00:00.
00:08So very early on in the pre-production of Control,
00:11it was very evident that Control is gonna be like a very weird sounding game.
00:17And the fear that's constantly somehow present there,
00:21that's one of the, well, it was and still is one of my main fuels, so to say.
00:28We had, like, pretty free hands in working with the music,
00:32like, almost being told that it shouldn't sound like a AAA game,
00:36you know, like, that the studio really wanted to come up with something new,
00:40and it's a brilliant opportunity to work with other sources.
00:44There were a lot of, like, new production methods that we used to create the sounds for this game.
00:49For example, the ultrasonic microphone, it's basically a special microphone
00:55that records content beyond human hearing.
00:59And the kind of, like, magic that happens with that microphone
01:02is that once you pitch that content down multiple octaves,
01:06you suddenly start to hear all these, like,
01:09very, very high-pitched audio content that you will never, ever hear in your life.
01:14The biggest aspect that we used that microphone was the boss fights.
01:19There's a lot of mass involved with those bosses, so the way you get that mass is you use human
01:26voice,
01:26and then you just pitch it down a lot.
01:29Then you get these, like, super low, rich sounds that, like, sound like a very exciting boss.
01:41You see concrete being twisted and metal, and kind of imagine what would that sound like.
01:48So it went to record with something called a doxophone.
01:52This is like a wood blade and a tripod, and then you bow it, and it makes this kind of
01:57squeak sound.
01:59And again, you get this kind of natural sounding quality, and, of course, working with music,
02:05we're allowed to go into the kind of abstract field in a bit,
02:10so it doesn't really have to represent what is going on.
02:13But at the same time, it's really nice to have those associations to the materials that are affected by his.
02:19The correlation between the brutalist concrete walls,
02:23and then the screeching sounds of the background is somehow appealing to me.
02:29I find it strangely beautiful. Do I need to see a doctor because of this?
02:34I didn't know that.
02:43So modular synthesizer is basically an empty frame that can be filled with different kind of modules.
02:50So you choose your tools and utility tools, and then you put them in a box,
02:55and then that can be operated by a sound designer in order to create new sounds.
03:01And when it comes to control, one of the single most exciting sound sources for this game
03:09has most definitely been the microphonic sound box, which is this electro-acoustic instrument
03:17specifically designed for sound designers.
03:20And together with modular synthesizers, it could feel like the single most weirdest sounds.
03:40I did some really cool experiments with an old EMT plate reverb, so it's like a pre-digital
03:50reverb, so it's like a big metal plate. It's as big as an upright piano and weighs like 180
03:59kilos and really big. So I was kind of playing with it with rubber mallets that I could kind of
04:05scrape on it, so it made this kind of fast attack. And it sounds like a deep morn. That was
04:13really nice.
04:14Did you try to, you know, put your finger into a so-called tonal knot in order to play?
04:21No, I wasn't actually playing on the metal sheet itself. It was just like the wooden case.
04:27Oh, okay, yeah. By the way, the best idea so far was a burned piano, or actually not the whole
04:33piano,
04:33but the burned sound harp of a piano. And that's a totally another story, because it's actually
04:41the remnant of something I did for Quantum Break, but I felt it still had some life in it. I
04:48thought,
04:49put an electric wire into the wall and actually first clip off the other end and then put the wire
04:56into the wall and gently touch the piano string when it's connected to the piano sound harp.
05:03That's an interesting thing, but it's also easily the most dangerous thing I've ever done.
05:10So, at some point I managed to find this. This right here is a Aztec death whistle, and they used
05:29this to
05:30kind of like scare off the enemy just prior to the fights that we're about to ensue. And it sounds
05:38crazy,
05:38and this is used so many places in the game. So, this is how it sounds.
05:55And that is an Aztec death whistle.
06:00And that is an Aztec death whistle.
06:09So, this is what was made.
06:09And this is the one that's been a big fan.
06:09I can see a lot of these bananas.
06:10So, I think that this is a lot of hopes.
06:10So, I am going to have to get you this hoy.
06:10So, let's get into that.
Commenti