Music in VR, SummerBase session 3

Datum: 29 mei 2017 Geschreven door: In:


We charge a small fee so we can ensure quality and fill up the limited seats available. In exchange for the fee we have free drinks and snacks!

Tickets can be found here:

Welcome to SummerBase, throughout the summer we will provide you with several VR events. Nearly every week we will host an different subject with different speakers at VRBASE! Topics differ from VR porn, VR storytelling to VR in Media. You can buy a passe-partout (access to all the summer base events) for only 25 euros! Please check this link for more info about the passe-partout and the different events that will follow. It will be a VRtasic summer!!!

Music is an import part of VR experiences, it can really make or break it. Together with AMP.Amsterdam we will do an introduction on music licensing, right and how it works in VR. We will look at what you suppose to do if you want music in your experience. How do you connect an artist or band to a brand in a VR experience. What is the added value of this? And we will talk about the difference in production and composition for VR over 2D productions.

Sander Sneek will show and tell us about his newest application namely: Block Rocking Beats. This experience enables you to play with sample-based instruments in a virtual sound studio. Up to three players can join your virtual band. Play together with other music lovers from any location.

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17.00 – 18.00 walkin

18.00 – 19.15 presentation

19.15 – 20.30 demo’s and drinks

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"To begin with, Virtual Reality is a part of computer science and it represents a new approach to computer science. Instead of treating the computer as a box that's out there that is supposed to accomplish something, you put a human being in the center and say, "Let's look at the human being closely. Let's see how people perceive the world or how they act. Let's design a computer to fit very closely around them, like a glove, you might say. Let's match up the technology to exactly what people are good at.""
Jaron Lanier, 1992