame Style Guide and Reference Manual
The International Game Journalists Association and Games Press Present THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL DAVID THOMAS KYLE ORLAND SCOTT STEINBERG EDITED BY SCOTT JONES AND SHANA HERTZ THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL All Rights Reserved © 2007 by Power Play Publishing—ISBN 978-1-4303-1305-2 No part of this book may be reproduced or transmitted in any form or by any means – graphic, electronic or mechanical – including photocopying, recording, taping or by any information storage retrieval system, without the written permission of the publisher. Disclaimer The authors of this book have made every reasonable effort to ensure the accuracy and completeness of the information contained in the guide. Due to the nature of this work, editorial decisions about proper usage may not reflect specific business or legal uses. Neither the authors nor the publisher shall be liable or responsible to any person or entity with respects to any loss or damages arising from use of this manuscript. FOR WORK-RELATED DISCUSSION, OR TO CONTRIBUTE TO FUTURE STYLE GUIDE UPDATES: WWW.IGJA.ORG TO INSTANTLY REACH 22,000+ GAME JOURNALISTS, OR CUSTOM ONLINE PRESSROOMS: WWW.GAMESPRESS.COM TO ORDER ADDITIONAL COPIES OF THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL PLEASE VISIT: WWW.GAMESTYLEGUIDE.COM ACKNOWLEDGEMENTS Our thanks go out to the following people, without whom this book would not be possible: Matteo Bittanti, Brian Crecente, Mia Consalvo, John Davison, Libe Goad, Marc Saltzman, and Dean Takahashi for editorial review and input. Dan Hsu for the foreword. James Brightman for his support. Meghan Gallery for the front cover design. -
The Puzzle Piece
The Puzzle Piece February 2021 Top Stories from the month of January- Daniel Smith On January 6th, Protesters stormed into the capitol building in D.C. Joe Biden was Inaugurated on January 20th, as the 46th president of the United States. The Covid vaccine rolled out and it has been treating people across the world. The college football playoff Championship took place in Miami, Alabama defeated Ohio State 52-24 to win its 7th national title. - Game Review-Sheldon Eads Pros: Great graphics, Great music, Decent level design, Decent %100 bonus Cons: Some level segments looked unpolished. Lack of save feature. New Super Mario Bros. DS review A Super Comeback I have recently replayed New Super Mario Bros. on the Wii U’s Virtual Console. It’s a revival of 2D platforming for Mario which prior to it, were just ports of classic Mario games to the Game Boy Advance. It was released for the Nintendo DS in 2006. For Mario’s first new adventure in a while it was a nice comeback, though it does have serious problems. The level design itself isn’t bad nor average, I just don’t think it’s fantastic. While the game is home to great levels (Look at World 4 and World 7 for instance), a lot of them have extreme flaws that prevent me from calling this a great game. The game’s save feature is very limited and only works after you finish a Tower, Castle, or using a Warp Cannon leading to a new world. The Wii U Virtual Console release remedies this by giving you save states but the original game had no reason to not make it where you can save anytime which is a feature you only get after finishing the last level. -
Game Audio Via Openal
Game Audio via OpenAL Summary In the Graphics For Games module, you learnt how to use OpenGL to create complex graphical scenes, improving your programming skills along the way, and learning about data structures such as scene graphs. In this workshop, you'll see how to add sounds to your game worlds using the OpenAL sound library. New Concepts Sound in games, OpenAL, PCM audio, binary file formats, FourCC codes, WAV files, limited resource management Introduction Audio has played an important part in gaming almost as long as there have been games to play - even Pong back in 1972 had simple sound effects. We've moved a long way from then; the 80s brought dedicated audio hardware such as the Commodore 64's SID chip that could play 3 simultaneous syn- thesised sounds, and later the Amiga brought the ability to play audio samples to the home gaming market. In modern gaming hardware, we can expect to hear many simultaneous sounds and music tracks, often in surround sound. Game developers now employ dedicated sound engineers that will carefully adjust the sounds in each game release to create an immersive aural experience - making sure that each individual sound is uniquely identifiable and correctly equalised, and that every music track suits the situation they will be played in. At the heart of a game's audio experience is the code that plays back the game sounds, and cal- culates which speakers they should use - the sound system. Although we can't hope to compete with the complex sound systems of AAA games, we should still be able to make a robust, simple system for the addition of sound in our 3D games, and that's what this workshop will assist you in creating. -
