Welcome! I’m videogame composer Winifred Phillips, and this is the continuation of our four-part discussion of the role that music can play in Virtual Reality video 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 missed the first article exploring the history and significance of positional audio, please go check that article out first.
Are you back? Great! Let’s continue!
During my GDC talk, I addressed three questions which are important to video game music composers working in VR:
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?
Hey everybody! I’m video game composer Winifred Phillips. At this year’s Game Developers Conference in San Francisco, I was pleased to give a presentation entitled Music in Virtual Reality (I’ve included the official description of my talk at the end of this article). While I’ve enjoyed discussing the role of music in virtual reality in previous articles that I’ve posted here, the talk I gave at GDC gave me the opportunity to pull a lot of those ideas together and present a more concentrated exploration of the practice of music composition for VR games. It occurred to me that such a focused discussion might be interesting to share in this forum as well. So, with that in mind, I’m excited to begin a four-part article series based on my GDC 2018 presentation!
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:
As a video game composer, I’ve been working in my studio composing music for quite a few virtual reality projects lately (as pictured above), so I’ve been thinking a lot about issues related to audio in the VR environment. Those issues include how gamers experience the audio content through various headphone models. In this article, I thought we’d take a look at three newly-announced headphone models that are targeting the VR marketplace, and see what new technologies are being proposed to facilitate the best and most awesome VR audio experiences. So, let’s get started!
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: