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"OpenAL已经被证明是《龙与地下城OnlineQ风暴来临》最好的选择。它所带来的音频性能和游戏中的声韛_质是那么妙不可言Q由EAX引擎提供难以|信的音响效果，其印象深刻的是在地牢中的回响，"《龙与地下城Online》的制作公司Turbine的音?amp;视频ȝGeoff Scottq样形容Q?Ҏ们来说OpenAL的音频硬件提供了对Windows Vistapȝ的支持是个好消息Q这意味着我们可以在未来的很长一D|间l实现游戏中q些高品质的音频效果?
"要ؓ用户带来最不可思议和最令h隑ֿ的PC游戏体验的最x法之一是全力创徏一个完全真实的3D音频环境Q?著名的第一人称游戏开发公司Human Head Studios的音频主Ed Lima_"Z构徏的快速，便和有效Q以及考虑到对Windows XP和其后箋的Vistapȝ的支持，我们选择d分利用Sound Blaster X-Fi强大的音频性能在《掠食》中。我们很高兴便的OpenAL可以提供直接通\到硬Ӟ在声卡上实现音频加速。OpenAL允许我们在两U操作系l用相同的音频代码Q游戏中的音频设计和实现的过E是如此单方ѝ因此，Human Head可以保证两个q_的游戏玩安可以充分享受那震D迷人的音频体验Q我们的《掠食》就是这么做出来的?
Sound Blaster X-Fi家族pd声卡佉K频处理与PC的中央处理器分离Q从而得到更快的g加速度。依靠这些额外的CPU处理能力Q用户可以感觉到帧速率的提高。另外，g加速可以在游戏中带来更大范围的_?D声音定位。无论用h选择xq是环绕音箱pȝQ硬件加速都可以带来逼真的高品质3D效果?/p>
OpenAL 1.1Q一个可升的免费应用程序接口。OpenALQ将有三个主要的改进过当前的版本：音频录制功能为用h供带游戏x的语韌天；另一个特Ҏ允许开发工E师的控刉频播放；再有是允许开发工E师保存他们自定义的音频引擎?/p>
These days' games are coming alive! The latest graphic technologies can make what you see so realistic that your monitor becomes a window to another world! Unfortunately that's where the realism ends because many gamers are missing out on the most important aspect of any experience whether it's gaming or even music or movies; the audio! People spend thousands on their home music and movie systems and will go to a cinema to watch a movie. Why? Because they want the best audio experience possible. Great audio can turn an average moment in a movie into a thrilling or chilling experience and can make the hairs on the back of your neck stand up straight! Try it yourself. Play your favourite movie scene and turn the volume off or down and it loses all its appeal. The best game developers know this and they hire the best game audio engineers in the world to make sure you get the maximum enjoyment from their game. And More and more game developers use EAX ADVANCED HD to raise the gaming realism bar to an entirely new level. Hear what they have to say about EAX ADVANCED HD.
Developer Interviews:
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// 阿来点评Q哎呀Q这么多大作都用EAX啊？那《巨人》还有什么理由拒l呢Q我Z么不l她赋予q个动h之处呢？
// 从现在vQ挤旉出来学这个！
选两个脓q儿Q?br />
Exploring the Sounds of World of Warcraft
Discover how EAX] ADVANCED HD?brings the enormous lands of Azeroth to life.
Interviewee: Shane Dabiri, Blizzard Entertainment
Interviewer: Liam Byrne, Creative Labs
讲完兽讲神PDiscover how EAX] ADVANCED HD?brings the enormous lands of Azeroth to life.
Interviewee: Shane Dabiri, Blizzard Entertainment
Interviewer: Liam Byrne, Creative Labs
Developer: Blizzard Entertainment
Publisher: Blizzard Entertainment
Game Title: World of Warcraft]
Q1. What was Blizzard's sound team's goal for audio in World of Warcraft?
Our goal was to create an epic aural experience. With the world so vast, detailed, and beautiful, it was the sound team's job to make sure the audio matched what the players were seeing on screen. By creating rich ambient loops and having beautiful composed symphonic music, we believe that goal was achieved.
