How did you spend the New Year’s Eve this year? Did you listen to a New Year’s Eve speech or went to an amusement park? Or, in a classic way-“Music + Party” New Year’s Eve?
The New Year’s Eve in Times Square abroad has been the yearning of countless superstars; the countdown to the Mayday concert in China is still a pilgrimage for generations of cultural youth; and the ISY (Sanya International Electronic Music Festival) in recent years has become the Z generation. Carnival. Due to the impact of the epidemic, online entertainment has become more people’s dependence. Music and parties are required. This time, the New Year’s Eve can be a little different.
This year, Mayday routinely “clone” in many places, while singing offline in the main stadium of the Kaohsiung World Games, while connecting to Hunan Satellite TV’s New Year’s Eve party, while broadcasting the New Year’s Eve on TME platforms such as QQ Music, and also on WeChat The video account will live “Accompany you New Year’s Eve concert”, and the most fresh thing is that they also came to TMELAND this “virtual music carnival” for the first time, together with hundreds of thousands of netizens in the “future music world” full of cyberpunk atmosphere Carnival together New Year’s Eve.
What is the experience of watching Mayday New Year’s Eve in the virtual amusement park with friends? What kind of excitement is the carnival with the top 100 DJs here?
TMELAND’s first “opening of the park” has made users who are accustomed to traditional music services bright: from creating characters to visiting, from watching performances to interaction, and from reality to this space is also extremely easy, “one-click landing” opens A door to a new world.
End-cloud technology stepping·Music live version of “Metaverse” is coming?
From “Top Player” to “Out of Control Player”, the “Metaverse” full of imagination and realism is being understood by more and more people.
But only a small number of people can really touch this virtual world. The reason is simple. A pair of glasses or helmets leading to the virtual world is a pre-constraint. This is why Bill, the technical director of TMELAND, believes that the current products with the “Metaverse” name are actually “geek toys” belonging to a few people.
TMELAND’s biggest breakthrough may be that it has truly popularized the “Metaverse” experience without the need for professional hardware-this time it “opened” and nearly 1.1 million users “landed the island”, which is equivalent to full 12 National Stadium (Bird’s Nest). This is the first major breakthrough in the number of online users.
So how did TMELAND receive 1.1 million “tourists”?
The first is the choice of technical direction and the adjustment of corresponding technical solutions.
At present, scenarios involving virtual technology have relatively high requirements for software, hardware and network. In order to lower the threshold for user participation, TMELAND cooperated with Yuanxiang XVERSE, and did not use traditional pure terminals (such as Unity or UE) or pure clouds (such as Cloud gaming) method, but for the first time in China, the end-cloud collaborative 3D interactive technology is used to create a huge, multi-person, interactive virtual world. Users do not need auxiliary hardware, and even independent APPs do not need to download and install. Field this virtual amusement park.
The most important of these is the self-developed by Yuanxiang XVERSE, and Tencent Cloud helps to create a 3D technology solution for device-cloud collaboration, and realizes the industry’s experience innovation through cutting-edge technological breakthroughs.
It can compress a huge music amusement park into a very small download package, and it can enter in one click, and build a new 3D experience of “massive users + huge scenes + same-screen interaction + multi-terminal access”. In addition to pure terminals (such as Unity or UE) and pure clouds (such as cloud games), the “third route” for making 3D virtual worlds.
TMELAND’s small step at the technical level has become a major step forward for domestic manufacturers in the exploration of the “Music Meta-Universe” through the market exploration and precipitation of this “trial operation”, which represents the use of innovative technological means. , High-performance hardware equipment will no longer be a prerequisite, and the official landing and popularization time of “Metaverse” may be greatly advanced.
Of course, judging from the effect at this stage, there is still a big gap with people’s expectations. Bill, the head of TMELAND’s technical staff, also mentioned that the newly launched TMELAND will continue to iterate to improve and upgrade itself to gradually approach everyone’s expectations. Like that.
