VR9–Whimsies Attic

I was catching a covid during this crit which was not very helpful.

Here are some feedbacks I have heard from my teammates:

For some reason, Rosaire’s computer was insane so we did not have the chance to go through the whole games. We were quite fast and everyone was happy about what we have made and clapped their hands? Our noble game was determined as a ‘music game’, as there was a lot pretty music going on. I think our team was confused when Matthias said how sounds could be placed in 5.1 in speakers. Becuase if we did not use Fmod at first,so the format of sound would be stereo and directional?

At this stage, as we did not do anything physically in mixing. I am not sure if stereo sounds would be better or mono sounds? Which one would sound more directional? We will figure it out soon…

Another issue brought up was the clarity of the introduction. How obvious are the objects in the room? How are the interactive objects going to attract the player? This we thought of doing through sound. Since the main hub is thought out to be quiet an intimate, having sounds playing from the 3 interactive objects should work to point the user in the right direction.

For the painting scene, the potential difficulty of finding the right melodic sequence was brought up. I am not sure of how this is going to be fixed. Maybe with some visual clues?

Maria

Specialising Music box?

That is currently the issue as the latency would happen if I bounce 70 tracks and insert them into unity. Also the music box project is quite CPU demanding at this stage as well! But if I dont do that, using it as a back ground music… When you are walking in the scene, it doesnt kind of make sense… You can see the musicians having their instruments in the fantasy, so it should be designed with some movements base. I might be using the M108, experimenting the FB360, or using a binaural ear to record a specialised version in 10 channels. If I use a modulation effect like Rotor or Tremello on the whole track, would that make spinning movements in vr headset as well?

Matthias was saying that we could make some gear sounds or music box noises to accompany with the music. I had a mix feeling with it. I did not really want to do it to break down the piece really. As it happened real, I could not make it with saturation or distortion…

Apart from that, there would still be things I would like to talk about is music property. I remembered Fraser was saying about he was using the soundtrack he produced for LCF catwalk show in many other projects…

• 1. Copyrighted work must be original 
• 2. Violation of Copyright Law must be established in court
• 3. Master recording copyrights are administered (and, often, owned) by record labels
• 4. Compositional copyrights are administered by publishers
• 5. Copyrights last 70 years past the owners lifetime
• 6. Cover versions require only a mechanical license — and only in the US

Here are some thoughts on the composition in our group:

It urges me into an awkward situation when I have to remake the monophonic 12 seconds music into a 3-minute looping orchestral composition. I dislike the idea of expanding someone’s composition as a sound-artist and composer perspective. And it is difficult as well. To work something on someone’s mind, not creatively. And It is not like ‘sampling’. Instead, if it is just to work on the same length more like writing an accompany part to help with his/her ideas. That would be much more easier. For instance, a lot of singers hired session musicians to make their songs in a better dynamic.

Classical composers often value the process of creating music from scratch, placing a strong emphasis on original composition, complex harmonies, and intricate musical structures. Sampling, which involves using pre-existing recordings, may be seen as incompatible with this focus on originality and compositional craftsmanship. Sampling techniques, as we commonly understand them today, did not exist during the eras when classical music flourished. Some composers may be less inclined to embrace sampling simply due to the fact that it was not part of the musical landscape during the time when classical compositions were being created.

I made this track for the painting scene as a trial. It was a bit too electronic and scifi so it was not being used at the final Stage. The second version was Ben doing some granular synth on top. It would be nice if I still keep the midi files. Gennerally I think collaboration in composing could be a bit physically more difficult, and it is hard to match the taste as well, that is the reason why people do different tracks but share the same concept/tone.

Or Improvisation…