IA-SIG Newsletter

“The Interactive Audio Journal”

www.iasig.org  

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Vol. 1 No. 5, October 1, 2000

Editor: Alexander Brandon

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In This Issue:

Section I: From the Chairman. Acting Chair Tom White announces the departure of Mark Miller.

Section II: Official IA-SIG Announcements: All official announcements regarding IA-SIG members, activities, and special events. In this issue, plans for IMX 2000.

Section III: Working Group Reports: Working Groups are currently being reevaluated pending an election of a new chairman.

Section IV: Features: This issue features an interview with Crystal Dynamics composer Kurt Harland. It discusses his days with Information Society, interactive composition, and the move from unique soundtracks to the influx of the pop music market. Quite an interesting read for those fall days when you're away from your studio and near the fire...a lap rug thrown across your knees isn't inappropriate either.

Section V: Industry Corner: Just what is "X-Box"? A pretty, nicely hyped console from the folks who not only brought us our OS, but who took seriously a group of people who took interactive music seriously and the result was DirectMusic. The X-Box is more feature filled for developers than initial skeptics might think... check this one out.  

<Note: Statements in this section are not necessarily endorsed by the IA-SIG or its management although we do try and insure that there is useful content contained in everything that we publish.>

Section VI: Developer’s Corner:  (None)

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Please Join the IA-SIG!

The Interactive Audio Special Interest Group (IA-SIG) exists to allow developers of audio software, hardware, and content to freely exchange ideas about “interactive audio”. The goal of the group is to improve the performance of interactive applications by influencing hardware and software design, as well as leveraging the combined skills of the audio community to make better tools.  

The IA-SIG has been influential in the development of audio standards, features, and APIs for Microsoft Windows and other platforms, and has helped numerous hardware companies define their directions for the future. Anyone with a commercial interest in multimedia audio is encouraged to become a member of the IA-SIG and participate in IA-SIG discussions. (Visit http://www.iasig.org for membership details).

IA-SIG Steering Committee

Temporary Acting Chairman: TomWhite

Steering Committee Members: Rob Hubbard (EA), Brian Schmidt (Microsoft), Alexander Brandon (Straylight Productions), Tom White (MIDI Manufacturers Association).

IASIG Advisory Board: Thomas Dolby Robertson (Beatnik), David Mash (Berkelee School of Music), Craig Anderton (EQ Magazine), Gordon Currie (Portal Productions), Dale Gulick (AMD), Rudy Helm (At the Helm Productions)

Glossary of Terms for New Readers

“DLS”:DownLoadable Sounds, this is a standard created by the IASIG to allow users of computer audio cards and software synthesizers to create their own instruments and sounds rather than be limited to a specific sound set. 

“WG”Working Group, the working end of IASIG, these groups represent various causes in the interactive audio industry. They work towards goals that might not otherwise be possible in any other body. 

“GDC”: Game Developers Conference, held once each year, this conference brings together some of the best in the game industry for both computers and game console systems to discuss current issues, teach classes, and explore new opportunities for gaming. 

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Section I: From the Chairman

Mark Miller has stepped down as Chairman of the IASIG. Mark is pursuing a Masters Degree, acting as president of his own company, iMIX Inc., and is a recent father. Under his guidance the SIG has accomplished a great amount of work and we all appreciate what he has done to shape the industry as a while. Mark has shown that strong leadership can move an organization far beyond expectations. He will be greatly missed, and this serves as an opportunity for a new leader to step forward and try to match Mark's tremendous enthusiasm.

On behalf of the Steering Committee and the MMA Executive Board I want to thank Mark for his exemplary performance as Co-Chairman and Chairman over the past three years. His efforts have improved recognition of the importance of audio and of the depth of audio talent available in the gaming community, and helped establish the IA-SIG  as the primary forum for tackling issues facing the interactive audio industry. We all wish Mark great success in his new ventures.

The Steering Committee and MMA Executive Board are in discussion with candidates for IASIG Chairman and will announce a reorganization prior to GDC.

- Tom White, Temporary Acting Chair

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Section II: Official Announcements

IMX 2000!

