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The Week in
Review: March 3-9, 2003
Last week's features at
3DsoundSurge
Last week's sound news
Drivers and bugs
New
games, demos, patches and bugs
Raven Shield SP Demo
The EAX Advanced HD supporting Tom Clancy's Rainbow Six 3 Raven Shield Single Player demo
has been released. You can grab it from 3D Gamers.
- Unreal II Patch Info
Legend Entertainment's Craig Lafferty offers some details about the upcoming Unreal 2
patch in a post on Infogrames Forums. Here's the sound related ones:
Crash fixes:
Updated DefOpenAL32.dll which should fix EAX-related PlaySound crashes.
Possible fix for DirectMusic-related “GetEventTool” crashes.
Misc Fixes:
Sound fixes. Should reduce occurrences of sound “stuttering” that some people
have had due to sound overload / thrashing.
Misc changes:
Added “mouse over” context information for the EAX check box. Warns against
enabling EAX on non-Audigy / Audigy 2 cards and warns about possible performance issues.
Readme Additions:
2.3 EAX Support
Because Unreal II uses ambient sound effects very heavily, we tax the audio subsystem in
ways that are unusual for Unreal products. Post-release reports indicate that EAX is
sometimes having a dramatic impact on performance in some systems. Enabling EAX is a
tradeoff of sound quality vs. performance. If you want optimum performance, you may want
to consider leaving EAX disabled. (It is turned off by default.)
- Interview with composer/producer Akira Yamaoka
(Silent Hill 3)
Music For Games caught up with Silent Hill 3 composer/producer Akira Yamaoka to
discuss the haunting melodies and eerie sounds of the Silent Hill series.
- Chris Vrenna (former Nine Inch Nail) Interview
XGR has posted an interview
with former Nine Inch Nail's Chris Vrenna about his work which includes game
soundtracks (e.g. American McGee’s Alice). Here's a taste:
Do you think there are instances where technology should stay
out of the recording industry? In other words, MP3's and similar technologies. Should the
recording industry and technology work hand in hand?
We have to be. MP3's are great, I use the technology all the time. I am currently doing
another remix, and the band is on tour. Here's a great way, I am at home working on the
mix and I have the band's email. I can be working on a remix for them, encode it in MP3;
they can be on their bus downloading the MP3 and checking out the mix. Even though it's an
MP3, and it sounds kind of crappy, they at least get an idea of what it sounds like, the
vibe and the arrangements. Then they can email me the feedback and I can keep on working.
I am also scoring a PlayStation game right now, which will be for next year, and as I
finish music, I can just upload everything to their FTP. There are a lot of conveniences.
What's your take on 5.1 Dolby surround? And do you have a 5.1 setup?
I don't, but that's actually one reason that I am getting the Yamaha O2R 96, which has all
that built in. I just started this game thing and it needs to be in 5.1 surround. It's
part of my grand plan (laughs) to actually have that going.
Dolby 5.1 is one technology that I am not so sure about with music yet. During a movie you
sit on your couch, you stare at a TV, and the speakers are set-up perfectly around you the
way they are supposed to be, and you never move. But who listens to music that way? It's
in your car, your walkman, your iPod, your stereo. You've probably got a boom box in the
bathroom to listen to while your taking a shower in the morning.
- James Hannigan (Composer) Interview
StrategyPlanet has conducted an interview with composer James Hannigan. The interview
focus on his work in Republic: The Revolution. Here's a couple interesting Q&A not
related to Republic: The Revolution:
2) Where do you see game soundtracks going from here? Do you see
them rivalling movie soundtracks within time?
Yes in terms of delivery, but not necessarily in style. Hopefully we
will get closer and closer to emulating the subjective process of mixing a soundtrack in
real-time, with film mixing as a model for that. I am slightly suspicious, however, of the
idea games and films ought to be similar in stylistic terms, unless there is a clear
relationship in genre. I do concede the two mediums are visually led and, in some ways,
share a similar purpose for sound and music. On the whole, I wonder if the spectacle of
cinema equates to the intimate small-screen experience of playing games. Having said that,
I see no reason why some styles can't be shared by both industries. Part of me feels that
by deriving ideas from film we are enforcing the perception that games are secondary in
some way, and mere spin-off material generated by another, more senior entertainment
industry. Overall, I would say the future quality of soundtracks in general depends partly
on how much developers are willing or able to spend on them and how seriously they take
the implementation of sound and music in games.
3) Music in games has gone from a repetitive song in the background
to be used the same way as music in the movies i.e. to create tension, lighten the mood,
excite us etc. With the innovations in the game industry, do you see music taking on other
roles in games other then creating the mood required?
