Ya know, something like this might requre the usage of DSP or VSTi/DXi plug-ins... dunno how hard support for those might be and could be quite processor intensive... then again, I'm sure it's easier to code these effects directly into the engine
What about incorperating convolution reverb technology in a game?
. Heh, that would be cool... just load an impulse response of a mountain or church in and you can use a few preset environments in levels... that would make the game sound super realistic
It intrigues me that so many developers concentrait on graphics and all these visuals but pay little attention to sound... sound technology is incredibly advanced now, but sound advancements are only being used for production software and to emulate analogue gear through digital means. I don't know how to program, but I know what is posible with sound these days... IMO, not enough is done to make an environment a real and beleivable place with sound.
for those that don't know, convolution technology is fairly new and all the rage in the digital production/sound scene. Basically put, it's reverb. Reverb is a kind of delay with many perameters and it's purpose is to emulate a real acoustic space. Up until recently this has been pritty basic and digital... but now we have convolution technology. Convolution reverbs (a little more processor intensive, but I beleive that it only has a few lines of code) basically take a sample, or impulse response (created from a sample... basically a recording of a real acoustic space) and then works out the acoustic charectoristics of a real space to calculate it's realistic reverb properties. As you can already see, this has loads of possibilities in the gaming world. Using delay to emulate mountains is very primitive considering how much progress the digital music industry has made... thats like using a sprite to create the illusion of depth rather than using a model... why is sound in computer games so primitive?
So, if you sample the reverb of a real forest and then use that for the whole of the sound in an area, you have a very ralistic forest environment... dead easy... but quite intensive on the processing front I suspect.
How does one sample an acoustic space if it has no solid form? Simple, you just blast a sound that comntains all frequencies in the audioble frequency range of the human ear. From that, the program can decifer the acoustic spaces properties by analysing the frequencies present in the recorded sound. The best sound that will have all frequencies is a starting pistol... the sound produced would also have the natural reverb decay of the room/area... which is also analysed to get a good reverb resault. Another sound is a sine wave sweep from 20Hz to 20K Hz (human ear frequency range). This is the best.
Of course, this idea can be extended. If you run a sine wave sweep through a guitar amp and then sample the sound from the guitar amp you can actually record the charectoristics of that guiatar amp... basically, if you load that impulse response you will in fact have the sound of the guitar amp, the sound of the microphone used to record that amp and the sound of any outboard pre-amp and equipment used... basically, you have an almost exact virtual representation of your amp... so, you have a virtual guitar amp! This method hasn't been used by virtual guitar amps yet (hence why a lot sound pritty shit) but, can easily be achieved with a convolution reverb.
Enough of my banter, here are some links
Emagics Space designer
Voxengo Pristine Space
The mightly Liquid channel outboard Mic Pre-amp and compressor modeller uses convolution technology to emulate the real analogue gear:
Sound on Sound article on the Liquid Channel
Why have I posted these links? Each article explains the concept of convolution reverbs... if you are an intelligent programmer then you can use this knowledge to makre games much better on the sound front
I think you can see that I'm not stupid