In reality, your constatly redrawing the target's track as new "sound contact" lines are drawn. The basic assumption is that the enemy is traveling in a straight line (so that means that the systems doesn't work too good on a zigzaging target, and flops miserably if the target changes course) So your always trying to figure out what straight track satisfies the condition of crossing all of the different "sound contact" lines that you drew. In the begining, there's an almost infinite amount of different posibilities, but pretty soon, as you draw more and more contact lines, it will become very evident that there is only one possible solution. Specialy when you are able to catch the change from long to medium range or from medium to short range. The "choke points" created there limit the possibilities down a lot.
You can see this in action more evidently in the second example. In it the target was traveling from the right of the image to the left, with a course of about 260 degrees (I forgot the exact heading). From the right to the left, the first five lines correspond to the target being at long range. Then theres four more lines, continuing to the left, that were made at medium range, and then there's one last one made at short range. That creates two choke points (at spots where the target closed range from one level to the next) that pretty much narrows the posibilities to almost only one solution.
Of course, it really helps if you have obtained your target from a "radio contact" (the ship icons that pop up out of nowhere on the nav-map) since that will fix one of the end points for the target's track (which is why in the first example I only required so little "sound contact" lines before I knew the target's track dead on).
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