VR Headphones Update: Video Game Music Composers

Video game composer Winifred Phillips, pictured in her music production studio working on the music of the Dragon Front virtual reality game for Oculus Rift and Samsung Gear VR.

By Winifred Phillips | Contact | Follow

Last year while working on the music of the Dragon Front virtual reality game for Oculus Rift (as pictured above), I gave a lot of consideration to the listening environment in which VR gamers would be hearing my video game music.  Since then I’ve served as the video game composer for several more virtual reality games (which will be released in the next few months).  I’ve also written a number of articles on this subject in order to share what I’ve learned with other game composers.  Last September I devoted two articles to a discussion of audio headphones designed specifically for the demands of virtual reality applications.  You can read those here:

In addition, two years ago I wrote an article that focused on some of the top difficulties associated with choosing the right headphones for VR.  You can read that article here:

Music Composers and Sound Designers in VR: The Headphones Problem

Now, I’d like to revisit the ideas discussed in those articles, so that we can see how the art of VR audio for headphones has progressed.

Let’s start with that article I wrote about “the headphones problem,” a critical issue regarding VR headphones that’s still an important consideration today.

The Headphones Problem

Illustration of the famous "headphones problem," from the article by video game music composer Winifred Phillips.In June of 2015, I wrote an article about the inadvisability of using surround headphones for VR games and experiences.  At the time, most gamers were pointing to surround headphones as the best and most popular choice for awesome gaming audio.  However, surround headphones were never meant to be used with the kind of audio spatialization currently employed in virtual reality development.  VR games usually do not offer their audio in the famous surround-sound format, instead preferring the binaural format.  Surround headphones are typically designed to process non-surround audio into an imitation of surround sound, and this type of signal processing can play havoc with the expert crafting of a spatialized VR soundscape.

Depiction of the popular PlayStation VR, from the article by Winifred Phillips (video game music composer)Since my June 2015 article was published, there have been signs that this issue is being considered and addressed by audio professionals working in VR.  The official FAQ page for the PlayStation VR now advises users to either turn off surround sound mode or use standard stereo headphones when playing their VR games.  “Any surround sound generated by the headphones themselves will interfere with the 3D audio from the PS VR headset,” warns the official PS VR FAQ page.

While this warning is a step in the right direction, it isn’t echoed by similar warnings elsewhere.  A look at the Oculus Rift and HTC Vive web sites doesn’t reveal any advice regarding the use (or avoidance) of surround sound headphones.  Also, some video gaming sites are using terms like “full surround sound” to describe the best audio experience in VR, or are describing VR audio as “creating surround sound within a pair of headphones.”  These sorts of statements have the potential to lead consumers to draw the incorrect conclusion that surround sound headphones are the best choice for VR.

Last September I wrote two articles about headphones designed specifically for VR.  At the time, I focused on four headphone models offering differing features and technologies to enhance the enjoyment of audio in the VR environment. Most of these headphones were either in development or crowdfunding stages and not yet available to the public. Since I planned to post updates about those headphones in this article, I began by doing some research to see what had happened over the course of the intervening year. During this research, I noticed that one of the VR headphone models from my previous article was actively advertising its surround sound capabilities.  With that in mind, I thought that a bit of clarification would now be in order:

OSSIC X

Photo of the famous OSSIC X headphones, from video game composer Winifred Phillips' article about headphone tech for VR.After reading an early review article from PCWorld.com of the OSSIC X headphones (pictured left), I was struck by the emphasis on the surround sound capabilities of the headphones, and the (incorrrect) assumption on the part of the PCWorld reviewer that surround sound headphones are preferable for VR.  “(Surround-sound headsets are) definitely better than stereo headsets, especially for VR, but far from ideal,” writes PCWorld.

