·the most important thing music lends to a game is the emotional part and this is something music does better than any other thing.
·sound is 50 percent of the experience you can play a game without sound.
·but sound will convey the emotions that we have written and planned for it connects the unconnected.
·we are approaching launch and i'm here in london to watch the beautiful soundtrack be recorded at air linhurst.
·it's been in my mind since the very beginning that we have to try and record this at air.
·the sound of the hall is in my mind it's the best place in the world to record.
·and also the sense of scale that it lends to a production.
·like this is exactly what we need it gives us this huge sound that we cannot achieve anywhere else.
·the other thing that is equally important is the level of the musicians here.
·it's the level of perfection that you don't really encounter very much being there and hearing the songs benefittastic experience.
·we're looking forward to get all this great music into the game.
·when aurel first approached me with this project he said it was dune.
·and i got very inspired to work.
·i could see so many things that we could do with the music.
·it is always a bit of a challenge to work on something that other people have worked on before you on simmons school.
·from the films is spectacular music.
·and you have to take that into consideration.
·and you're working on the same ip clue this particularly interesting.
·he has radenthemic songs.
·and it was natural for me to get in touch with him.
·when we started this project.
·so we experimented quite a bit in the beginning.
·the dune books there is fantastic lore.
·it's an established universe in every way.
·but it also have these limitations.
·there's no computers.
·there's no gunpowder in the world.
·it's not the typical digital sci fi slick soundscape you used to in many games in the game.
·and you can be anyone you like you can belong to any faction.
·so there are very few areas and situations in the game.
·that are purely a trade is purely harkonan purely framen.
·so you have to approach it in a different way.
·knut is a classical composer he called posts for orchestra.
·but we started out experimenting with synthesizers.
·and that was a really really music.
full exercise to see why he would come up with we definitely wanted these heavy synths broken or brass and huge arking strengths.
arakis is just a huge open landscape.
ice cold of knife burning hot of day.
you're alone as a player and we really needed the music to fit and work with the landscapes.
we came up with pillows for what we want to achieve one of the pillows we wanted to use was flow.
which means how sound needs to flow over time.
not be too intrusive.
the next pillar was information.
information is very important to players and sound place a big part of that.
and the last pillar is evocation.
we want to evoke feelings with our sound design.
from the very beginning.
we decided that the music should be written in indeed.
because it's a very practical to write in with everything.
recorded in the same tempo in the same key.
we have different parts.
we have different layers.
suddenly we have endless possibilities for variation.
the deliveries from clutes are delivered in stems.
which are interchangeable and layered so we can play around with it and adapt naturally to any situation.
what we might start with this ambient music supporting the normal game scenario.
a player walking around.
maybe building doing survival gameplay just beautiful music to support the visuals.
then suddenly a war might appear.
or you might be attacked by terrible scavenger.
we need the music to change.
past we have a traditional adaptive music system.
where we use horizontal layering vertical layering to do that.
on this project i've been able to do a lot of creative things with the music.
that i haven't been able to really work with.
before it allowed me to step out of the box of traditional orchestral thinking and explore a much bigger musical world.
winsack is an interesting track.
the vocalist is very central here.
the singer in this track.
she represents mother iraqis the voice of iraqis.
she's the voice of the desert.
it doesn't become music before you put the human in there.
and that human makes it music.
and every now and then you meet a performer.
that can really elevate your music and your intentions.
you just feel in all is a like a religious experience.
it's just there.
you cannot really imagine.
how you could write it down.
because you can't you cannot write this down.
you rely on someone.
that can actually do.
COMING TO PC MAY 20th。