-=> Quoting Roger Fingas to Lee Jackson <=-
 LJ> That's more action based, and doesn't really 
 LJ> require a complicated mixing
 LJ> system.  Set a threshold, below which you get a 
 LJ> clink, and above which you
 LJ> get an imploding tube.  That's pretty close to the 
 LJ> way it works in real
 LJ> life.
 RF> Ah, but what's important is that DreamWorks is using physics
 RF> equations to modify the sounds in the regions below and beyond that
 RF> threshold.
 LJ> Quite possibly a waste of CPU time.  We'll have to see.  Anyway, I can 
see
 LJ> better uses for the same CPU cycles, such as real-time 
 LJ> decoding of distance
 LJ> and positioning based on real-world acoustics.  It's a trade-off when
 LJ> you're talking 1st person perspective/6 degrees of motion shooters.
        As always.  But DreamWorks can afford too, mostly because they've 
come up with innovative ways of handling graphic detail that cut CPU load 
while keeping its look intact.
 RF> Broody herr!  ;)
 LJ> You want an argument?  Oh, I'm sorry, this is Abuse!
        That's my favourite sketch!  What's yours?
 How could you miss!?
--- Maximus 3.01
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