by Adam Lake

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Chapter 6.1. A Practical DSP Radio Effect

Ian Ni-Lewis

Let’s say you’re making a squad-oriented first-person shooter and you want it to have great immersive audio. So you carefully place all of the sound effects in the world, making sure they have realistic distance-based roll-off curves. You calculate the geometry of the game map and make sure each sound gets filtered for obstruction and occlusion. And you set up zones for reverberation and get them all carefully cross-faded. Everything sounds realistic.

But there’s a problem, says your lead designer: The gameplay design requires that you be able to hear messages from your squadmates. If the squad gets separated, that dialog gets rolled off or occluded, and the player can’t ...

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