Guitar Hero World Tour: A Creator of New Sonic Experiences?(Gaming Software‪)‬

The academic literature for sonic media and gaming is--too frequently--separated by method, politics and approach. To increase the dialogue between gaming and sonic discourses, this paper discusses the impact of the drum controller (for use with the Guitar Hero gaming software) and the potential for new auditory experiences and literacies. Sonic media is often more volatile than screen-based platforms. The advent of MP3s and the iPod has ensured that sound is the carrier for changes in media and meaning. There has been an evolution of technology which has subsequently configured a convergence or revolution in sonic media. Concurrently, there has been a growing trend in the gaming industry to replicate instruments into alternative controllers for rhythm games as a form of interactive entertainment. Generally, these input devices are considered as part of rhythm play rather that music generation. Predominant in this group of devices is the Guitar Hero[C] franchise where a controller is shaped like a guitar. While it does not feature strings, it has buttons that are pressed as part of the use of such controllers. In 2008, drums were added to this equation for the current seventh generation of consoles (PS3, XBOX 360, and Wii) with the release of a drum controller for the games Guitar Hero World Tour (GHWT), Rock Band (RB) and Rock Revolutions (it is worth noting that PS2 a sixth generation console is also supported to some extent). Whilst there have been previous instances of drum controllers with sixth generation consoles (Donka Konga, Game Cube), these have been limited. The latest incarnations have the potential to be electronic drum kits in addition to games controllers. This is a significant shift in controller potential. This capacity in the drums controller is reflected in GHWT and RB. GHWT also has the capability for the user to generate and share music through a platform known as GHTunes in a "music studio" mode. Rock Revolutions also has a limited music studio however the ability for sharing generated tracks in not available. The complexity of using GHTunes, the music generation tool in GHWT and the quality of the resulting songs has been questioned by some reviewers, however despite these reservations it is still a platform for music generation and sharing. Therefore it is useful in terms of developing the sonic media literature and to look at what has been achieved with the alternative controllers to date as the potential for this format in the future. The argument that the drum controller is now a musical instrument will be proffered. In addition their uses have a symbiotic effect with the uptake of traditional instruments. There has been an international increase in the popularity of rhythmic and musical performance games since the late 1990s. This in part has lead to the interface of alternative controllers for games consoles. Initially, the input could be described as being specifically intended for rhythmic play (Blaine 2005) rather than music making. However with release of Guitar Hero World Tour (GHWT) this perspective needs revaluating. GHWT along with Rock Band and Rock Revolutions were the first titles released for the domestic market that had a realistic drum controller. The guitar controllers featured are an evolution of the already established controllers that involve the pressing of buttons as opposed to strings. There have been attempts to incorporate parameters such as tapping, they are still distinct from actually playing a guitar. The shapes of these instruments range from the iconic Stratocaster format to a Gibson Les Paul. The plots of these games are as simple as the title suggests. Essentially, single users can play along to the tracks in either a career-type mode or a quick play. Multiple players can use the various instruments in a band mode arrangement allowing for social interaction. The connectivity of the internet is fully incorporated into these games in a range of activities. GHWT is d