The result is a very strange dry sound that sounds nothing like the original file, but creates a very interesting sonic base for such a dry, dry, dry map! We wondered how we could sonically dry sounds out and so we played recordings of sand moving, through a plate reverb to create “wet sand” and then used algorithmic reverb removal to remove the reverb from the sound.
#2042 broadway s generator#
The map has an interesting dialogue between lush green areas, and very dry arid areas with a molten salt power generator present. One of my favorite examples of this is the sound at the beginning of “Wet Bulb,” a track based on the music for a map called Renewal. In this case it might have been a feedbacking speaker cone being covered in sand, or the highest frequencies of shattered glass being used to create rhythmic noise.
If the environment was mostly sand and glass, then we made instruments and processes that were using these materials. We looked at the materials of the maps themselves and used the main materials in each location to inform the sounds we made. Being that Battlefield 2042 doesn’t have a “physical” space in that sense, could you share how you went about discovering the soundscape for the game? What was that creative process like? Your work on the “Chernobyl” soundtrack is fascinating, in that you created sounds from a real nuclear power plant in the composition. That being said, creating that cohesion is hard! It took us 18 months to make this score. This creates immense dialogue and collaboration between audio and graphics and allows one to really explore the potential for the lines between music, sound effects and the visual world to collapse into a single, living environment. With a game, we don’t see the final graphics until its finished, and therefore we are constantly working with ideas, concepts, and impressions of the worlds that are being created. They can be symbiotic, as we hope our recent project “Chernobyl” was, but often our eyes and ears exist in parallel.
More often than not, the visuals of a film are locked, and the music is added towards the end, and this leaves less space for intertwining the visual and auditory landscapes. Working on a game was a deeply enjoyable experience. How did you enjoy the process of composing a soundtrack for a game as opposed to working on a film? Were there any aspects that turned out to be more, or less, challenging than you expected? Wanting the music to feel completely rooted in the physical environment of the game itself, Hildur and I quickly latched onto the idea that we could bring the physical environments themselves to life, augmenting the chaos of the physical environment into the ears of the player. This meant no laser guns and shiny synths, and no nostalgic orchestras to romanticize and distance the player from such a brutal world. When discussing the sound-palette for Battlefield 2042 we asked ourselves “What kind of world is being built?” The world of the game is futuristic, but that future is close enough to our current world that the sound must feel rooted in our current reality. How did you arrive at this “texture” when sitting down to start composing the game’s soundtrack? One of the things I appreciate about the Battlefield 2042 soundtrack is that you can practically feel the music: it’s very metallic, organic, and even harsh – my mind conjures images of rusted metal drums, coarse sand, and the texture of a bass guitar string on several tracks. To learn more about its composition and its unique arrangements, we spoke with Hildur Guðnadóttir and Sam Slater, the composers of the Battlefield 2042 soundtrack, to learn more about the work that went into one of the year’s best video game scores. There’s this physical, harsh texture running through each track that complements the on-screen chaos of battle like never before.
Battlefield 2042’s soundtrack, however, feels like a production on a level that we’ve never heard before – and frankly, I think it’s amazing. Its soundtrack has also come to be familiar to players, and its “Battlefield theme” always seems to find a way to live rent-free in my mind with each new iteration. From the accurate reproduction of weapon fire to the crunch of gravel under your boots, it’s one of those most intensely auditory gaming experiences you can play today – I recommend you get yourself a good set of headphones when you play if you haven’t already done so.
#2042 broadway s series#
Beyond its epic battles and intense gunfights, the Battlefield series has built an incredible reputation for delivering a premium audio experience.
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