Video Game Music Composers: New VR Headphone Tech (2018)

By Winifred Phillips | Contact | Follow

In this article for and about the craft of video game composers, Winifred Phillips is pictured in this photo from her lecture on Virtual Reality given at the popular Game Developers Conference in 2018.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.

My experience as a composer for VR includes many VR games, including the Scraper: First Strike shooter (set to be released for the PSVR, Oculus Rift and HTC Vive in December 2018), and the recently released VR experience The Haunted Graveyard, which is now available on Steam and in VR Arcades around the world.  Since we’re in the Halloween season, and this VR experience is designed specifically for your Halloween pleasure, here’s a trailer that features my music from The Haunted Graveyard:

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.

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AES Convention: What’s New on the Show Floor

This past weekend, the Audio Engineering Society held its annual North American convention in the Jacob Javits Center in New York City. I was participating as an AES speaker, but I also knew that AES includes an exhibit floor packed with the best professional audio equipment from all the top manufacturers, and I didn’t want to miss that! So, in between my game audio panel presentation on Saturday, and the Sunday tutorial talk I gave on the music system of the LittleBigPlanet franchise, I had the pleasure of searching the show floor for what’s new and interesting in audio tech. Here are some of the attractions that seemed most interesting for game audio folks:

Fraunhofer/Cingo - Winifred PhillipsOne of the most interesting technologies on display at AES this year was Fraunhofer Cingo – an audio encoding technology developed specifically to enable mobile devices to deliver immersive sound for movies, games and virtual reality. Cingo was developed by the institute responsible for the MP3 audio coding format.  According to Fraunhofer, the Cingo technology “supports rendering of 3D audio content with formats that add a height dimension to the sound image, such as 9.1, 11.1 or other channel combinations.”  This enables mobile devices to emulate “the enveloping sound of movies, games or any other virtual environment.”   While I was there, Fraunhofer rep Jennifer Utley gave me the chance to demo the Cingo technology using the Gear VR headset, which turns Samsung mobile phones into portable virtual reality systems.  The sound generated by Cingo did have an awesome sense of spatial depth that increased immersion, although I didn’t personally notice the height dimension in the spatial positioning. Nevertheless, it was pretty nifty!

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