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The Oculus Spatializer provides dynamic room modeling, which enables sound reflections and reverb to be generated based on a dynamically updated model of the current room within the VR experience and the user’s position within that space.
Prior to the 1.22 release, the Oculus Spatializer could only use a simple reflection model based on a rectangular prism “shoebox”. This approach is quite effective at filling the space and making it sound natural. With this approach, sound reflections and reverb are binaurally spatialized, meaning the timing, volume, and other effects are different in each ear. This provides the right cues to reinforce the directionality of the sound. This simple shoebox reflection system is designed for ease of use and always places the listener at the center with the dimensions of the box set by the sound designer. This allows for a simple workflow where everything is controlled in the middleware tools. The sound designer can determine the dimensions and reflection coefficients for the walls of the box in order to obtain more natural sounding spatialization that fits as closely as possible to the VR experience.
However, because the room is a fixed size, this simple approach is somewhat limited. The listener was always placed in the center, even when they move near a wall or other fixed object within the experience. In addition, reverb offers little value because it isn’t dynamic. The Oculus Spatializer now provides more dynamic capabilities to further increase the realism of the sound without greatly increasing the computational complexity or impacting the workflow.
In the 1.22 and later releases, the Oculus Spatializer integrates with the game engine in order to fit the shoebox to the actual space within the VR experience, making it dynamically conform to the shape and size of the space. This enables the dimensions of the room to change dynamically and enables the sound characteristics to change as the listener moves within the room. In order to achieve this, the Spatializer uses raycasting within the game engine. To keep this simple, there is a default implementation that connects the Spatializer to the engine raycaster. It is designed to be as lightweight as possible, so there are only a small number of rays that are cast. In addition, it maintains a history of previous raycast results and refines the estimation over time.
The Spatializer also includes a visualization option in the Unity Editor, enabling you to see the dimensions of the room and where the rays are hitting. The ability to visualize the raycasting is particularly useful for dealing with unintentional collisions with geometry that isn’t meant to affect the sound, such as UI objects.
To use the Oculus Spatializer within the Unity Editor, attach the following script to a game object:
Add Componentbutton and search for
Oculus Spatializer Unity.
From the results, select
Oculus Spatializer Unity.
The easiest approach is to add this script to a static, empty game object in the scene. It will then activate the geometry engine, overriding the current implementation.
The script exposes public variables that can be accessed after the game object with the script is added to the scene:
You can modify the following variables:
Direct Sounds, Reflections, and Reverb
Following is a brief explanation about the difference between direct sounds, reflections and reverb.
When a sound is generated, the listener initially hears the direct sound. This is the strongest signal the listener hears, and for our spatializer, is key to localizing a sound in 3D. In an anechoic chamber, you would hear only the direct sound because the reflections are absorbed by the walls. In the real world, these sounds would be dry and unrealistic because sounds always find objects to bounce off and return to the listener.
Next is reflections. When you are in a room, the sound hits the walls, some of it is absorbed, and some bounces back into the room as reflections. The immediate reflection of the sound is called first order reflection. In a room with six sides, such as a box, the listener first hears the direct sound, followed by six reflections. When the six first-order reflections bounce off the walls again, each one creates another six reflections, creating a total of 36 (6 x 6 = 36). These reflections are much quieter than the first six and are called second-order reflections.
First and second order reflections are unique in that they are fairly distinct. They are like an echo in that the sound is very similar to the original. First, second and even third order (36 * 6) are considered part of the reflection portion of the sound. Reflections are the second most important piece of the spatializer; they give the listener a sense of the shape of the room.
Reverberation takes reflections one step further. After the third order reflection, the bounces start getting fuzzy and undefined. The result is a network of bounces that sound like continuous noise. These high-order bounces are the reverb portion of the sound and are modeled differently from the reflection portion because simulating them is CPU-intensive. We do tricks to cut down on the CPU and approximate the high order bounces.
In our terminology, reflections are the first few bounces that still sound discreet, and reverb is the higher order bounces that are indistinguishable from each other.