On the one hand, in the existing virtual technology, everyone has their own different directions, some will choose to start from the digital image (virtual idol IP), and some will start from the perspective of object and three-dimensional space reconstruction. Tom, the head of technology at Yuanxiang XVERSE, said, “Our focus is on 3D, high-quality graphics, huge scenes, and a virtual world that supports a large number of users.” This is also in line with the stage setting of the TMELAND virtual music carnival.
On the other hand, one of the important reasons for gathering millions of “tourists” in the virtual amusement park is the appearance of Mayday and Hundred DJs. The gathering of cross-dimensional head IPs adds more appeal to TMELAND. Even users who are not interested in new things are willing to take a stroll for the carnival and diversion.
Of course, this time TMELAND’s “opening”, Tencent Music is also open to users of its four consumer platforms, QQ Music, Kugou Music, Kuwo Music, and National K Song, to promote sufficient resources to penetrate the consumer market. It is reported that TMELAND is a major innovation project since the establishment of the interactive video department of Tencent Music. This time it is only the “opening of the park”, and it will continue to iterate and normalize operations in the future.
From this selection of technical solutions, one point has been verified: If you want to market the virtual experience, you must reduce the dimensionality of the experience requirements instead of waiting for users to update their devices. In this way, more users will be involved. Does TMELAND’s advancement mean that Tencent Music will enter the Metaverse? In what direction will TMELAND develop?
After the online New Year, where is the future direction of the virtual music carnival?
After the New Year’s Eve, TMELAND temporarily closed, what’s next for it? Will it be gamified like cyberpunk?
According to the description of the head of design Ivy, the scene design is to be biased towards cyberpunk , but the original intention is still as an innovation of music experience, TMELAND will focus more on “social” and “interaction.”
In terms of content, TMELAND will focus more on music content that young people love, such as electronic music, national style and rap. In terms of interaction, it will be the focus of the follow-up to make friends who watch the show together jump up happily and play happily.
Inne, the head of TMELAND design, mentioned that how to let users “real” participate in the performance through various detailed designs, not just “watch the performance”, is also the work that TMELAND is focusing on.
These attempts have received some positive verification and feedback at the New Year’s Eve party. For example, at the peak of the performance, the entire venue will have fireworks blooming at the same time, and at another moment, everyone will wave a movement to the music at the same time, and the whole audience will dance together—this Let users who are accustomed to the traditional music experience have many new experiences through the screen.
The virtual music amusement park in the future must first break through the limitation of “space”. The 10,000-person concert is a milestone for offline performances, and in the virtual space, TMELAND has realized the interactive experience of up to a million people on the surreal world map.
Then there is the integration of “virtual idols” and “virtual concerts”. The development of virtual idols such as Hatsune Miku and Luo Tianyi in the traditional music media and stage has been relatively mature.
On August 7, 2021, Ariana Grande (Sister A, Lianna Grande) will hold 5 consecutive virtual concerts in “Fortnite”, each of which lasts about half an hour. Players participating in the event will have the opportunity to include Limited props such as banner pictures, umbrellas and disc reading interface pictures.
A highly customized virtual performance like this will be significantly different from traditional performances and become an important bargaining chip in the virtual music amusement park “out of the circle”.
Jason, head of product at TMELAND, said that in the process of polishing the products, they have focused on watching these virtual concerts. Adding some interactive gameplay to the experience of listening to songs-this also reveals another direction. Novel and unique interactions will present new exclusive effects in the virtual space, thus bringing players a more upgraded music experience.
According to Bill, the head of TMELAND technology, this product is still based on music, not games, so it is more accurately defined as social products and platforms based on music content. “Gamification” will become its element, but it will not be the “protagonist”.
Traditional music platform interaction is nothing more than likes, sharing, and comments; online K-songs have added interactive forms such as PK and onlookers; in virtual music amusement parks, combined with the experience of online and offline performances, there will be new Way of social interaction.
