As game composers, we need a little inspiration now and then. This blog will share some fun thoughts and ideas that have the potential to stir our creative juices, or just help us to think about game music in a different way. First, we’ll get a perspective on what the classical symphony performance has in common with the act of playing a video game. Then, we’ll learn about a method of turning a video game into a musical instrument for performance art. And finally, we’ll hear about a sonic toy that lets us trigger game sounds and music as a spontaneous aural performance to accompany roleplay gaming. I hope these ideas will get us thinking about the relationship between game music and live performance. At the very least, some of these ideas may tickle our creative fancy, so let’s get started!
Andrew Norman’s Play (Boston Modern Orchestra Project)
First, let’s consider the viewpoint of acclaimed symphonic composer Andrew Norman (pictured left), who is currently nominated for a Grammy in the category of “Best Contemporary Classical Composition” for his symphonic work entitled Play. The nominated recording was performed by the Boston Modern Orchestra Project, as conducted by Gil Rose. As a composer, Andrew Norman is no stranger to accolades, having previously achieved the finalists list for the Pulitzer Prize in music in 2012 for his string trio The Companion Guide to Rome. What’s most fascinating about his symphony Play, aside from its bold and experimental approach to musical composition, is the philosophy with which it was created. As it turns out, video games played a key role.
In a new report released January 5, 2016, the research analysis firm SuperData issued a forecast of the future of Virtual Reality gaming in the coming year. Among the results: 5.1 billion dollars are predicted to be spent on VR hardware in 2016, and 55.8 million consumers will have adopted some version of a VR platform by year’s end. The report also predicts that inexpensive VR gaming on mobile devices will prove the most popular in the short-term, dominating the market in 2016. The report also suggests that small indie studios may benefit by jumping into VR development early (since the top publishers are proving to be a bit more reticent). These are awesome times to be in the video game industry, and there will certainly be lots to learn as we go boldly into the world of VR. In this blog, I’ve collected information about upcoming video game conferences – some that are already famous and some that are brand new. These events might help us to learn more about our role in the creation of VR music and audio.
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.
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.