By Winifred Phillips | Contact | Follow
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:
- Video Game Music Composer: Music and Sound in VR Headphones (Part One)
- Video Game Music Composer: Music and Sound in VR Headphones (Part Two)
In addition, two years ago I wrote an article that focused on some of the top difficulties associated with choosing the right headphones for VR. You can read that article here:
Music Composers and Sound Designers in VR: The Headphones Problem
Now, I’d like to revisit the ideas discussed in those articles, so that we can see how the art of VR audio for headphones has progressed.