Whereas A3D focused on 3D positional audio, A3D 2.0's main strongpoint is 3D audio manipulation. Through proprietary algorithms, A3D 2.0 can change the characteristics of sound waves to reflect not only where they originated from relative to the player, but also to emulate the effect that the surrounding environment would have on those sound waves.
To show off these effects, we were given a demonstration of Unreal's second level. Apt players of the game will be quick to note the various ambient sound sources that level produces, which makes it the perfect setting for the MX300 to stretch its legs. The sound of the churning waterfall, the buzz and cackle of the neon sign on the side of the Vortex Rikers and the shrieking rockets let loose by an angry Brute were all represented with pinpoint accuracy, leaving no doubt in our minds which direction and how far each object was. The level could almost be played blindfolded.
If Unreal is the perfect game to demonstrate the MX300's 3D positional audio capability's, then Half-Life is by far the game perfectly suited to demonstrate the card's 3D audio manipulation. Half-Life, for those that don't know, largely takes place in an abandoned underground silo. That setting naturally lends itself to having a lot of enclosed and constricted areas. That, coupled with the heavily industrial feel of most of the levels (concrete, rusted iron, sheet metal, etc), makes A3D 2.0 shine. Sounds that were generated around corners were not only produced to accurately reflect their position, but were slightly muffled and muted as well. Firing the H&K MP5 inside a hallway caused violent echoes to be ricocheted back and forth between the walls. All these variables, such as reverb and echoes, were controlled via Half-Life's console (yes, Half-Life does have a console). Just like gamma and mouse speed, each A3D 2.0 effect in Half-Life has a numerical value attached to it, which can be manipulated to the user's preference. These effects add a whole new dimension to the gameplay experience that has only been tapped very recently.
The Monster Sound MX300 also offers support for the DirectSound3D, DirectSound and DirectInput API's. In addition, since Creative's EAX API is nothing more than an extension of DirectSound3D, the MX300 will have no problem executing EAX titles (Creative lawsuit pending). The MX300's connector towards the back, called the MX-Link, allows for future upgradeability as well. Through the use of the MX-Link, Diamond plans on releasing a fully digital I/O card which, among other things, will offer true 6-speaker support. In addition, the MX300 supports Dolby Digital and DVD acceleration. Diamond demonstrated these features with a short clip the opera sequence from the Fifth Element DVD. Image quality was very acceptable, and the Dolby audio was phenomenal.
Diamond's Monster Sound MX300 will ship with Half-Life: Day One. Other game titles are still under consideration for bundling. Other software includes DVD and MP3 entertainment applications. The MX300 will retail for a very agreeable $99.
