A dedicated digital signal processor (DSP) is built in to the AMD GPU core. That’s a hefty dose of processing power committed just to generating immersive soundscapes. That doesn’t just enable new and exciting audio features in games; it also saves CPU cycles that can be used for other tasks.
Programmable sound effects bring to audio the same kind of flexibility that programmable shaders brought to graphics. Game developers aren’t stuck with inflexible canned effects anymore. They now have the flexibility to create complex effects and acoustic environments.
More voice channels and audio objects mean game developers no longer have the unenviable task of determining which sounds are expendable. AMD TrueAudio technology multiplies the number of sounds a game can generate at once, giving developers the capacity to create much more lifelike soundscapes.
True to life echoes and convolution reverb are finally available on all platforms, meaning programmers can now build these effects into their games rather than relying on basic reverbs. The types of real-world acoustic phenomena that can be faithfully reproduced are massively greater.
Multi-channel spacialization brings in-headset surround sound with accurate positional audio algorithms to all gamers; not just the ones with the priciest headgear.
Skerret wrote:SotC OH YES I DID But to choose a less obvious example than the most obvious example, Syndicate and Syndicate Wars featured excellent sound design. Some recognizable theme and incidental music, but largely an ambient track, nice mechanical effects (cars and the like) plus excellent loudspeaker style announcement bits fleshed out the dystopian environment nicely.
Webbins wrote:Dead Space nailed those opening couple of hours in setting the hairs on end. The clangs and creaks, dropping of pipe and rattle of chain. The transition into zero G also tightened the nerve with muffled combat, no one could hear you scream.
Yeah I remember the positional audio in stereo being surprisingly good, I used to be able to tell exactly where my mate was going to be coming from in tiny map with the containers. I was getting 150 headshots or whatever to get the gold camo or something. God damn, I'm glad those days are behind me.Moto70 wrote:I've mentioned this before but I won many a game of CoD4 S&D thanks to the audio.
Chief wrote:I will forever use Silent Hill 2 as an example of near perfect audio design. When a game knows the importance of silence as much as the need for the right music and sound effects, it brings it closer to being as good as it can be.
GurtTractor wrote:You can get 7.1 virtual surround sound on yer PC. Unfortunately it just wont work on my system, can't get past the Synapse nonsense. Perhaps because I'm still running on XP. Really annoying because I was really looking forward to trying it out.
Knight wrote:I like guns that sound cool.
Billy_Hologram wrote:That is by far the part of my job I enjoy the most, making weapon audio, it's an art.
GooberTheHat wrote:How do you do it? Do you actually listen to real weapons being cocked and used or do you make it up?Billy_Hologram wrote:That is by far the part of my job I enjoy the most, making weapon audio, it's an art.
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