Q2. How important is audio to the World of Warcraft experience?
Since World of Warcraft is almost completely based on random encounters, audio becomes extremely important for letting players know when they are being attacked. Each monster in World of Warcraft was carefully designed to have an identifiable sound that occurs when it attacks. Musical cues also warn players if they are entering a dangerous area. Audio plays a great deal of importance during the overall experience in World of Warcraft.
Q3. There are a ton of different sounds and music tracks in World of Warcraft, did you create all the content internally at Blizzard?
We are proud to say all of our music was created in-house.
Q4. Are there any certain creature sounds or effects that are your favorite?
I would say the Dragon and the Murloc are among the two favorites in the office. Among the World of Warcraft community, the Murlocs have become the star sound byte used by many of our fan sites. As for the Dragon, we recorded a fellow co-worker and processed the sound to create one of our best-sounding creatures in the game.
Stealthy Sounds in Thief: Deadly Shadows?/font>
Discover how EAX] 4.0 ADVANCED HD?helped create the cutting edge stealth experience in Thief: Deadly Shadows.
Interviewees:Todd Simmons & Mark Lampert, Audio Designers at Ion Storm
Developer: Ion Storm
Publisher: Eidos
Game Title: Thief:Deadly Shadows?br />
Q1. What other games have you worked on in the past and what was your role in Thief: Deadly Shadows?
Mark: Deus Ex: Invisible War (2003)
--My part on Thief: Deadly Shadows involved sound design and music for several cinematics, as well as creating a small portion of the in-game sounds. I also recorded and edited several of the voice actors, for both in-game and cinematic voices. Late in the project I assisted in assigning fellow sound designer Todd Simmons' EAX reverb presets to the levels.
Todd: Deus Ex: Invisible War
-- I provided additional audio support at the beginning and end of the project.I created sound effects and music for several cinematics, created a small number of in-game sound effects, and edited a number of voice files.Also, I created the EAX reverb presets and applied them to half the game maps.
Q2. How important is audio to Thief: Deadly Shadows and how does it factor into the game?
Mark: Audio in Thief: Deadly Shadows and the Thief series is an absolutely critical part of both game play and player immersion, as opposed to being more of a post-production aesthetic concern as might be typical elsewhere. This is true both for world sound effects and NPCs, as well as the speech of those NPCs. For example, the player must take care to move and act silently so as to attract little or no attention from the characters populating each level, which typically will be hostile towards you (seeing as how you're most likely there to steal something of theirs!).
Most players will find that they start to use their ears as a sort of radar to detect the sound of a guard's footsteps approaching from down a corridor, the movement of creatures, and especially to eavesdrop on NPC conversations in order to potentially gain some piece of useful information. Should the player step too loudly, knock over an object or use a loud weapon (e.g. a fire arrow) at an inopportune moment, guards or other hostile NPCs will detect this through the audio engine's propagation system, and will localize on the sound.
Primary sound designer and composer Eric Brosius (who fans will recognize as the man behind Thief's audio legacy with his work on Thief: The Dark Project, and Thief: The Metal Age) brings the player into the world of Thief with excellent sound effects and a rich bed of moody, ambient music. It's a game that makes its players turn off all the lights, crank the volume, lean towards the screen and get completely sucked into the experience.
Q3. The previous versions of Thief had a very advanced sound system. What is new in Thief: Deadly Shadows and what features were brought over to this version?
Mark: There are three main points in regard to audio engine enhancements and additions: First, the sound propagation system is far more robust, and by the player's experience will seem more accurate and true-to-life when listening for sounds or trying to maintain a low profile and not alert hostiles to their presence. Second, the use of Creative EAX 4.0 ADVANCED HD's multiple environments. Thief: Deadly Shadows provides a useful world for this technology in that the player often finds themselves hiding in a small passageway or around a corner while listening in to a conversation or monitoring other sounds from another room. Last, and possibly the most significant, is the addition of sound effects linked with the Havok physics system. Throwing objects to distract or mislead hostiles, knocking objects over (perhaps unintentionally!) and unexpected emergent situations all add to the sense of realism and player immersion.
