VR development is continuously innovative and cutting-edge, and I’ve been fortunately to experience this first-hand. As an example: one of my more recent virtual reality game projects was music for Audioshield Fitness, developed by the creator of the famous Audiosurf music-rhythm game. I was asked to compose the new official Audioshield Theme for release with the Audioshield Fitness game, which takes the core game mechanics of Audioshield and pumps up the challenge with obstacles that make players dodge and duck to the music. The result is an intense workout that was named as one of the top 5 VR Fitness Games of 2018 by PerfectBodyMate.com. To maximize the power of the Audioshield procedural system, my composition had to attune itself to the system’s powerful music analysis algorithm and deliver moments of both challenge and spectacle. I composed and mixed the music with specifically-targeted EQ frequency ranges where I placed rhythmic elements and punchy crescendoes. The Audioshield music analysis system then reacted to this audio content and changed the pacing and content of gameplay to match these variables. It was a fun challenge! Here’s a video showing how that worked:
Composing for virtual reality is its own unique discipline, requiring a specialized set of skills and tools. In this article, let’s collect some resources that explore the techniques, tools, and technologies associated with VR audio development. Let’s also take a look at the professional community of VR developers that are there to help each other through the rough spots. Ready? Let’s go!
Hey everybody! I’m videogame composer Winifred Phillips. Every year, between working in my studio creating music for some awesome games, I like to take a little time to gather together some of the top online resources and guidance available for newbies in the field of video game music. What follows in this article is an updated and expanded collection of links on a variety of topics pertinent to our profession. We begin with the concert tours and events where we can get inspired by seeing game music performed live. Then we’ll move on to a discussion of online communities that can help us out when we’re trying to solve a problem. Next, we’ll see a collection of software tools that are commonplace in our field. Finally, we’ll check out some conferences and academic organizations where we can absorb new ideas and skills.
Hello there! I’m video game music composer Winifred Phillips. Lately, I’ve been very busy in my production studio composing music for a lot of awesome virtual reality games, including the upcoming Scraper: First Strike first person VR shooter (pictured above) that’s coming out next Wednesday (November 21st) for the Oculus Rift, HTC Vive and Windows Mixed Reality Devices, and will be released on December 18th for the Playstation VR. My work on this project has definitely stoked my interest in everything VR! Since the game will be released very soon, here’s a trailer video released by the developers Labrodex Studios, featuring some of the music I composed for the game:
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?