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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VR for the Game Music Composer – Artistry and Workflow

Since the game audio community is abuzz with popular excitement about the impending arrival of virtual reality systems, I’ve been periodically writing blogs that gather together top news about developments in the field of audio and music for VR.  In this blog we’ll be looking at some resources that discuss issues relating to artistry and workflow in audio for VR:

  • We’ll explore an interesting post-mortem article about music for the VR game Land’s End.  
  • We’ll be taking a closer look at the 3DCeption Spatial Workstation.
  • We’ll be checking out the Oculus Spatializer Plugin for DAWs.

Designing Sound for Virtual Reality

In these early days of VR, postmortem articles about the highs and lows of development on virtual reality projects are especially welcome.  Freelance audio producer and composer Todd Baker has written an especially interesting article about the audio development for the Land’s End video game, designed for the Samsung Gear VR system.

Here, you see me trying out the Samsung Gear VR, as it was demonstrated on the show floor at the Audio Engineering Society Convention in 2015.

Here, you see me trying out the Samsung Gear VR, as it was demonstrated on the show floor at the Audio Engineering Society Convention in 2015.

Todd Baker is best known for his audio design work on the whimsical Tearaway games, and his work as a member of the music composition team for the awesome LittleBigPlanet series. His work on Land’s End for Ustwo Games affords him an insightful perspective on audio for virtual reality. “In VR, people are more attuned to what sounds and feels right in the environment, and therefore can be equally distracted by what doesn’t,” writes Baker.  In the effort to avoid distraction, Baker opted for subtlety in regards to the game’s musical score. Each cue began with a gentle fade-in, attracting little notice at first so as to blend with the game’s overall soundscape in a natural way.

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