In the coming posts, I intend to delve deeper into the final vision of the 3D web that Adler is creating. Although it may start off as a somewhat fragmented topic, the most significant difference between the 3D web and traditional 2D web is the addition of auditory experiences.
The 2D web accessed via PC and mobile is predominantly visual. However, in the 3D web, hearing plays a crucial role. It is presumed that the environments for using the 3D web will primarily be VR and PC, where the experience largely involves listening and focusing on sounds.
From the early stages of planning for Adler, there were considerable deliberations concerning sound. Delving into this aspect reveals its complexity. Even looking at speakers, they range from a few thousand won to high-end speakers valued at tens of millions of won. While design is a factor, good sound quality indeed drives people to spend money. Just as Apple Vision Pro has focused on sound, the hardware and software for the 3D web will ultimately need to prioritize sound quality. Additionally, the value of good music and sound production skills or technology will increase in the 3D web world.
A more challenging aspect is the synchronization of sound. I want to enable ensemble performances in Adler, but what is commonplace in reality is incredibly difficult in virtual reality. Even if it’s a nearby location, a delay of 0.1 to 0.2 seconds can occur, and even a slight increase in latency makes it nearly impossible for two musicians to listen to each other’s music and play together.
Currently, most 3D services pay little attention to this issue. However, looking beyond, services like Yamaha’s “Thinkroom,” designed for remote ensemble performances, do exist. Adler believes it is vital to naturally incorporate such services into the 3D web experience and is already making preparations in advance.
