Jesper Nordin & David Knox: An Introduction To Reactional Music – The New Platform Connecting Music And Games Creatively, Technically And Commercially, Rule-Based Systems, The Influence Of Graphics, In-Game Listening Habits, The Personalisation Of Gaming, Creating Value, How Game Developers Can Work With Music, What Do Gamers Want From Music, New Revenue Streams For Game Giants And Musicians… And Much More

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About Jesper Nordin

Jesper Nordin is a Swedish composer with international acclaim. His music is performed by world renowned conductors like Esa-Pekka Salonen, Daniel Harding and Kent Nagano, and performed by world-famous musicians like Martin Fröst, Pekka Kuusisto and Malin Broman.

His orchestral pieces have been played and/or commissioned by The San Fransisco Symphony, Orchestra Philharmonique de Radio France, BBC Scottish Symphony Orchestra, Sinfonieorchester Basel, Royal Stockholm Philharmonic and the Swedish and Finnish radio orchestras.

He is also included in the repertoires of several of the world’s foremost contemporary music ensembles, amongst them Ensemble Intercontmporain, ensemble recherche, L’Itineraire, Quatuor Diotima, Talea and The San Francisco Contemporary Music Players.
His iOS apps Gestrument and ScaleGen are used by musicians and amateurs in many different genres and forms the base of the company Reactional Music.

About David Knox

David Knox is a commercial operator with over 26 years in the interactive entertainment industry and 20 years as a senior executive of Europe’s leading software publisher.

He personally contributed to many of the strategic decisions that saw Electronic Art’s grow from a 2nd tier European publisher / distributor to leadership in Europe with digital and direct to retail operations in more than 20 countries.

David has extensive knowledge and understanding of interactive entertainment sector. At Electronic Arts he worked with the Senior Executives and global development teams on the strategy for key franchises such as FIFA, Need for Speed, Battlefield and The Sims.

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Quotes From Jesper Nordin & David Knox

“I started back in '87 with a company called Electronic Arts as they started to hire their first people outside of North America.”

“Initially it was very much a hobbyist business back in the 80s. The people who were playing games were also trying to make games in their bedrooms.”

“On the technology side, as far as development goes, the rule-based systems in graphic physics and lighting allowed developers flexibility to create open worlds and for worlds to be generated around the gamer rather than everything being on rails.”

“The graphics got people's attention and then the technology allowed the game play to get to a depth that had never been there before.”

“We talked to them about their music listening habits and gaming habits and one of the things that was very clear - and why I was excited about the rule-based engine - was gamers were getting tired of the looping music. Even though there's a lot of clever stuff done in games today, they were turning everything off and listening to Apple or Spotify in the background.”

“I had a premiere the other week with the San Francisco Symphony.”

“It took some time to realize what a good fit this technology actually was for the video game market.”

“We can also let the music control the visuals in the game. If you watch a movie and the boss is defeated you expect the boss to fall down and land “boom” on a heavy beat. In games that almost never happens, but since we have the beat data we can make it happen.”

“When they release the game, the music turns it into a revenue earner. At the end of 2023, the overall gaming market was close to $180 billion, 74% of it in-game purchases. Personalization is driving a lot of the growth in gaming, and music plays close to 0%.”

“With music being hardcoded, the audio team often works separately from the game development team because they can't bring anything in till the game development's quite far down the line. Because it's been generated live note by note from a prototype with a simple API link, the audio team can be involved with the development team from the very start, and in some way guide game design.”

“You have the video game composer defining the rules of the situation then you can have everyone sitting around the campfire in a VR game or an online game or whatever picking an instrument each playing along with a background track or just jamming along without the background track, everything always in sync and in pitch.”

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