After all the E3 hoopla, a notable little announcement trickled out last week - a new version (of an old version) of

Doom

, the classic first person shooter, is coming for the iPhone this month.



Once again, John Carmack - id Software co-founder and technical director - is pushing the limits of hardware just as he has so many times before (as I chronicle my book Masters of Doom).  Real compelling 3D games have yet to find a home on the iPhone, and Doom will be a good test. Carmack is collaborating with a Dallas-based developer called Escalation on the project.  Escalation includes some familiar names from Doom lore, including Shawn Green, an early id Software employee, and Tom Mustaine, a formidable Quake compettior back in the day who went on to become a developer.  



Carmack says that the team was able to repurporse assets from Doom 3 for Resurrection.  Early gameplay footage suggests a nice hybrid of stripped down Doom action with a modern sheen - and, IMHO, thankfully jettisons some of D3's ploddingly moody dark corners and shadows.  It'll be interesting to see how Doom Classic, a more faithful porting of the original title, looks in comparision when it hits, supposedly this month too.  And id fans take note - an iPhone spin on Wolfenstein called

Wolfenstein

RPG is also on the way.



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Deep Learning Could Bring the Concert Experience Home

The century-old quest for truly realistic sound production is finally paying off

12 min read
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Stuart Bradford
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Now that recorded sound has become ubiquitous, we hardly think about it. From our smartphones, smart speakers, TVs, radios, disc players, and car sound systems, it’s an enduring and enjoyable presence in our lives. In 2017, a survey by the polling firm Nielsen suggested that some 90 percent of the U.S. population listens to music regularly and that, on average, they do so 32 hours per week.

Behind this free-flowing pleasure are enormous industries applying technology to the long-standing goal of reproducing sound with the greatest possible realism. From Edison’s phonograph and the horn speakers of the 1880s, successive generations of engineers in pursuit of this ideal invented and exploited countless technologies: triode vacuum tubes, dynamic loudspeakers, magnetic phonograph cartridges, solid-state amplifier circuits in scores of different topologies, electrostatic speakers, optical discs, stereo, and surround sound. And over the past five decades, digital technologies, like audio compression and streaming, have transformed the music industry.

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