Ahoy, me Mates! The Sound of Corsair Cove

Dynamedion creates the Sound and Music for the new pirate city builder.

Project: Corsair Cove

Client: Limbic Entertainment

We Did: Music Composition  • Live Recording • Sound Design • Audio Integration

Ahoy me Mates! The Sound and Music of Corsair Cove

It was a great honor for us to jump aboard with the Limbic Entertainment crew and help bring Corsair Cove to life. As part of the audio crew, we created Caribbean soundscapes, pirate voices, cannon fire, building sounds, tavern music, and a full pirate soundtrack – including dynamic adventure tracks and themed shanties with Sean Dagher, known from Assassin’s Creed IV: Black Flag.

 

The Crew and their daring Deeds – Overview

Corsair Cove is a PC-exclusive pirate city builder in which a small crew finds themselves stranded on an abandoned island and sets out to build a pirate haven by living according to the pirate principles. As the settlement grows, the crew faces danger, embarks on adventures, and seeks to become either the most notorious crew through daring deeds or the most feared pirates on the water.

On our side, the project was led by Music Director and Lead Composer Christian Wirtz, together with Audio Director and Lead Sound Designer Philippe Spankus, supported by a talented crew of composers and sound designers who helped bring the world of Corsair Cove to life.

 

Between the Devil, the deep-blue Sea and the Speakers – Audio Direction 

The audio direction for Corsair Cove was shaped by the game’s art direction, story, and overall tone. The world lives somewhere between realism and Hollywood-style pirates, with humor, oddities, and the occasional “is this just sailor’s yarn?” moment. To support that, we chose a sound style that feels grounded, but still leans into the romanticized pirate fantasy while steering clear of a generic medieval sound.

The game is built around two main pillars: the city builder loop and the adventure sequences. In the city builder, players construct and expand their settlement, meet the needs of their pirate residents, defend the island, and explore the world. In the adventure sections, they set sail with captain, crew, and ship to fight battles, sneak through hostile towns, and recover treasure.

For the city builder part, we focused on a soundscape that feels alive and reacts naturally to the player’s surroundings. Seagulls and waves along the coast, tropical birds on the island, waterfalls in the distance, and ambient details that never become tiring. As the city grows, so does the soundscape: buildings are clustered dynamically, scalable pirate crowd ambience fills the space, and one-shots like pirate vocalizations, effort sounds, and diegetic music bring the settlement to life.

We also gave many of the buildings detailed sound design, which helps make the town feel more alive and gives the player a stronger sense of the city growing over time.

When exploring the world, players encounter islands and points of interest that each needed their own sonic identity, from bustling trader towns and fine dining spots to casinos. These details help communicate what a location feels like before the player even arrives.

The adventure sequences shift into a more cinematic presentation. To support them, we built a layered system made up of ambience loops, random one-shots, crew reactions recorded with a LARP group, timed SFX synced to animation and VFX, and cinematic cues that establish the mood when a new scene begins.

 

Captain Every’s Words – The Theme Song

When we set out to compose the theme song of the game, we wanted a tether to the real Golden Age of Piracy. We found just the right lyrics in“A Copy of Verses,” purportedly written by Captain Henry Every, the legendary “King of Pirates” who pulled off one of the most lucrative raids in history aboard his ship Fancy, before vanishing into thin air.

While the tune has been lost to time, the lyrics to the song are preserved as they were printed in the broadsheets:

Come all you brave Boys, whose Courage is bold,
Will you venture with me, I’ll glut you with Gold?
Make haste unto Corona, a Ship you will find,
That’s called the Fancy, will pleasure your mind.

Rather than taking this as a battle cry, we chose to interpret these lyrics as a quiet proposition,  softly enticing you to turn your back on the crown and step into the unknown.

So instead of turning this into an epic, thunderous sea shanty, we went with a haunting, mellow and deeply atmospheric.song. Katharina Wirtz‘ vocal doesn’t scream over the waves, it whispers from the tavern corner, inviting you to leave your old life behind.