Q4.What is your favorite sound effect in the game?
Mark: Speaking personally, my favorite sound effect is still the sound of Garrett drawing his bow. It's a sound that you tend to hear a great deal of and that is familiar to fans of the series, but it's the simplicity and implication of the sound that draws me to it (pun possibly intended). Typically it preceeds Garrett taking some thief-like action - extinguishing a torch with a water arrow, firing a noisemaker arrow down a hallway to attract guards away from an area that he must infiltrate, or for those who choose to use their freedom to do so, killing those guards with a good old-fashioned arrow through the head. To me, it's one of the signature sounds that let the player know, "I have the advantage of stealth, mastery of the situation, and the all-important element of surprise."
Todd: My favorite class of sound effects are the creepy ambiences.One that stands out in particular is hull creeking on the zombie ship.
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找eax sdk的下载居然费了好长时_ 直接goole eax sdk不就行了嘛！
关键是不知道有sdkQ哈哈！
sdk, introduction, programmer's guide 都要register了才能看刎ͼ毛！注册注册吧Q还要填一份pdf文档Q好像要用信件或者传真发q去Q居然不让用emaiQ?我靠Q估计是要保密吧Q不能随便什么h都能看到sdk,拿到的h要遵守保密协议！
看看q个吧！
FAQ:
What is EAX?How do I get EAX into my game/application?Where can I find a comprehensive list of games that support EAX technology?My game uses Miles, does that mean I can't use EAX (3.0 / 4.0)?Is EAX a complete audio engine?What is EAX ADVANCED HD?What is the difference between EAX ADVANCED HD and EAX 3.0/4.0/5.0?What is in the EAX SDK?Why can't I access / download the EAX 3.0/4.0/5.0 SDK?What soundcards support EAX 3.0/4.0/5.0?What is EAX?How do I get EAX into my game/application?You may also wish to visit the Games > Legacy Technology section to browse through older versions of EAX.
Where can I find a comprehensive list of games that support EAX technology?My game uses Miles, does that mean I can't use EAX (3.0 / 4.0)?Is EAX a complete audio engine?What is EAX ADVANCED HD?What is the difference between EAX ADVANCED HD and EAX 3.0/4.0/5.0?What is in the EAX SDK?Why can't I access / download the EAX 3.0/4.0/5.0 SDK?If you would like to join the Digital Media Relations program and register your company, please navigate back to the home page, and click on the Register Now! button to download an application form.
If your company is already registered, but you do not have a login ID, please contact your account manager to request access.
What soundcards support EAX 3.0/4.0/5.0?EAX 5.0 is supported only by Creative's Sound Blaster X-Fi Series sound cards.
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1998q?月，创新发布了当时最为强大的Emu10k1音频处理器，Zq款芯片的Sound Blaster LiveQ系列品一旉头无二，中高端音频市Z从此被创新公怸家独大，也音频厂商们难以插领域?
在EMU10K1 音频芯片强大处理能力的基下，创新公司推出了自安个三l音效技术——EAXQEnvironmental Audio ExtensionsQ环境音效扩展）。EAX环境x技术是当时唯一一个可与A3D相抗衡的三维音频技术，但由于后来傲锐被创新收购QA3D技术最l被创新公司雪藏?br />
EAX环境x技术不但能把声韛_换各U各LҎ壎ͼ而且q能把来自CD、VCD、MIDI、WAV或MP3{立体声x虚拟为多声道环绕x。另外它的全方位音频定位技术也是一l。现在，EAX技术已l占据了l大部䆾游戏的三l音频系l了?br />
技术上而言QEAXq不是一套独立的APIQ而是微YDirectSound API的加强功能。它加入了三度空间的回声效果Q能够反应出声音在游戏空间里不同环境下的反射表现。D例而言Q一声在户外的枪响，跟在IZ库里面或是铁皮屋里所听到的声音便会有所不同Q而EAX技术就是ؓ了虚拟这些不同的环境x而开发的音频引擎?