While the OSSIC X headphones include surround-sound compatibility, this function is not what distinguishes the OSSIC X in VR.  Instead, the Illustration of the OSSIC X multi-driver array, from the article by Winifred Phillips (video game music composer).OSSIC X headphones feature a multi-driver array (illustrated right) that allows the audio content to be spatialized with a greater degree of accuracy than what is afforded by typical stereo headphones.  This multi-driver technology operates in tandem with the audio localization data in a virtual reality game, enabling the OSSIC X to effectively localize sounds to their exact spatial positions in VR.  However, in order for the OSSIC X to fully utilize its drivers for this purpose, it needs to be able to communicate with the game’s audio data by virtue of a plugin developed by OSSIC. “Developers will need to work with the OSSIC plugin to be able to make full use of the OSSIC technology,” says Sally Kellaway, OSSIC’s Creative Director.

So, what if the VR game we’re currently playing wasn’t designed to be compatible with the OSSIC plugin?  Will the OSSIC X still provide any extra spatial enhancement?  The official website lets us know that “any existing stereo content can be spatialized as a virtual soundstage.” A gamer might think, ‘binaural is essentially a stereo format, so maybe the extra spatialization will make this VR audio cooler!’  However, that kind of spatialization isn’t at all desirable for VR games, according to Kellaway.  “In the use case where the OSSIC X is being used with a VR game that is developed with a generic plugin, the (OSSIC X) can be put into “bypass” mode that basically just reverts them back to standard headphones. At this point, you don’t get the majority of the features, but they’re still extremely high quality headphones that have been developed to sound great and provide a passively isolated experience.”

Illustration of the "on-off" states for the popular surround-sound format in headphones, from the article by video game music composer Winifred Phillips.So, OSSIC advises us to check that our VR game is running the compatible plugin, and if it isn’t, to put them into “bypass mode” which will essentially turn any extra spatial processing off.  That’s an important detail to know about, and OSSIC is committed to keeping its user-base informed.  “The OSSIC processing and Headtracking can be switched on and off by the listener,” Kellaway tells us, “and it’s one of our key goals to educate our customers on how to use their headphones with all types of media.”

When used with a compatible VR game, the OSSIC X promises a mind-blowing sonic experience. Unfortunately, the production schedule for the headphones has been slower than originally anticipated.  While the Developer Kickstarter units were scheduled to be shipped in August 2017, developers are reporting that their OSSIC X developer units have only now begun to arrive. Meanwhile, OSSIC has ceased taking pre-orders, meaning that consumers can only add their information to a waitlist and hope for the best.

Now, let’s take a quick look at the three other VR headphone models I wrote about last year, to see how things have developed:

 

Plantronics RIG 4VR

Photo of the Plantronics RIG 4VR (designed to support several of the famous virtual reality gaming systems), from the article by video game music composer Winifred Phillips.The Plantronics RIG 4VR (pictured right) has now hit retail.  These headphones are distinguished primarily by a color scheme that coordinates with the PlayStation VR and smaller earcups that don’t bump up against the PSVR headgear. TrustedReviews gave the Plantronics RIG 4VR four-out-of-five stars.  “Sure, you can get headphones that offer greater detail and dynamism,” writes Ced Yuen of TrustedReviews, “but if you want the two-way audio of a headset, and one that looks like it was made for your fancy new VR kit, this does the job nicely.”

CEEKARS VR

Photo depicting the popular anticipated CEEKARS VR headphones, from the article by video game music composer Winifred Phillips.Unfortunately, there’s bad news for anyone looking forward to the release of these headphones.  The CEEK VR company promised that the CEEKARS VR headphones (pictured left) would offer haptic feedback in the headband, as well as on-board physics-based audio rendering that would enhance the spatialization of VR sound without the need for any special software development kits or plugins.  However, in February of last year, the CEEK VR founder Mary Spio told the project’s backers that she anticipated there’d be “a few more months to go” before the headphones would be available, and that backers should request a refund.  The company has promised to run a new crowdfunding campaign in the indeterminate future when they are closer to launch.  In the meantime, the product has disappeared from the CEEK VR website.  It seems that the company has turned its focus to their CEEK Virtual Reality headset system.  Ironically, the headset is pictured on their website without any audio delivery of any kind (earbuds or headphones).

