ExperienceLab

Reactive Music: Can artists learn from game developers?

Music has always played an important role in the story of video games and with the recent interest in game controller interfaces (2:27) and distribution channels like the Rock Band Network, video games are playing an increasingly important role in the story of music. Does the emergence of Reactive Music create opportunities for artists to learn from game composers?

Reactive music adapts to a listener’s environment by using the cameras, microphones, accelerometers, touch-screens and GPS features in media players to affect reactive musical Scenes. The field is being pioneered by RjDj who produce Reactive Music apps for the iPhone. Several artists including Air have made scenes available through the RjDj network.

Are UXperienced?

The growth of online music services has changed the way that people discover, buy, organise and listen to music. The way that services support these activities plays a key role in their success. With Virgin, Sky and BT set to launch online music services in the coming months, we decided to take a look at the user experience of some of the key players in the UK market. This report describes our findings and offers some usability tips for designers and developers working in this competitive market.

We looked at four of the leading suppliers of online music services in the UK: iTunes, Spotify, Last.fm, and Nokia Music, and found that no one service offers the best solution for all of a listener’s digital music needs. We look at what works and what doesn’t in each, and conclude that by prioritising user experience and effectively supporting listening behaviour, a service can gain a real competitive edge over their rivals.

Is 'modelled' music software stifling innovation?

Many music software releases aim to emulate or 'model' the performance characteristics of some classic piece of hardware. Whether it's a 1970's synthesiser with unpredictable tuning quirks or the channel strip of a $1.5 million mid-'80s mixing console, software versions of legendary pieces of equipment are emerging all the time. There are good reasons for this: hardware synths and outboard gear are expensive, bulky and require ongoing maintenance, while software emulations are inexpensive by comparison and take up no space at all. The result is that small project studios and bedroom set-ups have access to sounds and effects that were once the preserve of major studios with big budgets.