In the evolving landscape of virtual reality fitness, the fusion of sound with player interaction is critical for an immersive experience. Central to this development is Black Box VR, which has pioneered the integration of player-selected music into the rhythmic flow of VR workouts. This initiative represents a significant advancement in the realm of game audio engineering, blending user preferences with the interactive dynamics of virtual fitness environments. This article delves into the intricate process of weaving personal music choices into the fabric of game audio, a challenge that required both innovative thinking and a deep understanding of audio engineering principles.
Our journey begins with VoiceMeeter Banana, an advanced virtual audio mixer that stands at the forefront of our solution, enabling the intricate management of game sound effects, in-game music, and user-selected tracks. This set the stage for a more complex yet fascinating challenge: integrating the FMOD Audio Middleware Engine to maintain a seamless audio experience without the burden of running multiple audio engines.
Join us as we unravel the layers of this audio integration puzzle, showcasing how the blend of traditional techniques and modern technology can redefine the boundaries of game sound in the world of VR fitness.
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Topdown approach for music planning in game audio development. This post looks into music licensing and the obstacles and limitations of licensing. This post will also investigate the hiring of a music composer for a video game, and the obstacles and challenges the composer and development team will have to answer before the project can begin.
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Short post discussing the release of the Black Box VR Video Game Soundtrack with special mentions to featured artists and collaborators.
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If you’re about to take on a game development project as composer, sound designer, audio programmer, dialogue script writer / editor or content management, then you may find something of use to aid you in your quest! If you're generally interested in game audio development, then this might be a good read as to what's involved from a top down approach with a sprinkle of the nitty gritty.
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A top-down look at the Black Box VR adaptive music system.
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he basis of this project was to create an adaptive music score for a science fiction turn-based strategy game. Although the music system will not be delivered to a developer, this project was created under this pretence. This meant the project was organised for testing upon completion. The score is generated in the digital audio workstation Cubase, while the music system was put together by middleware software WWISE.
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The video game industry is the leader in interactive music, which is no surprise as the industry is currently valued in the billions, and growing each year (Woodside Capital Partners, 2015). Despite this, interactive music has not yet been fully explored, and even further innovations in this subject area, are more than likely around the corner. This post will take a look at how interactive music, could be implemented to enhance a players experience, without the need of repetitive dialogue, or visual cues to give direction.
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Procedural Audio is a misunderstood subject which has been around from the very beginning of game audio, in fact it used to be only the way. This post will explain what Procedural Audio is and to explore the history behind the term. We will also look at when to use Procedural Audio, and what issues may arise in doing so. Finally the post will end with whats in store for Procedural Audio.
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Well life isn’t always so simple, as I soon see myself take on more responsibilities, such as sound design, as well as various audio restoration duties. Now were do my problems start, well after drafting a few musical ideas to get the vision right, all seemed okay, sound design was top priority for the developer, so I put off all music until the sound design was complete… well this is when things start to get interesting, or maybe stressful will be a better word.
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