The Interactive Music Xpo (IMX) is now in its second year. IMX's focus on the creative force driving the music industry, artists and musicians, has clearly struck a resounding chord within the music and technology industries. IMX's inaugural event, held at the Jacob Javits Convention Center in New York City in the summer of 99, brought together all facets of the music industry in one place at one time.

IMX is the only event that caters to the artists and musicians that are creating music, while incorporating specific content that targets label, studio and technology executives. This unique focus allows IMX to attract representatives from all levels of the music and technology communities - making IMX a true industry event. With the proliferation of technology and the internet as tools in the creation, production, promotion and distribution of music, IMX's focus and content is extremely timely. By utilizing extensive contacts in the music and technology industries, IMX will continue to offer content that is on the cutting-edge.

Further adding to the excitement for the IMX Los Angeles event, is that the LA artist community has never had the opportunity offered to them that IMX will deliver on October 3rd & 4th, 2000!

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Section III: Working Group Reports

The Working Group is the main functional aspect of the IA-SIG. Working Groups generally form around issues of current concern for the industry. Once formed, they meet either in person or via the Internet and develop standards and recommended practices document. These documents represent consensus and are published and made available to all interested parties. This is where the Working Groups (WGs) report their quarterly progress.

Due to the unexpected departure of Mark Miller, and the general lack of activity in the IASIG over the summer months, none of the Working Groups had anything significant to report for this edition of the Journal. Upon appointment of a Steering Committee Chairman, each IA-SIG Working Group will be reviewed and input form the member community will be solicited. The decision to continue each Working Group and a plan for further progress will be discussed at the IASIG meeting at GDC.

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Section IV: Features

This section contains features and columns on varied topics of IASIG interest. This issue features an interview by Alex Brandon with Crystal Dynamics composer Kurt Harland, who recently completed the score for “Legacy of Kain: Soul Reaver”.

Introduction:

In 1982 in Minneapolis a guy called Paul Robb wanted to start a band with his friends, who happened to be Kurt Harland and James Cassidy. The three enjoyed the same styles of music and when Paul played some “Kraftwerk” for Kurt he was impressed. Thus began “Information Society” who went on to enjoyed an underground hit “Running” and afterwards a smash national hit “What’s on Your Mind” which just about everyone who lived during the 1980s has heard. Their history is explained in far more detail at www.insoc.org so if you’re interested more in the band you can read about it there.  

After about 1994 Kurt began writing video game music, “X-Men 2” for the Sega Genesis, 3DO’s port of “Ballz”, a 2 person fighter with 3d rendering, reducing every poly to a point and drawing a sphere around it, “Nightmare Circus” for the Genesis, and both “Gex” games with Mark Miller… then came “Legacy of Kain: Soul Reaver”, the sequel to arguably one of the most popular action adventure games of 1997.  

Now Kurt finds himself full time composer at Crystal Dynamics… I got the opportunity to get his opinions on game music and interactivity and here is a chunk of his mind.

Interview with Kurt Harland:  

AB: Its clear that unlike quite a few present day recording artists you wish to dive headlong into doing game music that immerses the player as opposed to music that exists separately (for instance, not as many melodic elements and more soft tones). So rather than have the game soundtrack scream “my name is Kuuuuuuuuuurt Harland!!!” you prefer to have the music be more interactive…a credit to your craft in the eyes of our colleagues, but what about the public? Do you think more people wish to hear their favorite bands play, or have a more ‘somber’ feel? 

KH: If you went out to the average game kid on the street and asked them that question cold not giving them a chance to think about it, it would be like asking a five year old “What do you want for dinner for the next 5 years? Dinners or (emphatically) ice cream?”…they’re gonna say ice cream, but if anyone thought carefully about it they would realize that if you get nothing but pop songs its going to suck. That’s the age old tradition of turning off the music even before you play the game, which I believe is now going away now that we in the game music industry are doing a better job.

I’m seeing 3 eras of reality with this issue.. the old one, the current one, and the one I’m afraid might come soon. The old one was best described to me by Mark Miller when he and I were talking about how game music shouldn’t be songs back in 94 when I started. He pointed out that up to that point there was a big problem… game reviewers would listen to the music, not thinking in terms of interactivity, and would make comments like “the music, if you can call it that” if you had music that worked with the game but didn’t stand on its own. Its like a movie soundtrack.. you see the movie, you buy the soundtrack and listen to it and go “this sounds like disorganized classical music”, i.e.not necessarily good to listen to on a standalone basis. So people felt forced to make pop songs to avoid being criticized. Mark and I were people that decided to put our foot down about that and said “no, its wrong”.. for example with X-men on the genesis, we pushed through the idea where there was going to be one half of a level where there wasn’t any music, there was just a general ambient background of noises that were intended to suggest the sound of walking through a swampy jungle, and it worked beautifully, it was perfect for the games.  

Now we’re born out because we’re in the current phase where this kind of ambience is the way most music is and everyone understands. Play any decent game like “Deus Ex” or whatever and the music is always there but most of the time it is in the background, and it only plays a recognizable theme at certain points like when the game is advertising itself when you first start it up, or the level is done, or if you’re actually engaged in combat. I think that has gone really well and I was able to do that quite a bit with Soul Reaver 1because our producer totally understands that, she even discussed it with me when we began of how she wanted to make sure the music was blended into the game and not a stand alone phenomenon.

The third era that I’m afraid of is what I would call the “Hollywood contamination era” which as the entertainment industry continues to speculatively lick their chops looking at the billions of dollars being made off games, they’re not going to suddenly change their thinking and their style of business and operating, they’re going to bring their way of operating to the industry and you can see that happening. When it comes to game music its all in terms of “well, let’s get this really HOT name and put them in this really HOT TITLE!” “’N Sync”, purely as an example, being in the latest hit game is nothing more than a marketing maneuver, its marketing cross pollination like when you want to put the Pizza Hut logo on a bag of Doritos… you sell more Doritos and its good advertising for Pizza Hut, the same applies to the game with the name “’N’ Sync” on the box, more people buy the game and its good advertising for the band, but does it really result in decent game music? Well, that’s just the answer to the question, is there anyone in “N’Sync” who understands the artistic needs of game music and is willing to program 4 levels of interactivity etc. etc.? If there was I’m sure he wouldn’t have time to do the work because they’re actually out there making “real” money; doing lucrative things like playing shows where they make many many thousands of dollars in a single night. Why would anyone in the band actually sit down and do the work to get proper game music? They wouldn’t. What would happen is one of two things… either just a bunch of songs that belong on an album or the radio being pushed in your face during the game, or they will lend their name and do the theme song and have some anonymous person do the in game music. Either way, this is a terrible future that I really hope doesn’t happen. It pretty much all depends on the extent to which the lower tiers of Hollywood operatives want to come and try to make money in our territory, and one of the reasons I really can't stand it is because I learned after many years in the music business that the general way people conduct business in the music industry is really dysfunctional compared to the average industry, certainly compared to the game industry. Compared to ten years ago now when I’m doing business feel that I can trust that what’s going on is what’s really going on I can believe what people say, I know that most of the people I deal with won’t be insane or stupid. In the music business I couldn’t rely on any of those things, and I really fear that a lot of the crap I got away from in the music business is bleeding into the game industry.

AB: How do you feel about DLS / DirectMusic and onboard synthesis as opposed to streaming? The acoustic properties of instruments can’t be captured very reliably with small instrument banks, so what do you see happening in the future with these two methodologies in games?

KH: I’m having trouble relating just because the style of music that I do rarely uses sounds that anyone can listen to and say whether they sound “realistic” or not. The basis of the tune I was just working on was that I knocked the top of a spray can off by hitting it against the side of a table and then it fell to the floor. Those two sounds together when played four octaves below form this really dark, deep, rhythmic sound and that’s the basis for my song, which is typical of the kind of sounds I’ll use for everything, so I rarely come up against a microscopic examination of whether something sound sacoustic or not.

AB: I guess what I mean is more traditional acoustic instruments and symphonic instrumentation, which is what I’ve personally wanted to do and it appears to differ stylistically from your composing techniques (although making sounds in that way is to be honest very cool).. but for instance if one wants a solo instruments played live, getting that kind of sound, coaxing it out of a DLS sample set is tough.

KH: Well, if my primary goal was to create the most convincing natural instrument sounds I would insist on just dumping interactivity and playing back a recording of music, because I don’t see those two goals as being compatible… not until they expand sound capabilities of existing engines and hardware a whole bunch more and I don’t see that happening for a long time.

AB: What about DirectMusic?

KH: My experience so far with DirectMusic is this: I’m working on a game which is not going to be released for the PC. That pretty much is the whole story, but beyond that I can say that I had hoped that after paying money for the DirectMusic Producer Tutorial at GDC I was hoping to use DMP 8 as the piece of software I would use to compose on because Sony has seen fit to not make a tool for the Playstation 2. So I’m just wanted to make a DLS bank on my computer and play it back from my sequencer. I got on the beta program and after about a week I suddenly figured out that I was working for Microsoft as a beta tester! Even though the Even though the tutorial was in March and they encouraged us to use it then, even by August not only does it not work but they even say in a disclaimer “don’t use this if it really matters”, its too buggy.. so I threw away DMP 8 and went back to 7.

The problem with DMP 7 is that, and I may be mistaken about one of the details, but apparently if you want to do a stereo sound… that is take a single mono waveform, put it twice over the same region as the keyboard and pan and detune it a bit (the most obvious trick in the book), you can’t do that. You have to create two completely separate instruments which are each panned individually and then address them using two different program numbers on two different tracks of your sequencer. This doubles your MIDI data and uses up tracks and in the case of our situation here actually ends up using up twice as many conceptually speaking MIDI channels, so its completely unacceptable as a tool, so I just started using Vienna that comes with the SB Live! And it works fine, and that’s a SoundFont 2 maker.

AB: So what you’re saying is that you want to create MIDI files using a DLS set that you create…

KH: No… I’m not really using DLS and DM for everything it could be used for since its not a PC title and there aren’t any consoles out there that have any DLS functionality built in and there’s no way I’m going to get my company to add it in code. All I’m looking for is a software synth that can create key maps and hold samples and simple envelopes that can be translated into our proprietary audio driver when the time comes.

I’m making the MIDI files in Logic.

Don’t get me wrong; I think DirectMusic and DLS banks are a great thing and probably the way of the future. But the current state of affairs for me is that I can’t use it.

AB: A lot of the interactive concepts in DirectMusic differ greatly from the ones I’ve been leaning towards even though its interesting conceptually. Its enjoying very mixed success… myself as well as others love to use DLS with a project or two and see what it can do, but unfortunately DirectMusic (the only way one can sequence with DLS and use them in games easily) is still a bit too eclectic in nature for me and others to get into.

KH: Me too.. I think the mistake they made was in deciding that they had to derive from traditional musical values to create this device. Its all based on such embarrassing, warm, cuddly, stupid concepts like “band” and “style” and “motif” and… fuck that! I want a bunch of weirdo waveforms that play the way they want them and then you can leave me alone. I personally have no desire to use a program that helps me to create one percussion set that sounds Latin, and one that sounds more “Cuban” Latin. Others might…  On another side, its all great ideas and I think they’re doing the right thing…but there are certain practicalities that are making it impossible to use so far, for instance, not many of us are working on PC games as the market for them is looking grimmer and grimmer... there aren’t many of us who can tell our sound programmers to import all this functionality into your Dolphin game or whatever you’re going to do, and the fact that it has such bizarre shortcomings like the stereo problem and so on which is probably in the DLS spec. In the future I see DirectMusic and DLS as being quite possibly the way of all flesh.. our sound programmers are all saying that they would love to use nothing but DirectMusic and the X-Box obviously will be based on it, so I would limit my criticism to the state of affairs right now.

AB: So what do you think about the recent wave of ‘I want my music to sound realistic’? We’ve been through General MIDI and MODs who have both tried to emulate acoustic instruments and failed… now we have streaming and people seem happy…

KH: That’s a good thing, but the bad side of it is that there is too much assumption going on about what kind of music we’re going to be working with, there’s so much built in crap that’s all about natural instruments and making things sound ‘realistic’. The vast proportion of the most compelling popular dance music that young people listen to is ENTIRELY electronic. There isn’t a single organic sound in it. You listen to pop music on top 40 radio and there aren’t many natural instruments. You talk to me about classical music being better than pop music and I’ll just roll my eyes, but that doesn’t matter because we’re talking about sheer numbers and popularity and when it comes to selling product that’s what people care about. My bottom line point is: the public doesn’t seem to be interested in how natural your instruments sound.

Ed Note: Thanks to Kurt for this interview! As a treat he’sgiven us a sample of the music from his upcoming game “Soul Reaver 2”. SR2T(1.1) Excerpt (mp3 960k)

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Section V. INDUSTRY CORNER

This section contains news, interviews and information from our member companies. In this issue, we have an overview of Microsoft’s much anticipated Xbox Audio.

Xbox Audio: An Overview
By Chanel Summers, Audio Manager, Microsoft® Xbox™ Advanced Technology Group

Introduction

The Xbox game system is a new video-game console from Microsoft, which will be launched worldwide in the fall of 2001. Unlike previous platform efforts from Microsoft, the Xbox game system represents a complete end-to-end solution consisting of hardware, system software and tools, marketing programs, developer support, and everything else that goes into a game console.

In developing the Xbox game system, Microsoft chose to partner with mature technology leaders like Intel, NVIDIA, and others, drawing the technology from the well-documented, well-supported PC platform. However, the Xbox game system represents a shift from the established PC (a multifunction, upgradeable device, offered by many manufacturers in many configurations). It is first, last, and always a game console (a single-purpose, fixed-configuration device, offered by one manufacturer in one configuration). Although it is based on concepts found in today’s PCs, the Xbox game system is designed to produce the same experience as any other video-game console—with one difference. It is designed to enable game developers to create the most realistic, intense andaction-packed experience ever. The Xbox console is the first future-generationgame console.

From the beginning, high-quality audio has been a critical focus of the design effort for the Xbox game system. While console development has typically emphasized advances in graphics quality, we believe that as graphics get more and more realistic, consumers will demand greater levels of realism in audio design. It has always been our intention to provide the audio community with the hardware and tools to meet that demand. To do so, we are investing in four primary areas

These investments were made based on a review of three specific but related areas of focus for Xbox game system audio: the composer’s needs, the sound designer’s needs, and the developer’s needs. Xbox game system sound designers and composers will create several different types of audio components in their games, including: sound effects, dialogue, linear music (both digital audio and MIDI + Downloadable Sounds (DLS)), audio scripts, and non-linear music. To create these audio assets, we needed to ensure composers and sound designers could work with their everyday audio tools (sequencers, wave editors, and so on) as well as specialized tools, such as our own Microsoft® DirectMusic® Producer, the authoring tool for DirectMusic.

Xbox game system audio developers will need APIs and tools that allow them toimplement the above content into an application. These include:

Audio Hardware Architecture

The Xbox game system APU, like the graphics processing unit, integrates multiple processor cores in a pipeline architecture that enables maximum performance and flexibility. The APU is comprised of four independent hardware processors:

The Setup Engine contains several fixed function micro-controllers for Hardware Abstraction Layer (HAL) processing and parameter processing along with a Direct Memory Access (DMA) engine. All memory management, mapping, and DMA resources are controlled in this unit. The Setup Engine will also present a single consistent view of the external memory to the processors, dealing with all the scatter-gather, list processing, and offset mappings needed to access external memory space. The Setup Engine calculates and manages cross-fading to relieve this effort from the driver and increase the effective voice count from traditional audio controllers. As an example, instead of having to use two 3-Dvoices when changing Head Related Transfer Function (HRTF) parameters or utilizing host processing to iteratively step through the transition, the APU will use a single voice and the Setup Engine will automatically smooth out the transition.

The Voice Processor contains several fixed function digital signal processor (DSP) units responsible for processing voices and mixing the results. The Voice Processor renders all the 2-D and 3-D voices and performs Interactive3-D Audio Level 2 (I3DL2) and DLS-2 filtering per voice, sample-rate conversion, and mixing. The Voice Processor is also capable of performing HRTF calculations in parallel with the rest of the 2-D processing tasks.

The Global Processor is a fully programmable DSP that is responsible for applying effects such as reverb, chorus, EQ, and cross-talk cancellation tothe data in the mixer buffers and producing the final output stream. The Global Processor supports I3DL2 Reverb and Occlusion and Obstruction as well as DLS-2Reverb.

The Encode Processor is a dedicated DSP that is responsible for real-time multi-speaker surround encoding.

The APU is capable of processing as many as 256 individual voices, all in hardware, and all supporting the DLS-2 standard. Up to 64 can have 3-D HRTF algorithms applied, and you can also apply individual I3DL2 effects to all 3-Dvoices. Any number of voices may be sub-mixed before 3-D and/or effects are applied, saving precious hardware resources.

Memory & Storage

Equally important is the inclusion of a hard disk in each and every Xbox console. While the Xbox hard disk can be used to store persistent game data, such as saved games or downloaded content, its primary purpose is to provide a scratch pad for application developers.

Imagine audio commentary in a console sports game. Most consoles have a very small amount of RAM available for holding audio data. And the latency of fetching data from the CD-ROM makes it impossible to access more data in time to provide a seamless experience for the gamer. This is why you usually don’t hear much more in a console basketball game than “Jordan shoots. He scores. Bulls leading the Pacers.” But by staging audio data temporarily to the harddrive—while the user’s selecting his teams, or while playing an intro video, for example—you can access megabytes of realistic commentary in milliseconds, providing a much more immersive experience to your customers.

Finally, the Xbox game system allows the developer to configure 64 megabytes(MB) of very fast memory between the CPU, GPU, and APU as he or she sees fit(and change that configuration at any time, as often as desired), removing the traditional restraints of a small, fixed amount of dedicated audio RAM.

The Xbox Audio APIs

The Xbox game system APIs, while familiar to anyone who’s programmed games for Microsoft® Windows®, are being developed specifically for the platform to provide a high-performance, thin layer that enables developers to be as productive as possible. One of the primary goals of a PC operating system such as Windows is to provide “abstraction”—masking the differences between hardware so that any application developed for Windows can run on any Windows-equipped PC. On the Xbox game system, the hardware configuration is known and fixed, so any form of abstraction is to be avoided.

We will be developing special versions of three key technologies for Xbox game system audio: DirectMusic, DirectSound, and a unique set of streaming APIs(to be used for both audio and video streaming).

DirectMusic is a comprehensive framework for creating an arsenal of musical and programmatic techniques that respond to user events. This approach allows composers and developers to create musical forms that are composed in real-time, based on the shifting requirements of an application. Thus the music that users hear can always be original, making repetitive audio loops and static MIDI files a thing of the past.

With the enhancements in Microsoft® DirectX® 8.0 audio, developers have the ability to use DirectMusic as the single API for creating both music and sound effects in their games. This is enabled by the synchronization of wave files and DirectMusic content, the introduction of support for DLS-2, “Audiopaths”, and an audio scripting language. Don’t be misled by the word “Music” in DirectMusic. DirectMusic is a set of audio APIs that know about audio signals(sound), musical information, and advanced synthesis.

DirectMusic on the Xbox game system will serve as an advanced audio API for sound effects, even if you don’t use any of the DirectMusic “interactivity” features, serving as an “easy-programming API.” In contrast, DirectSound is built around the driver and will provide low-level control. The game developer can talk to the DirectSound APIs directly and choose not to use DirectMusic so that they can play waves directly through DirectSound buffers (or have low-level control of the hardware). This is particularly important to game publishers and developers who have audio engines built on the current DirectSound architecture.

Of course, you can always (and, indeed, should) use a combination of both APIs for maximum power and flexibility.

The Xbox game system will see the introduction of a new set of streaming APIs that enable simple packet streaming for playback and capture (these APIs will be used for streaming video as well). It will have a push-model packet-based streaming solution similar to WaveOut as well as the new DirectMusic Wave Track. If you plan to stream pre-rendered music instead of using DirectMusic, we would recommend caching the audio data to the hard disk, then streaming it from there. You’ll have to determine through trial-and-error what the optimal solution is for your game. Summary

The Xbox console is a content-driven console. You have plenty of horsepower to perform complex scores in real-time using real-time effects, so you can focus on creating great content without worrying about having to make compromises. With the mature tools and techniques supported by the Xbox game system, you will soon be able to combine interactive, variable audio with high-quality, pre-recorded digital audio.

Think of it as content without compromises.

- Chanel Summers

Ed Note: The statements in this section do not necessarily represent the views of the IA-SIG or its management although we do try and insure that there is useful content contained in everything that we publish.

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Section VI. Developers Corner

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IASIG NEWSLETTER VOLUME 1 ISSUE 5 OCTOBER 2000

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