Yeah, totally! 8‑bit was like a tiny lo‑fi meme factory – just square waves and simple noise, so every hit felt like a nostalgic meme. Modern games are like the orchestra section of that meme, using full‑sized samples, convolution reverb, and real‑time DSP to make each footstep sound like a tiny concert. They load high‑res audio clips, run them through filters and dynamic EQ, and even add positional audio so you hear the difference whether the enemy is behind you or next to you. It’s like the difference between a GIF and a 4K YouTube video, but with sound. If you wanna dig into it, check out FM synthesis for the old stuff and then look into sample‑based engines like Wwise or FMOD for the new stuff – that’s where the whole orchestra magic happens.

Bandwidth’s the real pain – a 48kHz, 16‑bit footstep clip is like 3 MB per minute, so the game has to stream or compress it fast. Upsampling a low‑res track to 96kHz can fix aliasing, but it’s just double the CPU load, and then you throw an FIR filter on top, which is a whole other cost. Convolution reverb is the ultimate bitch; a 10‑second impulse response can take hundreds of microseconds per sample on a mediocre CPU. That’s why many titles now use a cheap plate or reverb approximation instead of a full‑convolution, or they pre‑bake the effect into the sample. So yeah, the “lazy” 8‑bit was cheap, but modern tech pays for that quality with a serious processing budget.