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Writing new audio rendering-level features needs to be implemented uniquely for every platform-or increase the platform disparity problem. Mixing a game which is intended to ship on multiple platforms is difficult when not all features work on all platforms, and existing features sound different on different platforms. Related to this, documentation and support is difficult, as not every feature will work on every platform. Since feature parity in this paradigm is not possible, feature support matrices need to be authored and maintained to communicate with quality assurance teams and sound designers regarding which features work on which platforms. This is at the cost of writing new runtime features or development tools. However, in the case of UE4 where we support a large number of platforms, juggling differences between each platform-specific API, hunting platform-specific bugs, and striving for platform feature parity can easily dominate the audio engine development time.
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This paradigm works well when there is a small number of target platforms to support, and when there is a long lead time to ramp up new platforms. The Problems with Platform-Specific Audio Rendering APIs For example, features might hook into a scripting engine (such as Blueprint) or game-specific components and systems (such as audio components, ambient Actors, and audio volumes), or do a lot of work to determine which sounds to actually play (such as Sound Concurrency) and with what parameters (such as Sound Classes, Sound Mixes, and Sound Cues). Game engines write additional functionality on top of these platform-level features. In addition to codecs, platform audio APIs provide all the other features that an audio engine might need, including volume control, pitch control (realtime sample-rate conversion), spatialization, and DSP processing. Many platforms provide hardware decoders to improve runtime performance. These APIs often provide platform-specific codecs and platform-specific encoder and decoder APIs. Typically, each hardware platform provides at least one full-featured, high-level, audio-rendering, C++ API. Platform-Level Features: Audio-Rendering APIs Audio renderers widely vary in their architecture and feature set, but for games, where interactivity and real-time performance characteristics are key, they must support real-time decoding, dynamic consuming and processing of sound parameters, real-time sample-rate conversion, and a wide variety of other audio rendering features, like per-source digital signal processing (DSP) effects, spatialization, submixing, and post-mix DSP effects such as reverb. This document describes the structure of the Audio Mixer as a whole, and provides a point of reference for deeper discussions.īackground and Motivation Audio RenderingĪudio rendering is the process by which sound sources are decoded and mixed together, fed to an audio hardware endpoint (called a digital-to-analog converter, or DAC), and ultimately played on one or more speakers. It enables feature parity across all platforms, provides backward compatibility for most legacy audio engine features, and extends UE4 functionality into new domains. Thank you.The Audio Mixer is a multiplatform audio renderer that lives in its own module. If you bought the product, let me know your thoughts on what should be added or changed in updates. If you considered buying this product, but didn't, please leave a comment stating why so I can improve it. This means that Skeletronix is not limited to human creatures. All bone types can have their meshes specified in the profile so that you may use meshes other than the ones included. Spines are constructed out of individual vertebrae and automatically positioned and rotated. Long bones, such as femurs, will be scaled automatically based on their start and end joints. Profiles contain several types of bones that can be added. Skeletronix utilizes profile assets which can be easily customized. Join the Discord server for discounts, support, and discussion: