![]() ![]() If you’ve done HDR tone-mapping, this formula will look very familiar to you. I tried many variants but I ended up with something very simple like We want to try making the sine wave become something like a square wave. The distortion is tough to do well, and I spent a lot of time fiddling with this. ![]() Whiteboard description from blogĪ theoretically perfect bandpass filter will output a pure sine wave if the tone exists, and nothing if it doesn’t. What I deduced from this is that the 48 filters should be 48 very sharp bandpass filters. Each octave in the (western music) scale is divided into 12 tones. The blog describes 48 filters, spanning 4 octaves. By having a few notes playing with a classic waveform like square or saw waves, we can recreate a retro 8-bit feel. The goal of the filter is to extract musical notes, and emphasize them. Being able to introduce dynamic aspects to the music with a pure filter is interesting. In short, the goal of the filter is to attempt to turn normal high-fidelity soundtracks into something with an 8-bit feel on-demand. It’s been too long since I did any significant audio DSP programming. Outside graphics, I’ve done a fair bit of audio programming in the past. Their blog is very sparse on technical implementation details, but I wanted to try recreating it as there was just enough high-level detail in there to get me started. ![]() If you haven’t played the game, it is highly recommended to read the post and watch the videos to understand what it’s doing. The blog post explaining this tech is found here. Once in while, some games have very clever audio tech, and in this case it was NieR:Automata’s tone filter which caught my attention. Sadly, most of it seems to have been made into commodity over the last couple of decades. Audio tech in games is rarely particularly interesting. ![]()
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