Good point!

I was assuming here that Thomas's maps are immutable, but destructible (is that 
really a word? lol!) maps would definitely present this kind of issue. -So here 
we get back to the multiple approach sound manager paradigm, which to me at 
least, seems like really the only way to ensure a good audio representation of 
more than one environment coming into contact with each other.

As far as being expensive though, Quake 1 was doing this fourteen years ago on 
really slow 486's  so it's definitely doable. :)

Out of curiosity, are you by chance using a particle type system to check for 
line-of-sight / path-finding, or basing your calculations on your map's 
regions?…

Again, thanks for the cool thread!…

Smiles,

Cara :)
On Dec 6, 2010, at 1:24 PM, Philip Bennefall wrote:

Hi Cara,

Sound cones are definitely a good idea, though with a small potential problem 
that springs to mind. What happens if the player blasts a wall? The sound from 
the other room will still be muffled right outside that hole, where as with the 
pathfinding approach it would immediately detect that hole and react 
accordingly. Of course, if the developer can forsee that this will never happen 
in game play then this is not an issue and sound cones are by far the best 
approach.

Kind regards,

Philip Bennefall
----- Original Message ----- From: "Cara Quinn" 
<caraqu...@draconisentertainment.com>
To: "Gamers Discussion list" <gamers@audyssey.org>
Sent: Monday, December 06, 2010 10:03 PM
Subject: Re: [Audyssey] Creating game levels to scale?


Thomas;

Another approach might be to use a low-pass filter on sounds outside your 
current region. This way you could effectively combine the radius approach and 
your regions. I.E. If sounds are happening in the next room, apply a low-pass 
filter to them so you can still hear them but then when you enter the next room 
or open the door, the filtering could be stopped and the sounds would be heard 
with all of their normal fidelity.

I'm actually wondering if OpenAL has this capability, myself, at the moment, as 
it's looking like I may need to use some native Mac DSP processing to 
accomplish this rather than just relying on OpenAL.

Anyway, while this doesn't really address increasing overhead in resources 
during the game, this can really make for a nice smooth way of transitioning 
between audio environments.

A second approach that also might work well is to use sound cones, which both 
DirectX and OpenAL support. This can save on some of the processing that Philip 
B was mentioning in terms of calculating line-of-sight or a connection between 
audio environments in a game, in that you can simply set the direction the 
sound cone is facing and the source will automatically be smoothly attenuated 
in the proper scheme as the player moves around it. I.E. YOu could simulate 
walking past an open door simply by properly directing the sound cone of the 
sound source, without needing to do any calculations yourself to achieve the 
effect of deciding which sounds will be heard from another room. Does this make 
sense?…

Anyway, thanks for sparking such a great discussion!…

Smiles,

Cara :)
On Dec 5, 2010, at 10:57 PM, Thomas Ward wrote:

Hi Phil,

Hmmm...I see. Well, you are right it is definitely too late for
something like that. We are talking a massive rewrite of the engine to
make the rooms and the sound regions separate objects. The way it
works now if you assign an item or enemy to room x sounds are not
triggered until the player enters that room. The code to randomly
place items and monsters, create the rooms, and the sounds all use the
same region objects for various purposes. One is tied to the other so
that it would take a massive rewrite of everything to undo all that.

The easiest solution would be to rewrite the UpdateBackgroundAudio()
function to stop sounds based on distance rather than sound region.
Problem is that there are times when this could be and would be
undesirable. If you happen to be walking under a room with stuff in it
you will here levers, torches, etc from the room above the one you are
in. Not cool at all seeing as you would want that stuff to be silent
until you entered the room. So perhaps a compromise would be to have
a boolean flag that says in effect if sound region is not visited keep
sounds silence, and if it is visited play the sounds. That way even
though you entered a new room the fire pit whatever still could be
heard from the previous room where sounds in the new room wouldn't be
triggered until you entered it.

On 12/5/10, Phil Vlasak <p...@pcsgames.net> wrote:
> Hi Thomas,
> It is definitely too late to do this for MOTA, but I would have the door
> designated as a sound region itself.
> It could be about 4 foot thick, and the door between room 1 and 2 would play
> the sounds of both room 1 and 2 but at 40 percent volume.
> 
> Phil
> 
> 
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