A Collaborative Detour
Sometimes the best things come from stepping sideways. While the main Retro Recording Studio project kept growing in scope, I took a detour — a simpler, more focused version built around one idea: what if you could mix music together with someone else, in real time, in VR?
I teamed up with Jeroen de Mooij, a freelance colleague from theFirstfloor.nl. Jeroen modelled and textured a clean, modern-looking studio room in Cinema4D and sent over the FBX files. We used Unity’s built-in version control system so we could both work on the project simultaneously — it made for really fast iteration cycles. He’d push an update to the environment, I’d wire up the audio systems, and within a day or two we’d have something new to test.
Building the Room
The studio itself came together quickly. We added music props — a microphone, headphones, a proper console — along with audio import functionality, mixing routines, transport controls, and a set of effects. I brought over a modified version of the wave generator from the main project, and Jeroen improved the visuals and functionality on the big screen display. The result was a compact but capable mixing environment: import a track, adjust levels, apply effects, and hear the results in a shared 3D space.
Going Multiplayer
The multiplayer component was the whole point, and it worked. We integrated a Unity networking plugin with Voice over IP support, so you could talk to the person you’re mixing with — the way you would in a real studio session. Point at something, discuss a mix decision, make changes together. That social layer turned out to be the most rewarding part of the whole experiment.
We also added a few extras for the downtime: a collaborative drawing board and a basketball game. Because sometimes you need to step away from the console, shoot some hoops, and come back to the mix with fresh ears. It sounds silly, but those little touches made the space feel alive.
The Standalone Question
The one limitation we kept bumping into: this doesn’t run standalone on a Quest 2. The audio processing demands are just too heavy for the headset’s mobile chip — you still need a connected computer to handle the real-time mixing and effects. It’s a compromise, but an honest one. Maybe the Quest 3 will change the equation. For now, StudioMixah lives as a tethered experience, and honestly, it’s still a lot of fun.
This was supposed to be a small side project. It turned into proof that the social side of music production in VR isn’t just possible — it’s genuinely enjoyable. That’s a lesson I’m carrying back to the main project.