VR系列——Oculus Audio sdk文档：二、Oculus音频SDK指南（4~5）——声音传播时长及缺陷和解决办法

声音传播时长（Sound Transport Time）

  声音需要时间去传播，变现在看到某物和听到它之间明显的延迟时间（例如你可以看到枪口冒烟并且步枪发射了一百米以外中间大约有330ms的延迟在你听到枪声之前）。
  Sound takes time to travel, which can result in a noticeable delay between seeing something occur and hearing it (e.g., you would see the muzzle flash from a rifle fired 100 m away roughly 330 ms before you would hear it).

  我们不对声音传播时间做模型，因为这将导致额外的复杂问题，并且他会使物体看起来不真实，因为大多数人都受制于大众传媒相信大声的距离声音行动会被立即听到。如果需要的话，开发人员可能会推迟一个声音的出现来适当的模拟效果。
  We do not model sound propagation time, as it would incur additional complexity, and it can have the paradoxical effect of making things seem less realistic, as most people are conditioned by popular media to believe that loud distance actions are immediately audible. Developers may delay a sound’s onset appropriately to simulate that effect, if desired.

缺陷和解决办法（Pitfalls and Workarounds）

  空间化和房间效果大大有助于现实化，但是他们是需要一定代价的。
  Spatialization and room effects greatly contribute to realism, but they come at a cost.

性能（Performance）

  空间化引起了一个性能影响因为每个附加音必须放置在三维声场。程度不同取决于平台。比如：在一个高端PC设备，可能会被合理的空间化50+声效，但是在手机设备上你可能只能空间化一个或两个声效。
  Spatialization incurs a performance hit for each additional sound that must be placed in the 3D sound field. This cost varies, depending on the platform. For example, on a high end PC, it may be reasonable to spatialize 50+ sounds, while you may only be able to spatialize one or two sounds on a mobile device.

  一些声音可能不利于空间化即使它是被放置在3D世界。比如：很低的声响或者方向感不好的无人机并且可以作为标准立体声播放通过一些平移和减弱。
  Some sounds may not benefit from spatialization even if placed in 3D in the world. For example, very low rumbles or drones offer poor directionality and could be played as standard stereo sounds with some panning and attenuation.

可听的人工产品（Audible Artifacts）

  当一个3D声音穿过空间，不同的HRTFs 和弱化功能可能会变得活跃，潜在的介绍音频缓冲区边界的间断点。这些间断点会常常表现在点击，弹出或者波动。他们可能在某种程度上被掩盖，通过降低声音和确保传输速度使你的声音有广泛的光谱内容。
  As a 3D sound moves through space, different HRTFs and attenuation functions may become active, potentially introducing discontinuities at audio buffer boundaries. These discontinuities will often manifest as clicks, pops or ripples. They may be masked to some extent by reducing the speed of traveling sounds and by ensuring that your sounds have broad spectral content.

延迟（Latency）

  因为延迟影响了VR的所有方面，这通常被视为一个图形化的问题。然而，音频延迟也可以被破坏和沉浸式破坏。这取决于主机系统的速度和潜在的音频层，从缓存区提交到音频输出的延迟最少是2ms在一个高性能的高端配置，低延迟音频接口PC上或者在最坏情况下，只要几百ms。
  While latency affects all aspects of VR, it is often viewed as a graphical issue. However, audio latency can be disruptive and immersion-breaking as well. Depending on the speed of the host system and the underlying audio layer, the latency from buffer submission to audible output may be as short as 2 ms in high performance PCs using high end, low-latency audio interfaces, or, in the worst case, as long as hundreds of milliseconds.

  高级系统延迟成为一个问题当音频源和听者之间的相对速度增加的时候。在一个画面移动缓慢的相对静态的场景，音频延迟是很难被察觉的。
  High system latency becomes an issue as the relative speed between an audio source and the listener’s head increases. In a relatively static scene with a slow moving viewer, audio latency is harder to detect.

VR游戏和非VR游戏的兼容性（Compatibility between VR and Non-VR Games）

  Few developers have the luxury of targeting VR headsets exclusively, and must support traditional, nonVR games using external speakers and without the benefit of positional tracking. Weighing quality versus compatibility can be difficult and incur development time.
  一些开发者有豪华的专用VR耳机，一般必须支持，非VR游戏使用外部扬声器并且没有位置追踪的优势。重质量与兼容性变得困难并且加大了开发时间。