-=> Quoting Roger Fingas to Lee Jackson <=-
 RF> Yes, but most of us can't afford the cards you have at 3D
 RF> Realms!
 LJ> That more or less makes my point - most won't have a sound system (card
 LJ> plus speakers) that's good enough for extremely fancy mixing to make 
uch
 LJ> difference.  Too expensive.  While I'd be able to tell, listening to the
 LJ> output of a CardD+ (if it's in Windows) or an AWE64 Gold through our 
air
 LJ> of Event 20/20bas near-field monitors, the average user with his onboard
 LJ> Vibra 16 chip and the pair of generic speakers that came with his system
 LJ> (frequency response 150Hz-12000Hz) will be lucky if he can understand
 LJ> what's being said.  Proportionally mixing a tiny clink with a big clunk
 LJ> won't matter much to him.
        My sound system sounds pretty good, which is an AWE32 PnP in tandem 
with a Sony SRS-PC300D two-speaker/subwoofer setup.  Then again, the total 
cost of my system would be approximately $700 to $800 Canadian.  
 RF> The example they use for the sound variation is hitting a
 RF> monitor with a baseball bat (haven't we all wanted to do that at some
 RF> point?).  If you tap the monitor glass lightly, it'll make a light
 RF> "clink" noise.  However, if you wind up and smash the monitor into
 RF> microscopic pieces, it'll make one heck of a racket, right?
 LJ> That's more action based, and doesn't really require a complicated 
ixing
 LJ> system.  Set a threshold, below which you get a clink, and above which 
you
 LJ> get an imploding tube.  That's pretty close to the way it works in real
 LJ> life.
        Ah, but what's important is that DreamWorks is using physics 
equations to modify the sounds in the regions below and beyond that 
reshold.
 RF> Someone's a Monty Python fan, eh?
 RF> Lemon curry?  ;-)
 LJ> Very few up at the office who aren't into Python.  It's sort of a
 LJ> prerequisite for employment.  Future job applications will ask questions
 LJ> to this effect. 
        Broody herr!  ;)
        
--- Maximus 3.01
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