Anuario-Memoria-2005 Old.Pdf
AnuarioaDeSe2005 • CARTA DEL PRESIDENTE ________________________________________ 5 • aDeSe _________________________________________________________ 7 • Objetivos de la Asociación • Organización • Actividades • Relaciones con otras entidades y organismos • Las empresas integradas en aDeSe •GALARDOnes aDeSe 2005 ___________________________11 • DATOS DEL SECTOR ____________________________________________ 15 • Económicos ____________________________________________________15 Situación de la Industria Española Resultados 2005 en España Los 10 títulos más vendidos en 2005 en España Los más vendidos en España por meses Los Top 5 por Compañías Reparto del mercado de videojuegos a nivel mundial Evolución del mercado de videojuegos en Europa Evolución del mercado de videojuegos en Norteamérica Evolución del mercado de videojuegos en el Pacífico y Asia Algunos datos económicos de la Industria del Videojuego • Sociológicos ___________________________________________________ 2 Resultados del estudio “Influencia del Videojuego en la conducta de los usuarios y habilidades que desarrolla en los mismos” de la Universidad Europea de Madrid Sociología del Videojuego en Europa Sociología del Videojuego en EEUU • Los videojuegos: Un fenómeno social _____________________________ 8 El inicio de las consolas Efemérides Efectos positivos de los Videojuegos Curiosidades del mundo del Videojuego Videojuegos en móviles Futuro del Videojuego Formación en videojuegos Videojuegos y mujeres Videojuegos y Cine INFORME SOBRE PIRATERÍA _____________________________________ -
Activision Acquires U.K. Game Developer Bizarre Creations
Activision Acquires U.K. Game Developer Bizarre Creations Activision Enters $1.4 Billion Racing Genre Market, Representing More than 10% of Worldwide Video Game Market SANTA MONICA, Calif., Sep 26, 2007 (BUSINESS WIRE) -- Activision, Inc. (Nasdaq:ATVI) today announced that it has acquired U.K.-based video game developer Bizarre Creations, one of the world's premier video game developers and a leader in the racing category, a $1.4 billion market that is the fourth most popular video game genre and represents more than 10% of the total video game market worldwide. This acquisition represents the latest step in Activision's ongoing strategy to enter new genres. Last year, Activision entered the music rhythm genre through its acquisition of RedOctane's Guitar Hero franchise, which is one of the fastest growing franchises in the video game industry. With more than 10 years' experience in the racing genre, Bizarre Creations is the developer of the innovative multi-million unit franchise Project Gotham Racing, a critically-acclaimed series for the Xbox® and Xbox 360®. The Project Gotham Racing franchise, which is owned by Microsoft, currently has an average game rating of 89%, according to GameRankings.com and has sold more than 4.5 million units in North America and Europe, according to The NPD Group, Charttrack and Gfk. Bizarre Creations is currently finishing development on the highly-anticipated third-person action game, The Club, for SEGA, which is due to be released early 2008. They are also the creators of the top-selling arcade game series Geometry Wars on Xbox Live Arcade®. -
CS 6290 Chapter 1
Spring 2011 Prof. Hyesoon Kim Xbox 360 System Architecture, „Anderews, Baker • 3 CPU cores – 4-way SIMD vector units – 8-way 1MB L2 cache (3.2 GHz) – 2 way SMT • 48 unified shaders • 3D graphics units • 512-Mbyte DRAM main memory • FSB (Front-side bus): 5.4 Gbps/pin/s (16 pins) • 10.8 Gbyte/s read and write • Xbox 360: Big endian • Windows: Little endian http://msdn.microsoft.com/en-us/library/cc308005(VS.85).aspx • L2 cache : – Greedy allocation algorithm – Different workloads have different working set sizes • 2-way 32 Kbyte L1 I-cache • 4-way 32 Kbyte L1 data cache • Write through, no write allocation • Cache block size :128B (high spatial locality) • 2-way SMT, • 2 insts/cycle, • In-order issue • Separate vector/scalar issue queue (VIQ) Vector Vector Execution Unit Instructions Scalar Scalar Execution Unit • First game console by Microsoft, released in 2001, $299 Glorified PC – 733 Mhz x86 Intel CPU, 64MB DRAM, NVIDIA GPU (graphics) – Ran modified version of Windows OS – ~25 million sold • XBox 360 – Second generation, released in 2005, $299-$399 – All-new custom hardware – 3.2 Ghz PowerPC IBM processor (custom design for XBox 360) – ATI graphics chip (custom design for XBox 360) – 34+ million sold (as of 2009) • Design principles of XBox 360 [Andrews & Baker] - Value for 5-7 years -!ig performance increase over last generation - Support anti-aliased high-definition video (720*1280*4 @ 30+ fps) - extremely high pixel fill rate (goal: 100+ million pixels/s) - Flexible to suit dynamic range of games - balance hardware, homogenous resources - Programmability (easy to program) Slide is from http://www.cis.upenn.edu/~cis501/lectures/12_xbox.pdf • Code name of Xbox 360‟s core • Shared cell (playstation processor) ‟s design philosophy. -
