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.
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):
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!
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:
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:
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?
By video game music composer Winifred Phillips | Contact | Follow
The 2017 Game Developers Conference could be described as a densely-packed deep-dive exploration of the state-of-the-art tools and methodologies used in modern game development. This description held especially true for the game audio track, wherein top experts in the field offered a plethora of viewpoints and advice on the awesome technical and artistic challenges of creating great sound for games. I’ve given GDC talks for the past three years now (see photo), and every year I’m amazed at the breadth and diversity of the problem-solving approaches discussed by my fellow GDC presenters. Often I’ll emerge from the conference with the impression that we game audio folks are all “doing it our own way,” using widely divergent strategies and tools.
This year, I thought I’d write three articles to collect and explore the ideas that were discussed in five different GDC audio talks. During their presentations, these five speakers all shared their thoughts on best practices and methods for instilling interactivity in modern game music. By absorbing these ideas side-by-side, I thought we might gain a sense of the “bigger picture” when it comes to the current leading-edge thinking for music interactivity in games. In the first article, we’ll look at the basic nature of these interactive systems. We’ll devote the second article to the pros and cons of each system, and in the third article we’ll look at tools and tips shared by these music interactivity experts. Along the way, I’ll also be sharing my thoughts on the subject, and we’ll take a look at musical examples from some of my own projects that demonstrate a few ideas explored in these GDC talks:
I was pleased to give a talk about composing music for games at the 2016 Game Developers Conference (pictured left). GDC took place this past March in San Francisco – it was an honor to be a part of the audio track again this year, which offered a wealth of awesome educational sessions for game audio practitioners. So much fun to see the other talks and learn about what’s new and exciting in the field of game audio! In this blog, I want to share some info that I thought was really interesting from two talks that pertained to the audio production side of game development: composer Laura Karpman’s talk about “Composing Virtually, Sounding Real” and audio director Garry Taylor’s talk on “Audio Mastering for Interactive Entertainment.” Both sessions had some very good info for video game composers who may be looking to improve the quality of their recordings. Along the way, I’ll also be sharing a few of my own personal viewpoints on these music production topics, and I’ll include some examples from one of my own projects, the Ultimate Trailers album for West One Music, to illustrate ideas that we’ll be discussing. So let’s get started!
As a speaker in the audio track of the Game Developers Conference this year, I enjoyed taking in a number of GDC audio sessions — including a couple of presentations that focused on the future of interactive music in games. I’ve explored this topic before at length in my book (A Composer’s Guide to Game Music), and it was great to see that the game audio community continues to push the boundaries and innovate in this area! Interactive music is a worthwhile subject for discussion, and will undoubtedly be increasingly important in the future as dynamic music systems become more prevalent in game projects. With that in mind, in this blog I’d like to share my personal takeaway from two sessions that described very different approaches to musical interactivity. After that, we’ll discuss one of my experiences with interactive music for the video game Spore Hero from Electronic Arts (pictured above).
Baldursson began the presentation by explaining why an intelligent music system for games can be a necessity. “We basically want an intelligent music system because we can’t (or maybe shouldn’t really) precompose all of the elements,” Baldursson explains. He describes the conundrum of creating a musical score for a game whose story is still fluid and changeable, and then asserts, “I think we should find ways of making this better.”