Teasers
Prick up your ears, dear listeners, tap out the carpet of sound and start with the drum roll. Today our columnist Christian Burtchen is devoting himself to music in games.
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In the beginning there was the beep: as early as 1975, the Magnavox Odyssey model 100 was able to emit something with a module called a “beeper” that at least physically corresponded to the definition of acoustic signals. At that time, actual music still required a trip to the arcade, but soon it became louder and more pleasant at home too. The first melodies, the first continuous accompanying music, real or simulated polyphony: the sound advances of this era were in no way inferior to the graphic ones.
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| The sound advances of this era were in no way inferior to the graphic ones. |
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Of course, I won't go into every Dolby standard, every MIDI table and trivia note about IRQ assignments here, but there is still a personal anecdote from the bank neighbor. At the end of the 90s, Christoph and I argued about rating systems. The additive system of PC power awarded the same number of points for graphics and sound, just like they did later GameStar should do (also see my column “About Ratings”) – for Christoph with his great Vobis PC and as a 3D pioneer, this is an absurdity when the graphics are so much more important, but for me as an educational citizen aspirant who “voluntarily” takes piano lessons, it is a solid balance . Unusually early in the stream of consciousness we come to the first call for audience participation: How do you fundamentally see the relevance of these two elements? And has your perception or prioritization changed over time?
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