(09-25-2015, 02:18 PM)samueljustice00 Wrote: We actually mimic HRTF ingame, all the objects and creatures have an azimuth relative to camera and the azimuth angle is used to control a shelving filter which subtly removes about 3db of high frequency dependent on the angle, that's then multiplied by distance for further shelving. This isn't channel independent however, but still sounds quite natural. We also use a parametric EQ based on distance as well to notch out high frequencies that don't travel as far over distance - most games just use a brute force low pass on distance, we don't do that which is why the game sounds quite natural over longer distances. Couple that with an reverb amplitude multiplier which is also applied on distance - it brings it all together.
FMODs solution isn't rudimentary, instead of brute forcing a single setting on all sounds it allows us to pick and choose, as well as fine tune. It just requires a knowledge of what tools to use and when.
Hey thanks for taking the time to respond, i still didn't got the game (low on cash now but i will buy it) so i can't test the audio for myself, but Amnesia 3D sound cues, was so nice with Rapture3d, that losing that would make me really sad and will impact my enjoyment of the game, but i've total confidence on your abilities to make awesome audio, i'm also glad to know you guys thought about the audio tech not only the graphics, some just implement FMOD enable 2.0 and 7.1 audio and call it a day, forgetting all the immersion potential that audio effects like HRTF or other effects like those enabled by (EAX or EFX) can have.
Sorry for the Rambling but i just find that audio is the single thing that lost its way on game design and i don't see this changing without returning to audio hardware acceleration, lets hope Dx12 or Vulkan helps, HRTF is nice but is still not what audio can be and used to be.
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