List of Figures

Chapter 1: The Lay of the Land

Figure 1.1: How your computer recotds audio.

Figure 1.2: How your computer plays back audio.

Figure 1.3: The algorithmbehind the simplest form of RLE compression

Figure 1.4: Simple additive sound mixing

Figure 1.5: A comparison between FM synth and Wave Table synth.

Chapter 2: Introduction to DirectAudio

Figure 2.1: DirectX Audio mixes secondary buffers into the primary buffer, then out to your speakers.

Figure 2.2: Streaming a big sound file requires loading pieces of it just as they're needed.

Figure 2.3: The global include path settings.

Figure 2.4: A sine wave.

Figure 2.5: When you lock something, you might get two pointers back.

Figure 2.6: Use the fractional part of pos to determine where in the wave you are.

Chapter 3: Wave Audio Playback

Figure 3.1: Overview of the DirectMusic interfoces used for playing sound effects.

Figure 3.2: What happens when you fail to catch an exception.

Figure 3.3: Hypothetical call stack for a game, showing where an error might be thrown and caught.

Figure 3.4: The message box presented by our errorhandling code.

Chapter 4: Loading WAV Files

Figure 4.1: This figure illustrates the file format of a typical uncompressed WAV.

Figure 4.2: The FOURCC character code for RIFF—note the character swapping.

Figure 4.3: After inserting an RC file into your project, you get a new ResourceView tab.

Figure 4.4: Importing a WAV file into your application's resources.

Figure 4.5: Uncheck the external file checkbox to embed your WAV directly in the resource script of your program.

Chapter 5: Control Freak

Figure 5.1: DirectMusic uses several different parameters to control looping of a segment.

Figure 5.2: Sounds that share audio paths also share volume knobs.

Figure 5.3: Windows provides a GUI to the mixer volumes.

Figure 5.4: The mixer API architecture is divided into several different pseudo-objects.

Chapter 6: MIDI Playback

Figure 6.1: A professional MIDI setup might have several different pieces of hardware, all assigned to different MIDI channels.

Figure 6.2: The new class layout for the audio engine.

Figure 6.3: A flowchart of the basic process for using DirectMusic performance events.

Chapter 7: MP3 and WMA Playback

Figure 7.1: What's contained in the four bytes of a frame header.

Figure 7.2: Illustrates the format of the 128-byte long audio tag.

Figure 7.3: The Windows Recorder in all its glory.

Figure 7.4: The Convert Now dialog box.

Chapter 8: Ogg Vorbis Playback

Figure 8.1: Flowchart for using the vorbisfile API.

Chapter 9: CD Audio Playback

Figure 9.1: The process for using the Media Control Interface (MCI).

Figure 9.2: The effects of sending an MCI_SET_DOOR_OPEN command.

Figure 9.3: Synchronous versus asynchronous command execution.

Figure 9.4: Screenshot of this sample's chapter program in action.

Chapter 10: Tracked Music Playback

Figure 10.1: A screenshot of Impulse Tracker, a popular tracked music editor written by Jeffrey Lim.

Figure 10.2: A screenshot of ScreamTracker, another popular tracked music editor, written by Sami Tammilehto.

Chapter 11: Dynamic Music

Figure 11.1: Illustrates the relationship between parts, PChannels, and audio paths in DirectMusic.

Figure 11.2: You choose the instruments in your band from your DLS collections and the GM sound set.

Figure 11.3: The style and groove level tracks tell DirectMusic what pattern to play next.

Figure 11.4: A sequence of notes in a tracker and in sheet music form.

Figure 11.5: The Groove Level Properties dialog.

Chapter 12: Scripts and Effects

Figure 12.1: Clicking the narrow button on the left will enable/disable the entire variation set.

Figure 12.2: The wave properties window.

Figure 12.3: The wave track properties.

Figure 12.4: The final BigCat segment,with both variations active.

Figure 12.5: Adding references to an audio script.

Figure 12.6: The error dialog generated by AssembleErrorInfoString.

Figure 12.7: the audio path editor.

Figure 12.8: Ucheck the Use standard Buffer check - box to add custom effect to your audio path.

Figure 12.9: The Effect Properties dialog for the echo effect.

Chapter 13: 3D Sound Using DirectX Audio

Figure 13.1: The minimum and maximum distances tell DirectX Audio how far away a sound can be heard.

Figure 13.2: The various buffer properties that influence the volume of a sound.

Figure 13.3: In head-relative mode, buffer positions are relative to the listener.

Figure 13.4: A screenshot of this chapter's sample program.

Chapter 14: 3D Sound Using OpenAL

Figure 14.1: Multiple sources can reference the same buffer.

Figure 14.2: Typical flow when using OpenAL

Chapter 15: Advanced Topics in 3D Sound

Figure 15.1: Shows direct path, early reflections, and late reverb.

Figure 15.2: A graph of the three distinct wave types.

Figure 15.3: A screenshot of the Ch25p2_I3DL2EnvEdit or sample program.

Chapter 16: DirectPlay Voice

Figure 16.1: In a peer-to-peer environment with six players, every time you talk, your voice must be sent to the five other computers.

Figure 16.2: In a forwarding server topology, you send your voice data to a central server; the server takes care of sending it to everyone else.

Figure 16.3: If everybody talks at once, even with a voice server, you'll need 40 kpbs of download bandwidth to receive all 5 streams.

Figure 16.4: A mixing server sends each computer a mix of all the voices it needs.

Figure 16.5: CNetConnectWizard's connect dialog.

Figure 16.6: CNetConnectWizard's new game dialog.

Figure 16.7: The sound hardware test wizard.

Chapter 17: Audio Visualization

Figure 17.1: A screenshot of the ch27p1_visuals sample programe.

Figure 17.2: A cosine wave is a sine wave with a different phase.

Appendix A: Creating Dynamic Music

Figure A.1: Click on the toolbar button that looks like a MIDI port to adjust your MIDI configuration.

Figure A.1: A test project that you can use to see if your MIDI input is working.

Figure A.3: The controls to set an instrument's ID, and whether or not it's a drum set.

Figure A.4: Every instrument in a DLS1 collection has points for attack, sustain, decay, and release (ADSR).

Figure A.5: DLS level 2 instruments have delay, attack, hold, decay, sustain, and release points.

Figure A.6: The band editor of DirectMusic Producer.

Figure A.7: Eight-measure background piano part for Pattern1.

Figure A.8: The note properties window.

Figure A.9: The melody part for Pattern1.

Figure A.10: Background and melody parts for Pattern2.

Figure A.11: The part properties window.

Figure A.12: The intro embellishment pattern.

Figure A.13: The break embellishment pattern.

Figure A.14: A simple motif pattern.

Figure A.15: The secondary playback toolbar.

Figure A.16: The chord properties window.