Delighted you’re here! I’m very pleased to share that over the next two months I’ll be speaking at two fantastic events focusing on music in video games! My two presentations will explore the unique structure and character of video game music, and how it helps to better envelop players in the worlds that game designers have created. I thought that this article might be a good opportunity to delve into some of the ideas that form the basis of my two upcoming talks. First, I’d like to share some details about the presentations I’ll be giving.
The Library of Congress has invited me to speak this April as a part of their “Augmented Realities” video game music festival. My presentation, “The Interface Between Music Composition and Game Design,” will take place at the Library of Congress in Washington DC. I’m very excited to participate in this event, which will be the first of its kind hosted by the “Concerts from the Library” series at the Library of Congress! The “Augmented Realities” video game music festival will also include panels on video game music history and preservation presented by distinguished curators and archivists at the Library of Congress, a special documentary screening that explores the ChipTunes movement, and a live “game creation lab.” My presentation will be the concluding lecture of the festival, and I’m honored to speak at such an illustrious event! If you find yourself in the Washington DC area on April 6th 2019, you’re very welcome to come to my lecture at the Library of Congress! Tickets are free (first come, first served), and they’re available now via EventBrite.
But before my lecture at the Library of Congress, I’ll be making a trip to San Francisco for the famous Game Developers Conference that takes place this month. For the past few years I’ve been excited and honored to be selected as a Game Developers Conference speaker in the Game Audio track, and I’m happy to share that I’ll be speaking again this month in San Francisco at GDC 2019! My talk this year is entitled “How Music Enhances Virtual Presence.”
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!
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:
Hey, everyone! I’m videogame composer Winifred Phillips, and my work has included the musical scores for top games on all sorts of popular gaming platforms, from handhelds and mobile, all the way up to the latest consoles and PCs. Lately, I’ve been doing a lot of video game music composition for virtual reality. I had the pleasure of presenting a lecture on Music in Virtual Reality (pictured left) at the most recent Game Developers Conference in San Francisco.
By virtue of all the experiences I’ve had recently creating music for VR, I’ve become keenly aware of the importance of sound fidelity in VR. If the experience doesn’t sound real, it loses the chance to actually feel like a fully-convincing, thoroughly awesome virtual reality experience. With that in mind, I’ve been writing periodic articles about new technologies in connection with headphones for VR.
Glad you’re here! I’m videogame composer Winifred Phillips. My work as a game music composer has included music for projects released on nearly all of the gaming platforms, from one of my most recent projects (a Homefront game released on all the latest consoles and PCs) to one of my earliest projects (a God of War game released on PlayStation 2, PlayStation 3, and PlayStation Vita, pictured above). You can read about my work as a video game composer in an interview I gave to Music Connection Magazine for this month’s issue (pictured right).
Lately, I’ve also been creating lots of video game music for awesome virtual reality games developed for the Oculus Rift, Oculus Go, HTC Vive, Samsung Gear VR, PlayStation VR, and lots of other top VR platforms. One of the things I’ve noticed while working in VR is the immense importance of the audio delivery mechanism.
When audio is painstakingly spatialized, it becomes crucial to convey that carefully-crafted spatialization to the player with as little fidelity loss as possible. With the importance of this issue in mind, for the past few years I’ve been periodically writing about headphones in relation to their use in virtual reality.
Hi! I’m videogame composer Winifred Phillips, and today let’s spend a little time discussing the allure of composing music for virtual reality. There are a lot of reasons why we video game composers might be excited about creating music for VR games. The technology of immersive virtual experiences has the potential to offer an intensity of emotional involvement transcending most other forms of entertainment. What game music composer wouldn’t be inspired by that? However, it’s tough to be inspired by something we may not have experienced yet. Becoming a VR gamer can be a fantastic rush, but the financial barriers to entry can be pretty high. The top VR headsets and gear require a VR-ready computer, and purchasing the computer and the VR hardware together can easily exceed two thousand dollars. While there are lower-cost VR options (such as headsets designed to work with mobile phones), the virtual experience provided by these economical VR systems can offer only a fraction of the spectacle delivered by the high-end models. If we want to take our first steps into a dazzling virtual world, but we don’t have a bucket of cash on hand, what do we do?
Delighted you’re here! I’m videogame composer Winifred Phillips, and I’m happy to welcome you back to this four-part article series exploring the role of music in VR games! These articles are based on the presentation I gave at this year’s game Developer’s Conference in San Francisco, entitled Music in Virtual Reality (I’ve included the official description of my talk at this end of this article). If you haven’t read the previous three articles, you’ll find them here:
During my GDC presentation, I focused on three important questions for VR game music composers:
Do we compose our music in 3D or 2D?
Do we structure our music to be Diegetic or Non-Diegetic?
Do we focus our music on enhancing player Comfort or Performance?
In the course of exploring these questions during my GDC presentation, I discussed my work on four of my own VR game projects –the Bebylon: Battle Royale arena combat game from Kite & Lightning, the Dragon Front strategy game from High Voltage Software, the Fail Factory comedy game from Armature Studio, and the Scraper: First Strike shooter/RPG from Labrodex Inc.