Fract, Synth Studio as Game, Looks Better, Sounds Better, Wants Your Vote [Video, Gallery]

Amidst its future-arcade, glowing 3D architecture, Fract is a game. In a broken-down “abstract world,” you are piecing together puzzles, reconstructing machinery. But Fract is also a synth studio, one that promises the ability to create your own synth instruments, design your own sounds, and eventually piece together your own music. If Tron let you imagine a fantasy inside the computer, Fract takes you inside your synth. It’s like getting sucked into Reason. (Damn, now I want to meet Thor and Redrum…) I called it Myst meets music making when we saw it last year. Since then, the Montreal-based indie …

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Immersive Music: Revo:oveR Installation, Lightbent Synth, Max + Unity

As an addendum to the last story, Ivica Ico Bukvic sends along an example of the [myu] Max/MSP + Unity game engine combination in action. Here’s the surprise: Unity isn’t generating visuals. Instead, Unity simulates ripples created by movement in the space, and builds physical models that are sonified and spatialized by Max/MSP. Speaking of work involving art museums and the combination of Max and Unity, VJ Anomolee notes in comments his own work with the pairing. Lightbent Synth is an in-progress piece with alternative controllers and sensors that produces sound with a novel visual representation (sound’s very quiet in …

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More Max+Unity Game Engine Goodness, with Powerful Toolkit for Max, Jitter, Pd

Take a powerful game engine (for animation, 2D and 3D graphics, physics, and on-screen interaction). Add the flexibility of a visual development environment for programming with virtual patch cords, for rich sonic and musical capabilities plus easy interaction with data and input. That’s the idea of combining something like Unity 3D with Max/MSP. In the example from earlier today, the solution simply routed basic data from a Unity-based game to a responsive music engine in Max. In the case of [myu] – the Max Unity Interoperability Toolkit – that integration goes further still. Developed at the DISIS (Digital Interactive Sound …

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From the Game Developer Conference

I’ve just finished my first full day of the Game Developer Conference. While this is not Create Digital Games, there are some real highlights here, from ideas in music and visual production and experimental interface design to the work to promote and codify interactive music at the Interactive Audio SIG. Between GDC and the usual cast of characters in San Francisco, there’s a remarkable roster of folks. Text is in drafts, so stay tuned. The fundamental contradiction of all writing is that of being and recording your being. But to me, beneath headlines about development products or new games, these …

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Now on iPhone: FMOD, Leading Game Sound Engine … and an RjDj Sprint in Berlin

FMOD is a wildly popular sound engine for games, used widely in games for PCs, consoles, and portables alike. FMOD is known for being on the bleeding edge as far as capabilities, but even given that, it’s a pleasant surprise that the engine has now made its way to the iPhone and iPod touch. It’s got some impressive capabilities going for it, too: Mic input 3D audio DSP effects Compressed samples, MOD, and MIDI And, in good news for indie studios, it’ll cost just US$500 per title to license. Of course, you can add this to Pure Data (Pd), which …

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