Be a Supporter!

DavidOrrDavidOrr

Main News Movies Games Audio Favorites Reviews Stats 2,764 Fans
Follow DavidOrr
DavidOrr
  • Add Friend
Age / Gender:
25, Male
Location:
New Hampshire
Joined:
10/22/05
All Stats >

Composer for games, films, and television. M.M. Music Composition from University of Massachusetts, Amherst. B.A Music Theory, B.A Piano Performance from University of New Hampshire.

User Statshot

Community Stats
Level 27 Musician
Normal Whistle
Ranked as Portal Security

Latest News


(from davidorr.net)

"Generative music" is a term that has been buzzing in the game industry the past few years. If you've played any one of the many AAA titles released recently, you've probably experienced it*. And -- if it was done well -- you likely didn't even notice it. So, what exactly is it?

Generative music is, when boiled down to its very essence, music that changes and transforms. Typically, it is mapped to the actions of the player -- be it combat, movement, or interactions. Alternatively, it could be mapped to change with the environment (for instance, day/night cycles), or any variety of parameters. The goal it to provide a deeper level of immersion for the player by having a soundtrack that adapts to what is on screen.

The most common approach is to have multiple "layers" of a track that can be toggled on or off depending on what is happening in the game. Take, for instance, a first-person shooter. Imagine: you're lurking through the woods, hunting a target. A soft, pulsing atmospheric track is playing in the background. As you approach your prey, the track increases in volume, with some light percussion fading in to give the music a stronger rhythmic pulse. Just then -- you're ambushed. Now a more intense track fades in on top of those two, complete with aggressive synths and booming drums. In this scenario, the music is mapping your every move, and transforming a traditionally static element of a game (the music) into an additional vessel of immersion.

I write about this for two reasons. First and foremost, generative audio is something that I am passionate about and have been working with for several years (starting with the flash game "Colony"). Second, because I believe many game developers (especially indie) are unfamiliar with this concept and/or hesitant to implement it. This is understandable -- developers are developers, not composers. Implementation requires additional coding, or licensing of an audio engine with generative capabilities. And, not all composers are comfortable -- or even familiar -- with the concept of generative audio. It requires extra time, skill, and forethought to conceive and compose. These are real-world concerns, and ones that only the developer can contemplate and address.

Let me present you with a real-life, personal example of generative audio in action. I recently finished the soundtrack to Gemini Strike with long-time friend and collaborator Krin. This game features a very simple implementation of generative music. It has two layers -- an "atmospheric" layer that plays when you are between battles (in the menu, buying items, etc.), and an orchestral layer that plays when you are in battle. The two were composed on top of each other, and you'll often hear them seamlessly fading between each other. The results, however, are far more immersive than the standard "menu loop/battle loop" setup. The soundtrack never stops, but instead moves with the player -- replacing traditional aural seams with a far more elegant solution.

This isn't meant to be a sales pitch for Gemini Strike, nor is it a sales pitch for my services (but feel free to contact me anyway!) Instead, I write this to address a topic that is much deeper. In a game industry that is rapidly changing, it is important to consider progression on all fronts -- including music. Just as a bad score can ruin a great movie, a poorly implemented soundtrack can hurt a great game. When a player turns off the music in favor of their personal playlist, the soundtrack has failed. A soundtrack should be an essential part of the game -- something that players miss when it is turned off. Generative music is a considerable step closer to achieving that goal, and something that every developer should consider.

 

* Edit: Some would call this "adaptive music". I regard adapative music as falling within the category of generative music. Perhaps another topic for another post. :)


-Orr- 2013 DEMO REEL Cinematic Song
-Orr- 2012 DEMO REEL Classical Song
-Orr- The English Kingdom Classical Song
-Orr- Prelude Classical Song

Recent Game Medals

Starting the Journey! 10 Points You started the game and walked! (And watched the ad) Medal Stats.
Wolfen Grave 25 Points So much for that appetitive for destruction... Medal Stats.
You Win..? 25 Points That was a weird game. Medal Stats.
Pull it! 5 Points Pull the switch. Medal Stats.
It's Dangerous to go Alone 5 Points Get the axe. Medal Stats.
Side Effects Include.. 5 Points Talk to the suspicious caravan. Medal Stats.
A Blocked Path 5 Points Talk to your brother. Medal Stats.
Swan Dive 10 Points Fly straight downwards at terminal velocity. Medal Stats.
N00Binator 5 Points Kill the N00bs. Medal Stats.
Just checking! 5 Points Check out the Frozen Pixel Hunt. Medal Stats.


Total Medals Earned: 218 (From 53 different games.)

Latest Shared Creations

Apple tv Added to faces for Cathode Raybots Feb 13, 2013. Load Level