Interactive music recordings (ala rjdj) from Keith Hennigan.
1. write some music. The quality of music is the most important parameter for a successful piece
2. Figure out the interaction. What and how you record will be driven by the interaction.
Videogame music is interactive or adaptive or generative. Interactive music has intention on the user’s part. Adaptive music responds to user action aimed at changing noon musical parameters. Generative music changes on its own initiative. This is all dynamic music.
Adaptive recordings could react to GPS, time of day, etc.
Music could change structurally, so the order ABACD could become ACBDA etc.
Or it could play the second always in the same order, but with different stems for alternate lyrics, etc.
3. Programming
The platform you use must be distributable to users. Pd runs on everything.
You are likely to be working with stems, because artists often want to control audio quality. readsf~
Or you may wish to work with samples in order to pitch shift, etc.
Or take full advantage of the system and do your own synthesis. The more pd you use, the greater potential for real time control and interaction.
4. Create an interface
Must be usable by non programmers. You can use 3rd party programme like Unity to create nifty interfaces. This can make apps.
questions
Q. Why do this?
A. We have the technology for the first time. Dynamic sound are like chose your own adventure music. Consumers want this. They don’t want to always be passive.
Q. Classical music is goal oriented. Will the big challenge be coming up with modular pieces of music?
A. Yes, this majorly increases the composers workload. He recommends people try to give this a go.
Q. Are the transitions what make this music exciting? They are a liminal space.
A. Queue to queue transitions are the most difficult to get right. Some game composed have a transition matrix of elements to use at transitional points. Change instrumentation. Add a stinger, etc
Q. What makes music good aside from cultural capital?
A. There can be technical issues within an app, such as unintentional glitches. Music can fail on its own terms. Novelty is not enough.
Q. Does using unity make music expensive to publish?
A. They work with indie devs a lot. Whether this is favourable to paying fees per piece? Maybe find a free kit or work with a designer.
Q. Does this change the definition of authorship of a piece of a music?
A. Is a piece always sound like a single piece then it’s a piece. If it changes unrecognisably, you’ve built an instrument. The intention of the creator also counts.
