Beruflich Dokumente
Kultur Dokumente
Daniel Lopez1
I. INTRODUCTION
This paper provides a brief overview of the theory and the
implementing techniques used for preparing sound to be synthesized through chips for embedded games developments.
Sound synthesis in games does indeed imply the construction of sound waves dynamically in response to the actions
that occur within the game. This can be accomplished with
different techniques, some of which have been implemented
in devices such as the SID chip in the commodore 64. Bullets
being fired, and the intensity of a racecar being revved are
examples of aural elements that may controlled by the game
during game play in order to add a new layer of realism
and add to the experience of playing. The evolution of the
technology that has been used has arguable been driven in
an attempt to heighten this experience. Elements such as the
ones aforementioned, thusly, need to have certain parameters
that may be adjusted depending on the gameplay. When it
comes to categorizing techniques for synthesis, there are two
main schools of thought, linear and non-linear. In this paper,
these synthesis techniques for quick reproduction of these
sounds are discussed as well as the historical electronics
that were implemented that gave way to even more powerful
pieces of sound creation. Sounds that will also be discussed
will the discrete notes used for video game music and the
techniques used to implement those.
not intended
X
sin([2i 1]x)
i=1
2i 1
B. Phase Modulation
Phase modulation is another non-linear technique that
implements an encoding scheme, much like Amplitude and
Frequency modulation. However, instead of multiplying the
results, or finding the nested result of both sinusoidal functions, the messaging carrier signal dictates the phase shift
of one of the functions. For example, if the carrier signal
mentioned earlier is redefined such that the phase shift is a
function of the messaging carrier, the resulting signal will
have nesting sinusoidal waves.
fc (t) = Ac cos(c t + c )
(1)
(2)
B. Granular Synthesis
Granular synthesis is quite similar in that there does indeed
exist small sound bites. However, these sound bites are
typically between the 1-50 ms range. [3]. As a result, more
of these bites are needed for to recreate even the simplest of
sounds. Moreover, these bites are not just placed one right
after another; they are also placed on top of one another, and
maybe even multiplexed. (For multiple voice reasons). [5]
Several layers of filtering may also be applied to parts and/or
whole sections of sounds generated this way to smooth out
the end of one and the beginning of another.
R EFERENCES
[1] G. Reid, Issue navigator, in SoundOnSound, 2016. [Online].
Available:
http://www.soundonsound.com/music-business/historyroland-part-3. Accessed: Dec. 8, 2016.
[2] W. Latta, Constructing simple vehicle sounds, Music
&
Audio
Envato
Tuts+,
2009.
[Online].
Available:
https://music.tutsplus.com/tutorials/constructing-simple-vehiclesoundsaudio-2138. Accessed: Dec. 8, 2016.
[3] J. Bello, NYU Classes, in New York University. [Online]. Available:
http://www.nyu.edu/classes/bello/FMT files/11 synthesis.pdf.
Accessed: Dec. 8, 2016.
[4] H. W. Sams, Ed., Commodore 64 programmers reference guide.
Wayne, PA: Commodore Business Machines, 1982.