One of the tough but rewarding challenges of interactive audio synthesis is the continuous representation of reflecting and occluding objects in the simulated world. For decades it’s been normal for game engines to support two sorts of 3D geometry, for graphics and physics, but neither of those is well-suited for audio. This paper explains how the geometric needs of audio differ from those others, and describes techniques hit games have used to fill the gaps. It presents easily-programmed methods to tailor object-based audio, physics data, pre- rendered 3D audio soundfields and reverb characteristics to account for occlusion and gaps in the reverberant environment, including those caused by movements in the simulated world, or the collapse of nearby objects.
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