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The Wwise Interactive Music Symposium will bring together composers from the film, interactive media, and video games industries amongst several others, for a meeting of the minds about the future of interactive music. Featuring presentations by pioneers embracing and paving the way, this is an event you won't want to miss – a deep dive into the future of music and its fast approaching diverse interactive applications. 

Date: November 6th, 2018 

Time: 10:15am - 5:30pm (Lunch boxes will be provided, as well as cocktails and finger food after the event.) 

Location: Canada Water Theatre and Library 21 Surrey Quays Road, London, UK SE16 7AR

REGISTRATION CLOSED

More information about the presentations and speakers below!

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Music to my Eyes:  Crash Course on Interactive Music

A crash course on Interactive Music, this session introduces composers and sound designers to composing with interactivity in mind. A quick look at our state-of-the-art, and into the future of our multimedia experiences, Ashby will share a toolbox of techniques and expose various interactive structures and strategies, inspiring you to conceptualize your own unique approaches for creating musical feedback and rewards, core to the mechanics of any interactive experience.

SIMON ASHBYVP Product and Co-founder at Audiokinetic  

Co-founder of Audiokinetic, Ashby is responsible for the product development of Wwise, now powering hundreds of major titles per year, and empowering thousands of users around the world from Indies to AAA teams. Prior to Audiokinetic, Ashby worked as a Senior Sound and Game Designer on several games. With his vast industry experience, Ashby is a frequent lecturer and panelist. His main theme is often on, the role of sound production and integration within the overall experience of video games. In 2011, Ashby was honoured with the inaugural Canadian Game Development Talent Award as the "Audio Professional of the Year".

 

Beyond The Linear - Approaches To Interactive Music Design And Implementation

There are many different ways to implement music in interactive and non-linear media, depending on the nature and origin of the music, the project’s design and technology, and the intended user experience. Beyond The Linear uses a series of case studies from diverse real-world projects in traditional games, VR and location-based entertainment, each with it’s own unique goals and challenges, to explore a range of approaches and techniques to bring music to life in an interactive context.

CIARAN WALSHComposer, Sound Designer and Audio Programmer at Hornet Sound 

Ciaran Walsh (Hornet Sound) is an award-winning freelance sound designer, programmer and composer working in videogames and other interactive media. His work has often focussed on musical interactivity and in almost two decades in the industry he has amassed a wealth of experience in the design and implementation of music systems. Clients have included Ubisoft, Activision, Disney, Microsoft, Sony London Studio, LEGO and numerous indie studios. His work on The Chinese Room’s So Let Us Melt was voted Best Sound Design In A Casual/Social Game at the 2018 GANG Awards.

 

gamemusicconnectPanel: Orchestral Manoeuvres: Tips For Successfully Recording Your Interactive Score Live!

Beginning with a brief 101 on the orchestral recording process, our panellists will relate their experiences and top tips for successfully translating your midi score to live orchestra, covering orchestration, key personnel, scheduling, lead times, session management and post-production. Then we ask them to discuss specific issues and additional challenges arising when preparing for, and recording interactive music for video games and how to overcome or mitigate them.

Moderator | JOHN BROOMHALL
 | Composer, music artist, commentator & Game Music Connect co-founder

John is the co-founder and host of Game Music Connect, one half of EDM music artist STRING THEORY (Modularity) and the composer for such iconic games as Transport Tycoon and X-COM/UFO: Enemy Unknown. A multi-faceted independent music and audio creative with many years’ experience in both the music and videogames industries, he has held a number of senior in-house and outsourced management roles (including European Head Of Audio and Game Development Manager), and has dozens of published titles to his credit as composer/producer, audio director/consultant, sound effects designer and voice director. He has written dozens of articles about game music and sound, and chaired numerous best audio and score awards juries for Bafta. Current projects include the next STRING THEORY EP and co-creating music for Lost Ember and Phoenix Point.