I hope you don't mind a long answer to this one. I think it depends
on how music is defined in the first place. Forgetting notated music for a moment, we are
very much in an era of sound and recorded music. It's unclear where the substance of that
is to be found, because a musical idea and its realisation in sound are one and the same
thing. It could be argued that musicality emerges when a sequence of sounds heard together
evoke an emotional response, impose a sense of order or perhaps tell a story of some kind.
But a sound designer could equally well argue that sound effects create feelings in
people. There is an interesting grey area, where 'music' ends and 'sound' begins. Over the
years, music in games has been forced into this 'in between' state, more or less to fill
the unforeseeable space in time between significant events on the timeline. The more
elaborately structured music is, the less it seems to fit into games, moment by moment,
and the less reusable it becomes. Of course, 'conventionally structured' music can be
used, but I think it needs to be used sparingly and form only part of the content going
into games. The problem is basically one of placing something we think of as linear in a
nonlinear context. It's very hard to do if you plan to have music flow continuously, as in
Republic. People in the games industry use the word 'ambience' a lot, but it's still a bit
unclear whether this is a sonic or musical term. The composers and sound designers are
left to fight it out! But, for me, this is a great example of sound and music evolving in
games and being led by the medium itself. It's this kind of tension that leads to
something novel and unique emerging in the end. You can draw your own conclusions about
this, because I believe the jury is still out in terms of the ultimate function of music
in games. It's even unclear who the audience for music is in the first place, because a
games player is simultaneously audience to, and participant in, onscreen events.
Reviews
of soundcards, speakers, headphones and MP3 players.
- Aureon Space 7.1 & DMX 6Fire 24/96
The German site Hard Tecs 4U has posted a very
positive review of Aureon Space 7.1 & DMX 6Fire 24/96. For those who find it
easier to read in English than German they also offer the following computer (google) translated edition of it. Obviously not a perfect translation but if
nothing else you at least can read the objective sound quality tests (using RightMark) and
the gaming benchmarks (Unreal Tournament).
- THX-Certified 5.1 Speaker Shootout
GameSpy has posted a round-up featuring three 5.1 THX (multimedia) certified 5.1
systems, Cambridge SoundWorks $350 MegaWorks 550 THX, Klipsch $500 5.1 Digital Dream
Multimedia System (comprised of the ProMedia 5.1 and the ProMedia DD-5.1 digital decoder
preamplifier) and Logitech's $400 Z-680. GameSpy found all to be excellent systems with
the nodge going to Klipsch 5.1 Digital Dream Multimedia System if money is not a concern
while the MegaWorks 550 THX offers the best quality for the money and the Logitech Z-680
to be most featured packed and most powerful. Thanks to Hawk for the pointer.
Other sound news
- Creative Unveils New Music and Sound Effects
Creation Tools and EAX 4
Creative Technology has announced new audio technologies for simultaneous rendering of
multiple environments (via EAX 4) and creation of interactive multi-channel content for PC
game development via a new format called "Interactive Spatial Audio Composition
Technology" (ISACT) and an accompanying authoring tool called the ISACT Production
Studio. EAX 4.0 introduces the spatialization of multiple
reverberant environments along with an extensible library of audio effects algorithms. The
Multi-Environment feature of the EAX 4.0 API allows for the rendering of multiple,
simultaneous audio environments and effects in real time. It's unclear how this differs
from the Multi-Environment Feature of EAX Advanced HD (EAX 3) which can, via the Audigy 1
and 2, render four audio environments simultaneously. Perhaps there is now more control
over those multiple environments or the cap at four effects has been removed.
The EAX 4.0 API also offers a host of new effects algorithms,
allowing developers to incorporate studio effects such as chorus, flanger, frequency
shifter, echo and many more, within a mixing framework analogous to traditional studio
production systems. Again these are not new effects so it must be the way the effects can
be incorporated that is new.
For more on EAX Advanced HD you can check out our Gamer's
Guide to 3D sound and reverb APIs.
What's clearly new is the Interactive Spatial Audio Composition
Technology and production tool for creating interactive, multi-channel, 3D spatialized
music and sound effects for games and other multimedia applications. The focus of this
tool appears to be for multichannel music creation. Unlike other formats, which assign
audio tracks to a specific output, ISACT pans the audio tracks using 3D spatial
coordinates eliminating the requirement for a developer to create multiple versions of the
same content for different speaker configurations. To be clear, this is not something new
for PC audio effects that are using DirectSound3D (DS3D). That is, DS3D sound effects
already use spatial coordinates to interact with the sound card drivers and automatically
use what ever output configuration the user has configured the card to.
For additional details you can check out the full press release. We
will be checking with Creative for more details on all of these new features.