It is reported that the TMELAND team is already testing and developing the audio and video interaction between users at the amusement park performance. Jason mentioned that in the virtual scene, try some new ones, or introduce some new ways of listening to music and socializing. Interactive way, this will be what the TMELAND team will continue to do this year or even longer.
If the existing interactive methods are used to describe the interactive forms and effects of virtual spaces, they may not be accurate enough. So might as well leave some expectations and tolerance for some new things.
How to look forward to the “Music Metaverse” rationally?
A million-person online party is a new thing. It has many attributes of a virtual world, but TMELAND is not a “Metaverse” or a purely immersive game that leads to a broad sense.
TMELAND’s current team interactive video department is incubated in Quanmin K Song, and many members of the QQ music live broadcast team have been added. Before the project was launched, related tests were done in June last year, and the positive feedback they received made them feel that there is still a broader space for online music interaction.
Mario, the head of the interactive video department, is also the head of National K Songs. He said, “I went to Space Plus once and felt the shock and excitement of young people’s pursuit of music. When we came back, we wondered whether online music can also be more exciting. What about the renewal experience?” The motivation for TMELAND’s presentation here is not the upsurge of the concept of “Metaverse”, but thesearch for new online social interaction experiences.
Regarding the exploration of the new consumer experience of online music, Mario revealed several directions for TMELAND.
The first is the content customization and development belonging to the virtual music amusement park. You can see that we are trying to integrate TMELAND and TME live this time. Mayday’s New Year’s Eve concert can also be watched in the virtual music playground. Five fans (Mayday fans) pick up their exclusive light sticks in the virtual music world. , Let’s jump together for the New Year’s Eve.In the future, we will deeply integrate TMELAND and TME live, and introduce more super music scenes of celebrity artists into TMELAND to create a unique super virtual reality experience.
Second, open to users more capabilities, such as more personalized customization of their own exclusive image, dressing up their own space, etc. Focusing on users’ music content consumption, the introduction of “gamification” interaction is not ruled out to give users a richer and immersive experience.
Mario feels that in the virtual space, users cannot just be passive receivers of consumer content, but can participate in it and “play”. Therefore, based on user behavior and interaction, it will also be the focus of TMELAND in the future.
In the next year or so, TMELAND itself will continue to iterate, and it may also inspire more colleagues to participate. Only when more people can participate, the new online music experience standard will be “defined” . But more users can enter the venue, richer content and more innovative gameplay, it is the natural thing in the iterative process of TMELAND.
The grand concept of the “Metaverse” is still too early to be realized. But this virtual music playground has already started its trial operation. With the popularization of 5G networks, the improvement of mobile phone performance, and the optimization and iteration of TMELAND and similar products, it will not be too far away to construct a new music consumption scene.
Regarding the ideal virtual music amusement park, more new content parties and technical parties need to cooperate and participate in the form of “co-creation” to jointly explore new experiences in TMELAND. One of the criteria for this new experience is that users must be deeply involved, which is obviously different from conventional AR/VR content consumption scenarios.
The trial operation of this amusement park has gradually matured. It is indispensable for the “co-creation” of multiple ecological partners. After all, there are too many unknowns to be explored and defined. This includes both the interactive experience and technical standards of the virtual world, and it also covers The music industry, between musicians and listeners, between listeners and listeners, new relationship networks and interactive experience standards, as well as new ways of presentation of works and performances, and even the production and publicity that penetrates the upstream of the industry, will be promoted. Change.
In the exploration of the unknown world of music, TMELAND is more like a test field for a new world of music. Although it changes rapidly, it is not like a racing car, but an open circuit.
And on this track, how do musicians make their appearances and performances? In what way will the “offstage” audience cheer? May as well give us some open answers.
Posted by:CoinYuppie，Reprinted with attribution to:https://coinyuppie.com/millions-of-people-accompany-the-may-antenna-on-the-new-years-eve-will-you-listen-to-songs-like-this-in-the-future/
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