ALASTAIR LINDSAY | Head of Audio, Worldwide Studios Europe - Sony Interactive Entertainment Europe

Alastair started writing and programming music in the mid 1980’s on a BBC Micro and continued creating music through his Art College years. In 1993 he broke into the video games industry, where he started as a composer and sound designer for Imagitec Games Inc. His first game release was Tempest 2000 on the Atari Jaguar, which won the ‘Best Game Music’ award at the 1994 Consumer Electronics Show in Las Vegas. It was also one of the first video game soundtracks to be commercially released on CD.

After joining Sony Computer Entertainment Europe in 1996, Alastair has worked on high profile titles such as The Getaway, SingStar, and the Eye Toy franchise games, Little Big Planet to name but a few, and is now currently involved with PlayStation VR. He now heads up the Audio department, who look after all aspects of Audio, from Sound Design, Music Production, Music Licensing, Dialogue and Audio Programming.

JAMES HANNIGAN | Composer and founder of Screen Music Connect

BAFTA award winner James Hannigan’s credits include entries in the Harry Potter, The Lord of the Rings, Transformers, Theme Park, Warhammer, EA Sports and Command & Conquer series’, along with titles such as Dead Space 3, Cloudy With a Chance of Meatballs, Evil Genius, Art Academy, Pottermore, RuneScape (recently in concert with 80 members of the Royal Philharmonic Orchestra), Red Alert 3, Freelancer, Republic, and many others. His work in TV/Radio includes Primeval, Neverwhere, Good Omens, Audible's Alien trilogy and Unseen Academicals - and his music is heard daily in countless TV shows, promos and trailers.
An interviewee/contributor for the BBC, BAFTA Guru, Classic FM, BEEP and others, James has recorded with orchestras ranging from The Philharmonia and The Chamber Orchestra Of London to the Skywalker Symphony Orchestra and Slovak Symphony Orchestra – at Air-Lyndhurst, Abbey Road Studios and Skywalker Ranch – and is founder of London-based Screen Music Connect events.

ALLAN WILSON | Conductor, orchestrator, arranger & music consultant

Allan Wilson has worked in music recording since 1982, orchestrating and conducting scores for film, television and games. Having studied at the Royal Academy of Music in London he went on to teach conducting and orchestral training at the State University of New York where he was awarded a Master of Music degree. He’s given lecture recitals in Britain, USA and Canada and was a freelance trumpet player for many years. He has an international reputation as specialist studio conductor/orchestrator working regularly for producers/studios from both sides of the Atlantic - in London, Bratislava, Munich, Berlin and Prague - for composers such as Danny Elfman, Brian Tyler, Michael Giacchino, James Hannigan, Richard Jacques and Russell Shaw, to name but a few. Allan Wilson’s many conducting credits include films such as Avengers: Age of Ultron and Sleepy Hollow, and games such as the Harry Potter series, Dead Space 3 and RuneScape.

 

Music for Games Should be More than Just Music

What is video game music? What is interactive music? The answers of these two questions are not easy. I will demonstrate how the general view of music for games remains limited and how broad the opportunities for artistic expression are.

OLIVIER DERIVIÈRE| Composer 

For more than a decade, Hailed by MTV as “Game music’s eclectic daredevil”, IFMCA award-winning composer Olivier Derivière (Remember Me) has been scoring music for animation, films and video games and is widely acclaimed for both his composition and innovative approaches to connecting music with the game experience, including the groundbreaking titles, Assassin’s Creed IV Freedom Cry and Remember Me. He is recently done with Vampyr the next game by Dontnod Entertainement (Life is Strange).

 

gamemusicconnectPanel: A Composers Guide To Business Affairs

Our illustrious panel will trade stories, opinions, advice and expertise on the business of composing music from their extensive and diverse experiences From rights management to contractual booby traps, from effective pricing and negotiation to marketing and secondary exploitation, the panel will share their key tips for successfully negotiating the business of writing music for games and avoiding common pitfalls.

Moderator | JOHN BROOMHALL
 | Composer, music artist, commentator & Game Music Connect co-founder

John is the co-founder and host of Game Music Connect, one half of EDM music artist STRING THEORY (Modularity) and the composer for such iconic games as Transport Tycoon and X-COM/UFO: Enemy Unknown. A multi-faceted independent music and audio creative with many years’ experience in both the music and videogames industries, he has held a number of senior in-house and outsourced management roles (including European Head Of Audio and Game Development Manager), and has dozens of published titles to his credit as composer/producer, audio director/consultant, sound effects designer and voice director. He has written dozens of articles about game music and sound, and chaired numerous best audio and score awards juries for Bafta. Current projects include the next STRING THEORY EP and co-creating music for Lost Ember and Phoenix Point.

