Behind the Music
Adaptive scoring, up close, and what it did to the way I build sound.
Scoring that listens back
Some scores sit under a picture. The ones that matter bend with it: music that reacts to state, to tension, to the choices a player makes, in real time. Seeing that kind of writing from close range reframed the whole problem. A score is not a fixed cue laid on top. It is a system that responds.
Where it went
That conviction is the seed of everything reactive I build now: the audio engine, music that answers navigation, visuals driven by the structure of a track. Sound as a system, not a layer.
I pulled the personal account out on purpose, that part is yours to write or to leave out. What belongs here in your words: the two or three concrete things this taught you, and how you want the Olivier Derivière connection framed, or whether to name it at all. I kept only the line to your own engine.