In VR the player stands inside the ensemble — so Glacier Drift’s score had to breathe in 360 degrees. I composed in spatial stems: sub-drones rooted underfoot, strings wheeling at head height, and a lone violin that always calls from the objective’s bearing.

Around the music I built the entire soundscape — groaning ice, whiteout gusts, far-off beacons — mixed headphone-first for VR, where two decibels too hot feels like a shout.

• Spatial score in ambisonics-ready stems
• Full VR sound design plus environment beds
• Headphone-first mix with comfort-tested dynamics
• Trailer theme and launch-cinematic music