RICHARD JACQUES | Composer, music rights advocate (BASCA, PRS), Chair: Ivor Novello Awards (Videogame Score)

Classically trained at the Royal Academy of Music in London with an extensive repertoire including orchestral, jazz and popular genres, Richard is a multiple award-winning, BAFTA and Ivor Novello nominated composer for film, television and video games. Best known for his critically acclaimed orchestral scores for blockbuster franchises such as James Bond, Mass Effect, Starship Troopers and Alice in Wonderland, he’s also provided music for numerous premier TV and movie theatre campaigns as well as orchestral arrangements for Shirley Bassey and Joss Stone. Richard is a Fellow of Wells Cathedral School, and was awarded an Honorary Doctorate from the University of Essex in 2013 for services to Music and Media. He also received the Game Audio Network Guild Lifetime Achievement Award at this year’s Game Developers Conference and sits on both the Media Committee at BASCA and the Commercial Advisory Group at PRS for Music.

TOM WELLER | Strategy Manager, PRS for Music

Tom Weller started his career as a music producer and record label owner, having launched his own record label before starting university with a loan from The Prince’s Trust. Following university, Tom worked in A&R and sync licensing at an independent music publisher before joining PRS for Music in 2005 (then ‘MCPS-PRS Alliance’) licensing music into TV, film, advertising, and video games. Tom then spent almost a decade in various licensing and business development roles covering the entire spectrum of music licensing, before joining the newly formed in-house Strategy team at PRS for Music in 2014. As Strategy Manager, Tom works in a team that sets the overall strategic direction of the organisation, and develops commercial and operational strategies for every area of the business. PRS for Music licenses music and collects royalties on behalf of its 130,000 songwriter, composer and music publisher members, and through agreements with international affiliates, represents the world’s repertoire.

ALASTAIR LINDSAY | Head of Audio, Worldwide Studios Europe - Sony Interactive Entertainment Europe

Alastair started writing and programming music in the mid 1980’s on a BBC Micro and continued creating music through his Art College years. In 1993 he broke into the video games industry, where he started as a composer and sound designer for Imagitec Games Inc. His first game release was Tempest 2000 on the Atari Jaguar, which won the ‘Best Game Music’ award at the 1994 Consumer Electronics Show in Las Vegas. It was also one of the first video game soundtracks to be commercially released on CD.

After joining Sony Computer Entertainment Europe in 1996, Alastair has worked on high profile titles such as The Getaway, SingStar, and the Eye Toy franchise games, Little Big Planet to name but a few, and is now currently involved with PlayStation VR. He now heads up the Audio department, who look after all aspects of Audio, from Sound Design, Music Production, Music Licensing, Dialogue and Audio Programming.

DARRELL ALEXANDER | Film, TV & Games Composer Agent, CEO of COOL Music Ltd and The Chamber Orchestra of London

As owner, senior agent and music consultant at COOL Music Inc in LA and COOL Music Ltd in London, Darrell has been involved in hundreds of film, game, TV and other recording projects.

After highly successful studies at the Royal Academy of Music, the Leipzig Conservatoire, and the University of California Los Angeles (UCLA) Darrell recorded and performed on the violin at the highest level with Sir Neville Marriner‘s internationally renowned The Academy of St. Martin in the Fields and other noted ensembles. His love of film music sparked whilst recording The English Patient. In 1996, he formed COOL Music Ltd (Chamber Orchestra Of London) to provide composers/artists with a new generation of talent en route working for Madonna and Sir George Martin. In 2000, COOL also became an agency which represents many of today’s leading composers for film, TV and games. Recent scores have included the New Line horror ‘It’ and Blade Runner 2049 with Benjamin Wallfisch, The Man from UNCLE & King Arthur for Daniel Pemberton.