It seems we have finally found a way to effectively use all five senses to convey an emotional arc as part of an interactive experience. I become lost in debate with various relations over the use of sound as a storytelling device. I move to speak and urge her to stay clear of the undulating, black, and treacherous stream edge, but they are gone before the words leave my lips. Her look of freedom and wild abandon while chased by cousins as the fronds whoosh back and forth brings a smile to my face. From the corner of my eye I can see my young daughter rushing in and out of cattails twice her height with her favorite doll. It was during this time in simulation technology that our industry was just beginning to iron out inconsistencies inherent within the burgeoning field of procedural audio, synthesis, and the advanced manipulation of dynamic sound: baby steps toward the expansive fully realized simulation I'm testing today.Īs we laugh and carry on inside the memory of my mind's eye, the children play and chase butterflies along the edge of the rushing water. A reunion has brought family members together within a branch of an older beta version of a simulation located by a nearby stream in the countryside of Earth 2012. My mind is transported to a sunny day from my past. I remain lost in thought as the sound of rushing water catches my memory. It seems like ages ago that we began working with our library of reference materials to synthesize different aspects of Earth's soundscape into the living, breathing, and sounding world that is represented today. I'm currently reviewing the work done by our technical sound synthesis specialists who have recently updated some old sound models. The simulation has been developed using an industry- standard authoring application by specialists spread out across the galaxy. It should be said that I'm inputting this log in real-time, while working inside the beta release of our current simulation based on a historical re-creation of Earth circa 2012. It didn't happen overnight, but as I am standing on the shore of this digital river, it seems clear to me that audio technology has finally made good on the promises of transparent interactivity. Each drop of water from my fingertips that ripples on the surface is reflected in automatic sound synthesis and tied so tightly to the visuals that I'm struck by the fact that it was just a short time ago that we were locked into a sample-based methodology. The simulation here is really good.Īs I kneel next to the shore, splashing water on my face, the sound erupts in a perfectly modeled and synchronized symphony of harmonic fluids. Their placid chirruping, accompanied by the nearby burbling of a stream, sets a tone of peaceful tranquility. It's late, and the heat of the afternoon sun is fading.
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