Entrim 4D

A photo of the Entrim 4D headphones, from the article written by Winifred Phillips (video game music composer).These headphones (pictured right) were promised to offer us a very unique experience.  When wearing these headphones, our heads would receive a set of electrical signals that would stimulate our galvanic vestibular systems, creating specific sensations of movement by manipulating our sense of balance.  Unfortunately, since I wrote about these headphones last year, the manufacturer Samsung has released no subsequent information, and there’s been no news about any projected release date.  Considering that these headphones send electrical signals into people’s heads, we may be safe in assuming that they’ll require extensive safety testing prior to launch.  On the other hand, it may be that Samsung has very quietly ceased development on the Entrim 4D headphones project.  I’ll continue to keep an eye out for any news about this intriguing headphone technology.

Conclusion

So, that concludes this article that gathers together some of the developments in headphones designed for VR.  Please let me know what you think in the comments below!

 

Photo of video game composer Winifred Phillips in her music production studio.Winifred Phillips is an award-winning video game music composer whose most recent projects are the triple-A first person shooter Homefront: The Revolution and the Dragon Front VR game for Oculus Rift. Her credits include games in five of the most famous and popular franchises in gaming: Assassin’s Creed, LittleBigPlanet, Total War, God of War, and The Sims. She is the author of the award-winning bestseller A COMPOSER’S GUIDE TO GAME MUSIC, published by the MIT Press. As a VR game music expert, she writes frequently on the future of music in virtual reality games. Follow her on Twitter @winphillips.

Video Game Music Composers: New VR Headphones

Video game composer Winifred Phillips, pictured in her music production studio.

By Winifred Phillips | Contact | Follow

As a video game composer, I’ve been working in my studio composing music for quite a few virtual reality projects lately (as pictured above), so I’ve been thinking a lot about issues related to audio in the VR environment.  Those issues include how gamers experience the audio content through various headphone models.  In this article, I thought we’d take a look at three newly-announced headphone models that are targeting the VR marketplace, and see what new technologies are being proposed to facilitate the best and most awesome VR audio experiences.  So, let’s get started!

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Understanding Audio in VR – A Game Music Composer’s Resource Guide

Video game music composer Winifred Phillips working in her game composers production studio.

By Winifred Phillips | Contact | Follow

When I’m not at work in my studio making music for games, I like to keep up with new developments in the field of interactive entertainment, and I’ll often share what I learn here in these articles.  Virtual reality is an awesome subject for study for a video game composer, and several of my recent projects have been in the world of VR.  Since I’m sure that most of us are curious about what’s coming next in virtual reality, I’ve decided to devote this article to a collection of educational resources.  I’ve made a point of keeping our focus general here, with the intent of understanding the role of audio in VR and the best resources available to audio folks.  As a component of the VR soundscape, our music must fit into the entire matrix of aural elements, so we’ll spend this article learning about what goes into making expert sound for a virtual reality experience. Let’s start with a few articles that discuss methods and techniques for VR audio practitioners.

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VRDC 2017 takeaways: VR music for the game composer

Video game music composer Winifred Phillips, at work in her music production studio - from the article about music for virtual reality / VR.The Game Developers Conference is always an awesome opportunity for game audio experts to learn and share experiences.  I’ve given presentations at GDC for a few years now, and I’m always excited to hear about what’s new and notable in game audio.  This year, the hot topic was virtual reality.  In fact, the subject received its own dedicated sub-conference that took place concurrently with the main GDC show.  The VRDC (Virtual Reality Developers Conference) didn’t focus particularly on the audio and music side of VR, but there were a couple of notable talks on that subject.  In this article, let’s take a look at some of the more intriguing VR game music takeaways from those two talks.  Along the way, I’ll also share some of my related experience as the composer of the music of the Dragon Front VR game for the Oculus Rift (pictured above).