EAX的音效在众多API中拥有最佳的x表现Q但其在游戏的音效定位中Q始l不及A3D技术来得逼真自然Q也正因h使到A3D技术拥有宽q的生存I间Q即使是在A3D被收购的现时Q仍有大批的痴迷拥护者用已l没有太多Y件支持的A3D技术和产品?br />
EAX ADVANCED HD
随着创新公司不段革新Q现已经把EAX开成一套很完善3D音频解决Ҏ。EAX由原始的1.0版本变革?.0?.0版本。到2001q时候，创新在推?Audigy的同Ӟ发布了新四代?D音频技术——EAX ADVANCED HD。在EAX前三代时Q都只是着重于普通音乐音频和游戏音频中，但到了第四代的EAX ADVANCED HDQ创新开始把各种的家庭媄院音效技术容入了EAX环境音频技术中?br />
发展到第四代的EAX ADVANCED HD已经不能说它是一个API了，它已l变成一套完整的x解决Ҏ。这套解x案主要由两大部分l成Q一是应用于U音乐和与媄剧院模式盔R的EAX MusicQ二是专门应用于三维游戏x引擎中的EAX Gaming?br />
其中EAX Music比较着重于强化x播放Q例如能强化PC音乐中的低音效果、可自定义喜好的音频{化、可U除一般{录MP3时所产生的噪韟뀁自动设定不同曲目间的合宜音量、加入像是剧院厅的音音乐中等{。而EAX Gaming则着重于在游戏中的音频定位及各种声音Ҏ。下面我们一h看看两者用于音乐和游戏中的三维音频技术?br />
EAX Music
DREAM 梦韛_QDynamic Repositioning of Enhanced Audio & MusicQ?br />DREAM Q增强音频与音乐的动态重定位Q可ZQ何立体声音乐营造一UDISCO舞厅氛围?D环绕声效果。DREAM技术可Q何立体声音乐透过选择的音效频率ƈ重新指定各符合音效频率的声音于多l声道中.如POP感受?D立体韛_环境, 使用者可以分别设定高中低三个频率带之韌依节奏顺旉或逆时针方向旋转?br />
CMSS 多音ql（Creative Multi-Speaker SurroundQ?br />创新多音ql（CMSSQ是一EAX Music技术，它可以对模拟立体声音源进行合，比如普通CD、VHS录像带的声音混音为多声道环绕Q经?.1?.1音箱播放出来p使h体验到多声道环绕效果。后来创新把它扩展ؓCMSS 3D技术， CMSS 3D可以让您Q何立体声音乐转换成o人惊奇的6.1环绕声音。CMSS 3D不但可以产生环绕xQ还可以地将主要的h声放|在中央音箱。而且CMSS 3D能够立体声的电p{换成5.1?.1环绕声音! Sound Blaster Audigy 2中CMSS 3D的算法也能够通过x或立体声音箱创造出真实的三l空间感?br />
Dolby Digital QDolby Surround AC-3Q?/b>
创新?000q?月发布Sound Blaster LiveQ?.1pd声卡Q它是创新首Ƅ件支持Dolby Digital的品。Dolby DigitalQ杜比数码）是杜比实验室所发明的家庭媄院多声道数字音频pȝ。AC-3是Audio Coding 3的简Uͼ直译为第三代音频~码Q它是一套音频压~技术。Dolby Digital是开发的初期是针对电影多声道环绕pȝ所研发的新技术，Z大幅降低~码后的文g大小QDolby Digital应用了有损压~技术。所谓有损压~，是一旦压~之后，无法完全还原成原本的面貌，但是如果损失的是一些无关紧要的信号Q则能达成大q羃减文件大的目的。Dolby Digital一共有5.1个声道：分别是前左、前叟뀁中央、后左环l、后右环l等五个声道Q全都是全频D声道，再加上一?Hz-120Hz的超低频声道Q所以统UCؓ5.1声道?br />
Dolby Digital EXQ杜比数码EXQ?/b>