- Dolby Laboratories Introduce New Programs and
Tools @ GDC
Dolby Laboratories has announced a Dolby® Pro Logic® II encoder plug-in, a new PC game
developer program, and hosts a series of informative educational programs at the Game
Developers Conference (GDC). These initiatives have been designed to make it easier for
developers to create games with a rich multichannel audio experience by using Dolby
technologies. You can find more details in the press release. You
can find additional
details in a separate press release about its PC game developer program to help
developers incorporate high-quality Dolby® Digital 5.1 audio. When they talk about using
Dolby Digital 5.1 they really just mean using DS3D or direct channel access. It's only
when using the nForce or the new CMedia codec that features Dolby Digital Encoding that
the games then output Dolby Digital. In case of the CMedia chip it's software based
encoding and not seen anyone that use this codec who choose to license Dolby Digital
Interactive Encoding (DICE).
Dolby has also released a separate
press release about the new Dolby Pro Logic II Encoder, the first software based. The
Dolby Pro Logic II encoder will soon be available for purchase from Minnetonka Audio as a
standard Virtual Studio Technology (VST) plug-in, which is compatible with many digital
audio workstations, and as a stand-alone software encoder for the PC. Dolby ProLogic II is
mostly interesting for PS2 and Gamecube games which don't offer Dolby Digital Encoding and
lack multichannel output.
- Sensaura and VIA Announce Licensing Agreement
VIA Technologies has announced that it has signed an agreement with Sensaura to license
their audio technology enhancing VIA's audio solutions. "When
we were looking for hi-end software support for the latest game audio standards, Sensaura
was the natural choice as an acclaimed universal technology that delivers an amazing game
listening experience," commented Steve Chen, Product Manager for VIA Audio and
Executive Assistant to the CEO, VIA Technologies, Inc. "A significant benefit of this
support will be that multichannel audio can now be enabled for the latest games with our
AC'97 Codec solutions, as well as supporting the full range of 3D positional
effects." You can find more details in the full press release.
- Alesis Introduces Proactive 5.1
We missed this one from back in December. Alesis had announced a new THX-certified 5.1
speaker system, the Alesis ProActive 5.1. The system is identical to the Logitech Z680 as
the design was OEMed by Logitech to Alesis, who typically is targeting the pro audio and
music industry markets. The Alesis Proactive 5.1 is going for an estimated street price of
$399.00. For specifications and more you can check out the full
press release. Thanks to Andwele for the pointer.
- New Digital Audio Player From e.Digital Features
SRS WOW(TM) Technology
SRS Labs has announced that its patented WOW audio technology has been selected by
e.Digital Corporation to deliver the ultimate audio experience for its premier digital
audio player, the Odyssey(TM) 1000. WOW creates a natural and expansive audio experience
with rich bass enhancement through Odyssey's included collapsible stereo headphones or
when connected to the external speakers of a home stereo or multimedia PC system. The
Odyssey 1000 is available exclusively through e.Digital for $349. You can find more details in the full
press release.
- JazPiper Introduce XS mp3 player (XS64)
JazPiper has announced the release of the JazPiper XS mp3 player (XS64). The new player is
seen as a lead-in to the JazPiper Spring season. A new look, a new feel and a new sound,
the JazPiper XS is, they claim, the world's smallest and lightest mp3 player with a large
display. You can find a lot more details about this flash based MP3 player in the press release.
- MedioStream Releases New PC-Based Software DVD
Player
MedioStream has announced the release of neoPLAYER, the industry's first fully Microsoft
DirectX VA compliant software DVD player that allows consumers to play commercial or
home-made DVD or Video CD discs on the PC. Only audio features they mention is Dolby
Digital support for up to 5.1 channels. You can find more details in the full press
release.
- WinDVD Hits 45 Million Copies Sold
InterVideo has announced that WinDVD, its software for playing DVDs on a PC, has now sold
over 45 million copies around the world since its initial introduction. It was launched at
Comdex in 1998 and InterVideo currently sells more than 1 million copies of WinDVD per
month through various channels. You can find more details in the
full press release.
For more news from last week check out our news archive.
Upcoming features at 3DsoundSurgeReviews that we are currently working on:
Updated Santa Cruz/Sonic Fury and GameTheaterXP reviews
Hercules Fortissimo II
Terratec DMX Xfire 1024
CMedia CM8738 Reference Review
Full Audigy Review
Full Philips MMS305 Review
There are several other hardware reviews in the pipeline
including, but not limited to the following:
Guillemot Maxi Sound MUSE
Terratec m3po
DigMedia MusicStore
Philips Seismic Edge
Lots of other stuff on the go in including several guides and major site revisions that we
will soon be releasing more details on.
As always if you have any ideas for products we should review or features we should do,
please let us know.
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