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.
Last year while working on the music of the Dragon Front virtual reality game for Oculus Rift (as pictured above), I gave a lot of consideration to the listening environment in which VR gamers would be hearing my video game music. Since then I’ve served as the video game composer for several more virtual reality games (which will be released in the next few months). I’ve also written a number of articles on this subject in order to share what I’ve learned with other game composers. Last September I devoted two articles to a discussion of audio headphones designed specifically for the demands of virtual reality applications. You can read those here:
My work as a video game composer has lately included some projects for virtual reality games (more info on that in the coming months), and as a result I’ve been thinking a lot about the awesome potential of VR, and have also been writing lots of articles on the subject. Earlier this month I began a two-part article that focuses on the experience of the end user, and the gear with which they’ll be enjoying our video game music and audio content (you can read part one here). So, let’s now continue our discussion about the new generation of headphones designed specifically for VR!
In this article, we’ll be discussing two headphone models:
Plantronics RIG 4VR
So let’s get underway!
Entrim 4D headphones
This March at the famous SXSW convention in Austin, Samsung showed off a piece of experimental technology promising to bring a new dimension of immersion to virtual reality. It’s designed specifically to complement their popular Samsung Gear VR device, and it works by virtue of electrodes that send electrical signals right into the wearer’s head! As if virtual reality itself weren’t futuristic enough, now we’re talking about a device that zaps us to make the VR feel more real! It’s called Entrim 4D (pictured right). We’re talking about it here because (among other things) Entrim 4D is a pair of audio headphones built specifically for VR.