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.”
So happy you’ve joined us! I’m videogame composer Winifred Phillips (pictured above working on my career breakthrough project, God of War). Today I’ll be discussing a hot topic that we’ve previously explored, but that definitely deserves to be revisited periodically. This is one of the most popular subjects that I’ve addressed in my previous articles here: How does a newcomer get hired as a game composer?
I’m asked this question frequently, and while I offered quite a lot of advice on this topic in my book A Composer’s Guide to Game Music, I’m keenly aware of how urgent the need is for updated guidance on this issue for aspiring video game composers. Game music newcomers often feel adrift and alone in the game industry, and some good advice can be a welcome lifeline. In my book, I described the career path that led me into the game industry and allowed me to land my first gigs, but I’m well aware that my experience was pretty unique. With that in mind, I’ve collated some recent research and insights from some top game industry professionals in this article, in the hopes that some of these expert observations might prove helpful. There are lots of original and provocative viewpoints presented here, so we should feel free to pick and choose the strategies and tips that will work best for us.
Also, later in the article you’ll find my presentation for the Society of Composers and Lyricists seminar, in which I answered the question about how I personally got my start in the games industry (for those who might be curious). Finally, at the end of the article I have included a full list of links for further reading and reference.
Hey everybody! I’m videogame composer Winifred Phillips. Every year, between working in my studio creating music for some awesome games, I like to take a little time to gather together some of the top online resources and guidance available for newbies in the field of video game music. What follows in this article is an updated and expanded collection of links on a variety of topics pertinent to our profession. We begin with the concert tours and events where we can get inspired by seeing game music performed live. Then we’ll move on to a discussion of online communities that can help us out when we’re trying to solve a problem. Next, we’ll see a collection of software tools that are commonplace in our field. Finally, we’ll check out some conferences and academic organizations where we can absorb new ideas and skills.
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.
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?
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: