tag:blogger.com,1999:blog-30950679.post2377623438054508630..comments2010-12-04T08:51:23.545-08:00Idcmphttp://www.blogger.com/profile/03829017208885409542noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-30950679.post-7510025854055595002010-12-04T08:51:23.545-08:002010-12-04T08:51:23.545-08:00Very intresting! <br />But I think use ray traching for sounds is not the right way to simulate at the best the sound propieties. You can use ray traching for describe light because light has a ray behaviour (if you interpretate it like a particle) and wave behaviour at the same time. So in fact, even for the light, ray traching has many limits! Sound has only the wave propieties so I think you can&#39;t describe it as well as light!momonoreply@blogger.comtag:blogger.com,1999:blog-30950679.post-51994521297376626842008-11-21T11:53:00.000-08:002008-11-21T11:53:00.000-08:00Simulating the actual creation of speech from the lungs on through the mouth and to the air is very exciting, but the first step is not the simulation of sound creation, but the accurate simulation of sound propagation through space. In games, sounds should originate from distinct positions in 3D space, just as in reality. Because realistically wavetracing audio should require much less computation than realistically raytracing graphics, there is no reason why 3D-modeled audio in games has not reached near-maturity, instead of being nonexistent (FYI: EAX only applies effects that mimic 3D positioning).<BR/><BR/>With several-hundred-core video cards and CUDA, we should be able to use wavetracing to realistically model the variables of sound position, direction, original amplitude, speed, and transmission/reflection/diffraction medium. This would produce the effects of perceived volume and position, frequency attenuation, reverberation, and doppler shift, among others. Imagine a game which uses wavetracing to model the input from player's microphones:<BR/><BR/>Three people are playing, each in a different location. In the game, two of the players are standing side by side, and the other is a football field's length away. Using their headset microphones, the two players can talk quietly without being heard by the third player. In order to be heard by the other pair, the third player would have to raise his voice considerably. If the third player was carrying a small radio and walking towards the pair, the pair would hear a steady increase in higher frequencies and overall volume, with no sudden 'jumps' in volume, and no distance at which a sound simply stops abrubtly (Sound familiar?).Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-30950679.post-34344689723977482682008-10-12T04:01:00.000-07:002008-10-12T04:01:00.000-07:00Look for the paper "A Beam Tracing Approach to Acoustic Modeling for Interactive Virtual Environments".Maurohttp://fzort.org/mprnoreply@blogger.com