Inside and outside

The talks we’ll be discussing in this article are entitled “Audio Adventures in VR Worlds” and “The Sound Design of Star Wars: Battlefront VR.”  Here’s a common issue that popped up in both talks:

An illustration of music in the popular VR platform, from the article by Winifred Phillips (video game composer).Where should video game music be in a VR game?  Should it feel like it exists inside the VR world, weaving itself into the immersive 3D atmosphere surrounding the player?  Or should it feel like it’s somehow outside of the VR environment and is instead coasting on top of the experience, being conveyed directly to the player?  The former approach suggests a spacious and expansive musical soundscape, and the latter would feel much closer and more personal.  Is one of these approaches more effective in VR than the other?  Which choice is best?

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Resources For Video Game Music Composers

Video game music composer Winifred Phillips, at work in her music production studio.

By Winifred Phillips | Contact | Follow

I’m pleased to announce that my book, A Composer’s Guide to Game Music, is now available its new paperback edition! I’m excited that my book has done well enough to merit a paperback release, and I’m looking forward to getting to know a lot of new readers!  The paperback is much lighter and more portable than the hardcover.  Here’s a view of the front and back covers of the new paperback edition of my book (click the image for a bigger version if you’d like to read the back cover):

award-winning video game music composer Winifred Phillips' book, A Composer's Guide to Game Music, is now available in paperback.

From the article by Winifred Phillips (composer of video game music) - depiction of the book cover of A COMPOSER'S GUIDE TO GAME MUSIC.As you might expect, many aspiring game composers read my book, and I’m honored that my book is a part of their hunt for the best resources to help them succeed in this very competitive business.  When I’m not working in my music studio, I like to keep up with all the great new developments in the game audio field, and I share a lot of what I learn in these articles. Keeping in mind how many of my readers are aspiring composers, I’ve made a point of devoting an article once a year to gathering the top online guidance currently available for newcomers to the game music profession.  In previous years I’ve focused solely on recommendations gleaned from the writings of game audio pros, but this time I’d like to expand that focus to include other types of resources that could be helpful.  Along the way, we’ll be taking a look at some nuggets of wisdom that have appeared on these sites.  So, let’s get started!

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Video game music systems at GDC 2017: tools and tips for composers

Photo of video game composer Winifred Phillips, working in her music production studio on the music of the SimAnimals video game.

By video game composer Winifred Phillips | Contact | Follow

Welcome back to this three article series that’s bringing together the ideas that were discussed in five different GDC 2017 audio talks about interactive music!  These five speakers explored discoveries they’d made while creating interactivity in the music of their own game projects.  We’re looking at these ideas side-by-side to broaden our viewpoint and gain a sense of the “bigger picture” when it comes to the leading-edge thinking for music interactivity in games. We’ve been looking at five interactive music systems discussed in these five GDC 2017 presentations:

In the first article, we examined the basic nature of these interactive systems. In the second article, we contemplated why those systems were used, with some of the inherent pros and cons of each system discussed in turn.  So now, let’s get into the nitty gritty of tools and tips for working with such interactive music systems.  If you haven’t read parts one and two of this series, please go do so now and then come back:

  1. Video game music systems at GDC 2017: what are composers using?
  2. Video game music systems at GDC 2017: pros and cons for composers

Ready?  Great!  Here we go!

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Video game music systems at GDC 2017: pros and cons for composers

Video game composer Winifred Phillips, pictured in her music production studio working on the music of LittleBigPlanet 2 Cross Controller

By Winifred Phillips | Contact | Follow

Welcome back to our three article series dedicated to collecting and exploring the ideas that were discussed in five different GDC 2017 audio talks about interactive music!  These five speakers shared ideas they’d developed in the process of creating interactivity in the music of their own game projects.  We’re looking at these ideas side-by-side to cultivate a sense of the “bigger picture” when it comes to the leading-edge thinking for music interactivity in games. In the first article, we looked at the basic nature of five interactive music systems discussed in these five GDC 2017 presentations:

If you haven’t read part one of this article series, please go do that now and come back.

Okay, so let’s now contemplate some simple but important questions: why were those systems used?  What was attractive about each interactive music strategy, and what were the challenges inherent in using those systems?

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