Music and Sound for Virtual, Mixed and Augmented Realities

What are Virtual, Mixed and Augmented Realities and what do they mean for today’s composers and sound designers? Join a panel of top VR specialists to learn about these emerging forms of media, new tools and technologies available to create 3D immersive music and sound, and the opportunities they are bringing creators throughout a diversity of industries.

Moderator: Joel Douek

Panelists: Sally-anne Kellaway, Jeremy Nathan Tisser, John Hendicott and Benedict Green

Sally-anne Kellaway is an industry leading VR Audio evangelist, and founder of the Virtual Reality Content Creators Network of Australia. Sally-anne is a vocal advocate for VR, AR and MR as the future of audio, entertainment and industry and uses her education in Sound Design, Acoustics and Psychoacoustics to rise the tide for all audio professionals who are passionate about the future.

Jeremy Nathan Tisser is a multi-talented, award-winning composer, who has bolstered many projects across film, television, and video games. Most recently, he spent a year and a half creating the complex and varied score for Survios’ highly anticipated VR game Raw Data. The acclaimed game continues to win loyal followers and break records, including becoming the first VR game to break one million sales in a single month. Raw Data has surpassed one million players, and was recently featured in Rolling Stone Magazine.

Jeremy is currently writing music for a number of upcoming VR projects, a documentary mini-series, the feature film Chameleon, and other unannounced projects. Previously, Jeremy contributed to the musical production of a wide array of projects, including Pixar in Concert andJustice League: The Flashpoint Paradox.

Much of Jeremy’s skill and intuition comes from his time spent under the mentorship of acclaimed, six-time Emmy winner Mark Watters. The pair shared a Hollywood Music in Media (HMMA) award win for their work on the theme for KLCS’ popular series, Composers on Composing.

Jeremy resides in Los Angeles with his wife. When not making music, he is steadily honing his skills in four separate styles of martial arts.

John Hendicott is an award winning sound designer and platinum selling music producer who specializes in 3D audio for virtual reality, gaming and installations. John has an extensive track record of innovation in music and sound design, winning national and international awards in a range of disciplines including film, installations and most recently, immersive 360° media.

In 2015, John Co-Founded the company Aurelia Soundworks, to provide 3D sound mixing services, consultation and original content to the VR, AR, MR industry. John’s latest VR piece Does Not Exist won Best Sound Design Experience at Raindance Film Festival 2017, and has been featured at Cannes Lions’ YouTube Pavilion, SXSW, VRLA, The Kaleidoscope World Tour and the Geneva International Film Festival as well as being nominated for multiple awards at The Proto Awards and the UK Music Video Awards.

Previous associated experience includes developing 3D mixing techniques and sound assets for Earfilms; a feature length immersive sound experience, built in a custom 3rd order ambisonic dome, in collaboration with the acoustics team at Arup. This project has been touring for 4 years, this year having the honor of being shown at the scoring stage of George Lucas’ Skywalker Ranch.

John is often called upon to speak at public engagements, including industry conferences SXSW, NAMM, NAB and the Kaleidoscope Summer Showcase. John’s company Aurelia was also selected to participate in 2016’s Founders Forum and Shell Accelerator programs, in recognition of their pioneering work in the technology sector.

ECCO VR co­-founder Benedict Green is a composer, sound designer and technical wizard. Originally from London, he has worked with a broad selection of clients including the BBC, SKY, CBS, Sony, Microsoft, Lionsgate and many others. Benedict brings a deep experience in VR audio, from state of­ the art location recording to cinematic and game orientated post­ production. His sound design and spatial VR mixes can be heard in many current VR games, documentaries and live action pieces. He has played a pivotal role in ensuring that 360 sound and music have become an essential part of the VR experience.