A virtual future?

Like many tech-focused magazines, we've been entranced by the latest glut of augmented and virtual reality headset releases from the likes of Apple and Meta. Our question: how good are they from a music production POV?

- Martin Delaney

For many, the appeal of VR headsets might be considered to be the exclusive domain of gamers, with little else to justify the (sometimes intimidating) pricetags. There’s also the embarrassment factor that keeps the more selfconscious among us from being seen wearing a chunky headset. But, with the release of Apple’s Vision Pro, a more holistic vision of the VR/AR headset was presented, positioning it not for techies, but as a workflow-assisting, realitydistorting, focus-honing productivity tool.

For music-makers – where productivity and immersion are key – the renewed focus on the potential of VR is incredibly exciting. VR gives you complete control of your visual workspace, and it’s possible to save that setting, and recall it – no matter where you are. Then there’s the chance to use enormous virtual displays, bigger than you could probably fit into your real-life workspace. Coupled this with the ability to ‘touch’ virtual instruments without a controller in-between and a new way of thinking about music production presents itself. This radical transformation of interface and environment could get you creating previously unimaginable types of track.

The tools: Apple vs Meta

So how do we explore this fertile ground? Since 2019, the dominant mainstream VR option has been Meta’s Quest, the current model being the Quest 3 (£479.99 – meta.​com), while in February, Apple released the Vision Pro ($3,499 – apple.com). Both of these are primarily seen as consumer devices, but it's very possible to create and perform music on the Quest and Vision Pro today. We'll take a look at some of the specific software shortly.