Tips for new audio designers composing video game music out of their comfort zone. Useful for producers as well, looking to put together design directions for their audio designers.
This entry focuses on composing techniques for small vs big games.
Composer Ryan Henwood talks about making music outside his comfort zone for Lovers in a Dangerous Spacetime.
At the BBC's "Sound: Now and Next" conference, Nick Ryan describes an interactive audio ghost story, explores how sounds stimulate the brain's motor cortex, describes an interactive music system for a car, and shows how human neurons can create music.
Another journal entry about the audio development of Gathering Sky, covering audio implementation within Fmod and Java.
With the arrival of virtual reality, audio developers may have to wrestle with the Uncanny Valley, right alongside their visual arts counterparts. An Audio Engineering Society presentation warns of a possible obstacle to achieving convincing audio in VR.
Adaptive music is discussed through a real world integration example of Elias and the VR game Stampede. I demonstrate how simple it is to integrate with Unity, discuss the performance and memory usage (only .2-.3% CPU and .2 MB of audio memory typically.)