- Rory Walker -
Interactive Sound Design & Implementation
HeadspaceXR for Meta Quest
An immersive open world of VR and AR experiences that is a playground for the mind. Exercises in Mindfulness are gamefied with spatialised interactive music systems stretching the definitions of diegetic sound in a colourful and sonically playful world of escapism.
I worked with Chris Branch of Brain Audio to design and implement sound effects and ambitious interactive music systems using FMOD and Unity.
To be released March 2024.
Marvel: Eternals AR Story Experience
I was invited to take a lead on this project with Brain Audio as an Interactive Sound Editor. I implemented the adaptive classical music score and the spatialised sound design working closely with the creative team, building models and interactive systems in Unity.
You can download the game on iOS and play it now.
Experiments with 3D Spatialization
3D Audio Occlusion
with Resonance Audio
Listen to Music in Quad 4.0
with Resonance Audio
These demos explore spatialized sound in a 3D environment, experienceing VR binaural sound technology without having to don a VR headset. Each one represenets a specific experiment in diegetic audio implementation for increased realism and immersion, exploring the options of moving away from traditional non-diegetic 2D sounds in games.
UFPS - SkyLine
A fully playable FPS game from the Unity Asset Store, with commentary on my sound design. For me this was an exercise in audio realism, adaptive ambience, reverb zones and creating atmosphere.
Check out the spaceships that fly passed when you're outdoors.
Hammer 2: Reloaded
I did all this sound redesign from the ground up, including the music composition.
Includes: characters, dialogue, weapons, vehicle engines, effects, ambience, full user interface and shop.
This video is only covers Level 1, for more levels see the full playlist - click here.
User Interface Sound Design
In approaching the UI sounds for this game's menu systems I decided to work with analogue sources to fit the mechanical nature of WWII equipment. I recorded various metal hits from my kitchen but the best sounds came from door handles and locks, and my voice through a megaphone and radio filter.
Specific Showreels