杜比实验室开发的一U音频格式，提供?.1声道、清晰的环绕声。是在原来的Dolby Digital 5.1的基上增加了一个后|中央的声道。在您前方的左、中、右声道为对白提供了_定位。后部的独立左右环绕声道则负责电׃的背景声Q而后|中央声道实C后置左右声道间的自然q渡。额外的后置中央声道实现了更佳的后置左右声道间的I梭效果Q以及飞头等音频感受?br />
DTS QDigital Theater SystemQ?/b>
DTS 是美国的Digital Theater System公司所发展出来的一U电影全数字多声道系l，它也?.1声道。DTS和AC-3一PZ要将5.1声道的信息量存入电媄胶片的有限空间内Q也做了有损压羃及编码，可是两个pȝ在压~编码的Ҏ与原理上有所不同。理ZDTS比AC-3拥有更多音频l节。大致上_AC-3的信息压~率q_高达12Q?Q信息传输率每秒只有384kbps?48kbpsQ而DTSq_信息压羃率只?:1Q传输率则ؓ每秒1.14kbps?1.500kbpsQ大U是AC-3的三臛_倍，但就以上指标而言QDTS的保真度要优于AC-3?br />
THX
2002 q?月，创新公司发布Sound Blaster Audigy 2pd产品。它拥有支持Dolby Digital EX 6.1声道、DVD-Audio、THX认证?4bit/96KHz{新特征。值得注意QAudigy 2是少有获得THX标准认证的声卡品之一。这一标准最初是׃d卡斯本h制定的，用于保证最早的⟪星球大战⟫q中的音乐在媄院中播放Ӟ能够辑ֈ在录x中制作时所预想的效果。后来这一标准被应用于家庭影院pȝQ而直到近q_THX标准才被应用于评价PC多媒体系l，在播?DVDq或玩3D游戏时的多声道环l声效。所有申请THX认证的品必ȝ合严格的性能要求和质量标准，才能获得THX认证标志。这些性能标准覆盖产品的所有特征，包括功率处理、频率响应、传播特性等。因此，THX标志是媄音界权威认证的保证。通过THX认证q获得THX标志的品，会带给您前所未有的品质和可靠性。目前已有许多厂商生产符合THX标准的媄韛_材。一套完全由THX规格器材l成的AVpȝ应该能够达成以下的效果：一、全频段的高韛_低音。二、声x为^然。三、在听觉范围内最的低音q。四、更清晰的h声定位。大家要注意的是QTHX是一个标准而不是一件器材，THX的确为应用专利技术的影院生了一批特D品，但是他们的主要职能是保自己和认证的品具有最高的质量和性能标准?br />
Environment FilteringQ环境过滤）
环境qo可准模拟在开攑֒闭I间的声音传播?br />
Multi-EnvironmentQ多环境Q?/b>
多环境技术可同时提供多达4U实时环境音效。在现实生活场景中，您所听到的声音不仅受到周围环境的影响Q而且受到“实时”环境的影响。例如，您在一个大厅里Q当厅里的大钟敲响时您可以感到回声带来的I间感；但同Ӟ大厅头走廊中传来的W声听v来应h较窄的回声音质?br />
Environment PanningQ环境移位）
环境UM使环境音效的三维I间x和定位成为可能?在虚拟世界中Q有很多时候需要模拟不断接q或距离较远的音效环境，比如火R在行驶时不断接近隧道Q环境移位功能是通过三维I间定位来实现此效果的?br />
Environment ReflectionsQ环境反）
环境反射技术提供声韛_以及回响的定位。反是一U在真实世界中声音从物体表面反射回到听者耳中的现象，而环境反不仅可以模拟出q种效果而且q能l声韛_加上三l空间定位?br />
Environment MorphingQ环境过渡）
在虚拟世界中Q虚拟的“边界”不同I间和地区分R跨?边界"会在音频中引L然的变化Q例如，从一个小戉Kq入一个大z穴。环境过渡能被用来慢速地把听众从一个环境过渡到另一个环境，p现实生活中发生的情况那样?/span>
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