View Annual Report
TO OUR STOCKHOLDERS: Chairman’s Letter Chairman’s Fiscal year 2006 signaled the beginning of profound change in our industry Ì change in the way consumers purchase and play EA games, the platforms they play on, and the approach we take to develop and publish our products. It was a year that challenged us to think diÅerently about navigating technology transitions and to invest in new opportunities with potentially richer margins. It was a year that marked the introduction of new titles and new services that improve the game experience and generate incremental revenue. Most of all, it was a year that convinced us that the artistic and economic opportunities in our business are much greater than we could have imagined just Ñve years ago. Transition is never easy and the combination of new technology, new platforms and new markets makes this one particularly complex. Today, EA is investing ahead of revenue in what we believe will be another period of strong and sustained growth for the interactive entertainment industry. No other company is investing in as many strategic areas; no other company has as much opportunity. Our commitment of Ñnancial and creative resources is signiÑcant, but so is the potential for long-term growth. Our net revenue for Ñscal 2006 was $2.951 billion, down six percent. Operating income was $325 million or 11 percent of revenue. Operating cash Öow was $596 million and we ended the year with $2.272 billion in cash and short term investments. Our return on invested capital was 21 percent and diluted earnings per share were $0.75. -
Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games. -
Surround Sound in Linux
SURROUND SOUND IN LINUX 1. Introduction Getting applications in Linux to play surround sound can involve some work, especially when you want the highest quality. Don't think you're done just because you can hear sound, surround or otherwise. It's possible you still need to do some fine-tuning and calibration to get the most out of it. In this article, I will show you what you need to do get surround sound working properly, in both games and other applications. When you're done, there's no reason to boot Windows to watch movies anymore. In fact, the sound quality is possibly higher than you were used to in windows. Read on to find out why. Note that I'm not talking about duplicating the audio of the front speakers to the rear speakers. Two channel sources are to be played back on two speakers. Anybody who tells you otherwise doesn't know what stereo-imaging and soundstages are. What I mean by surround sound, is playing four or more channels of source audio, like surround sound in games and DVD movies. What you first need to do, get Alsa to work. For most people, this is no issue, and is already done. Note: there is actually a mistake in this article. The 10 dB boost with which the LFE channel is supposed to be played back is not included. I'm working on a correction. 2. Setting up a custom Alsa device Most applications output in 5.1. If you only have a 4.0 soundcard, like me, you have to make a custom sound device for the applications that don't provide downmixing themselves, or if you don't trust applications to downmix properly (like me...). -
Integrated Dell Remote Access Controller 9 (Idrac9) Version 3.00.00.00 User's Guide Notes, Cautions, and Warnings
Integrated Dell Remote Access Controller 9 (iDRAC9) Version 3.00.00.00 User's Guide Notes, cautions, and warnings NOTE: A NOTE indicates important information that helps you make better use of your product. CAUTION: A CAUTION indicates either potential damage to hardware or loss of data and tells you how to avoid the problem. WARNING: A WARNING indicates a potential for property damage, personal injury, or death. Copyright © 2017 Dell Inc. or its subsidiaries. All rights reserved. Dell, EMC, and other trademarks are trademarks of Dell Inc. or its subsidiaries. Other trademarks may be trademarks of their respective owners. 2017-08 Rev. A01 Contents 1 Overview.......................................................................................................................................................17 Benefits of using iDRAC with Lifecycle Controller........................................................................................................18 Key features.......................................................................................................................................................................18 New in this release............................................................................................................................................................21 How to use this user's guide........................................................................................................................................... 21 Supported web browsers................................................................................................................................................22