Asking this query as a result of I wish to implement performant sound dealing with on weaker methods. Whereas specializing in such methods are a deadend since everybody has quick gadgets, I nonetheless wish to do that as a programming train
When taking part in video games such because the Want For Pace sequence on the PS1 and PS2 (and all their contemporaries), I observed the sound high quality of the engines will not be as dangerous as one would count on. Working example being NFS Underground 2 which was a large improve over its predecessors
I’m taking these methods for instance since they don’t use FMOD to one of the best of my data and since nearly any pc in use in the present day must be stronger than the PS1 or PS2 on the very least
With my expertise with racing video games on the SNES, understanding how engine sounds labored have been straightforward. The DSP on the SNES’s audio chip may change the pitch of samples performed in {hardware}. All you wanted have been just a few samples (extraordinarily brief ones by the way in which), and the DSP would deal with pitching it up and down extraordinarily quick
When coming into the fifth and sixth era, we by no means actually had the aptitude to depend on {hardware} quirks like this, particularly as video games have been being developed for Sony, Microsoft, Sega, Nintendo and PC all on the identical time
From what I perceive, the present method on present era methods is both to report engine sounds at varied rpm ranges and have FMOD or another related device to deal with taking part in and pitching these sounds in actual time, or utilizing granular synthesis (one thing I do not significantly perceive nicely)
Doing equally on fifth and sixth gen methods by altering the pitch of 24-48khz samples in real-time would’ve been extraordinarily taxing on fifth and sixth era methods from what I assume. On that subject, to forestall aliasing on account of low pattern charges, you’d have needed to report your samples at 48khz and as much as stop any nasty aliasing from pitching up your sounds, so the methods needed to crunch via extra samples inside a specific time-frame, to not point out doing ALL of this on CPU
So very clearly, these methods have been NOT utilizing these strategies merely due to how gradual they might be for such methods. In order that choice is ticked off too
So what method am I left with then? I am unable to use FMOD, nor can I depend on {hardware} pitch shifting, assuming I’m working solely on PCs, the place I am unable to use a useful DSP
