Sevcom 2018 Annual Report, and New Year Resolutions.

2017 being such a frantic year with shows here and in North America, it was inevitable that 2018 would be anticlimactic. It was that – but at times the climate fell into bleakness.

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I’m sure VR will take off soon!

In 2017 we happily sailed the mainstream, the safety zone – live shows of elderly music. Like setting up at a trade show, you’re showing off your existing wares while delaying the development of new ones. It’s instantly rewarding with lots of praise and feedback for what you do – or to be very honest what you once did.

But we can’t continue to work for an audience that’s gone from the most forward looking to the one most adverse to new experience. Right now, they have the money and will pay for the excitement they once felt – the nostalgic T Shirt, the cassette. But that’s not what we wanted – back then or now. We’re supposed to keep pushing.

Thus 2018 was set aside for experimentation – real experiments that could fail. And they did fail – slipping slowly, fingernails scraping, off a cliff.

Clearing the decks

First there were some releases of projects that had been underway since 2017 or before. In April we released Aversion 2, being an album constructed of small splinters of classic rock music. A limited edition of 200 small plastic cases, each with a wire lab rat and USB card. The concept was loosely based around lab rats and experimentation.

Then Publicist, my follow up album to 2015’s Rhine. In June 2018 came Barbara UFOr, which completed the Barbara Island series that began in 2006. These three albums fill up the time in which things other than music albums must be the focus.

An album of ambisonic music was delayed until the concept became clearer.

Seeing the Future

So, what do most people call an experience in 2018? I think it’s useful to put aside your limitations for a moment and ask, ‘if I had unlimited resources…’. Back at the end of 2017 it seemed that surround audio/vision was a focus, and I upgraded our capabilities. We organised travel to the USA to see some of the state of the art in the entertainment industry. There is a movement for game engines to become the stage for motion pictures and experiences in general. I dedicated myself to mastering the Unity engine, at least to the point where I hoped to direct a team.

Puppet show at Halloween Horror Nights. Yeah, puppets.

Puppet show at Halloween Horror Nights. Yeah, puppets, low tech and it works.

Problems became apparent over the months.

VR is only part of a failed concept which I might label ‘constrained experience’. Quickest way to sum it up – once your brain gets used to augmented presentation – 3D, binaural, motorised seating etc. it disappears, as it no longer contributes to the story experience after a few minutes. Wearing a helmet doesn’t seem worth the effort. A standard 2D movie holds 99% of the story. A movie =/= a ride.

I’d rendered VR versions of two videos back in 2016, with little interest. I set about some new ones but found the whole VR realm to be dropping away, even for the largest players. When Google announced VR180, the game was up. Time wasted. I do see the worth in expanding the viewing space ­– with satellite (non-focussed) imagery on side screens. Projection mapping is also a successful area.

I believe that an engine such as Unity is the ‘studio’ for our future production. But even if you are given an entire film studio for free, you need sufficient staff to run it. I found it impossible to hold all the disparate elements in my head – humanoid animation, lighting, material design, coding … once I’d mastered one aspect, another would fall out of my head. I also fell into an endless loop between intentions and capabilities. I would intend something, it would come out differently, which suggested a different intention. This can be great in music, but in a complex world building exercise it’s a nightmare. Time wasted.

I was able to clock a ‘world’ with a sequencer. I have so far not been able to perform the ‘world’ with standard musical instruments, partly because live MIDI is alien to game design and partly because I haven’t yet made one worth the effort. That would have come before performing the ‘world’ over a network connection, a goal that was supposed to be finished by now.

At least I get job offers for Unity now. Yay team. Shrug.

Our trip to see theme parks in California was instructive – I saw that some of the failures I’ve realised were ones they’ve suffered as well. I saw that big teams are not just small ones grown up – I’ve been taught the difference between ‘fine art’ and the team work of experience design. Given that few music artists are serious about current forms, and that I identify as an artist, I have to pick those battles I can win unaided.

Picking up the fragments

Ambisonic sound is still worthwhile, as earphones and smart phones are already clothing. If a visual analogue appears, well and good. Wait for that. Making music in surround is itself not easy to do well.

Let’s just convert one or two video clips into game worlds. That keeps the intention/design steady and gives an idea if the conversion provides any real benefit. Once built it’s easier to make modifications to provide MIDI controls, networking etc. I can then demonstrate this to try get support.

Satellite screens for existing videos are achievable. I’m creating some multi-channel work and showing in Adelaide in March 2019.

Continue to study experience design, perhaps enrolling in coursework.

In general, smaller bites, less chewing.

2019 is already happening as we try book gigs. Europe is on but it’s being very difficult to set up. I think we were a novelty in 2016, maybe you have to die and be reborn each time. Like Jesus.

Have a nice Christmas break!