That core, haunting melody isn’t confined to the title screen. As you play Corsair Cove, you’ll hear subtle echoes of it woven throughout the whole soundtrack.

 

All together now: Building an interactive Shanty System

Nothing defines a pirate port quite like the songs echoing off the tavern walls and across the timber docks.

When we set out to create the audio landscape for Corsair Cove, we wanted the music to feel as alive, unpredictable, and dynamic as the pirate city itself. What evolved from that core idea is a fully interactive, evolving shanty system that reacts to your playstyle and grows alongside your settlement.

When you first wash ashore and lay down your very first wooden shelters, your audio environment is humble. A lone pirate might whistle or sing a solo verse while hammering away at a fishing pier.

As your small encampment slowly transforms into a sprawling, lawless metropolis:

  • More voices naturally join in: As your population grows, so does the choir.
  • Harmonies fill the air: What started as a solitary melody swells into a multi-layered chorus across the docks and taverns.
  • The city comes alive: You can physically hear the density and prosperity of your port just by listening to the sheer volume of voices singing together.


Led by a legend: Sean Dagher

To ensure every note felt authentic to the golden age of piracy, we teamed up with renowned shanty man Sean Dagher. Known worldwide for his deep expertise in sea shanties and traditional folk music, Sean brought his signature grit, leadership, and raw vocal energy to the helm of this project.

Under Sean’s direction, the shanties grew into a living, musical chronicle of your specific reign as captain.

Achieving a seamless transition from a single singer to a massive, crowd-filled chorus required immense dedication and precision.

Over the course of three years of recording sessions, we brought in over 40 distinct singers. Every vocal layer was meticulously recorded and arranged so that whether you have 5 pirates or 200, the transition feels organic, unscripted, and deeply immersive.

The result is a dynamic soundscape that rewards your progress. There is no feeling quite like expanding your port after hours of hard work, looking out over a crowded harbor and hearing forty voices belt out the shanty in honor of the sanctuary you built.

Whether you’re a cunning strategist or a fearless sea dog, Sean Dagher and the crew are ready to sing your story.

The sails are set

We want to thanks to the entire Sound and Music team at Limbic Entertainment for placing their trust in us to lead the audio and music direction, and for supporting us in bringing our ideas and systems to life. It was a fantastic experience working with such a creative and dedicated team on a truly unique and exceptional project that we were fortunate to be part of.

It was a wild ride, but now the ship has reached safe harbor, and we are excited to hear what players think of the final result.

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The music of AFK Journey

Dynamedion creates the Soundtrack for the newest chapter of AFK Journey

Project: AFK Journey

Client: Lilith Games

We Did: Music Composition  • Orchestra Recording • Video Production

Composers: Benny Oschmann

Behind the Score: The Music of AFK Journey’s “Crown of Ashes”

Here at Dynamedion, we are always thrilled to help game developers bring their worlds to life through powerful, immersive audio. Today, we are incredibly excited to take you behind the scenes of our recent collaboration with the team behind AFK Journey for their spectacular new season, “Crown of Ashes.”

To capture the deep lore and stunning visuals of the game’s new environments, our veteran composer Benny Oschmann stepped up to the podium. With over 15 years of experience at Dynamedion crafting iconic soundtracks for titles like Company of Heroes 3, Hitman: Absolution, and Harry Potter: Magic Awakened, Benny was tasked with a unique creative challenge: composing three distinct tracks to represent the different districts of the majestic Savanah Royal City.


Music Rooted in Worldbuilding

What made this project so rewarding for our team was how closely the music was tied to AFK Journey’s rich worldbuilding. The development team provided us with incredibly detailed descriptions and gorgeous concept artwork, which served as the ultimate blueprint.

Instead of writing a single general theme, Benny’s mission was to give each district its own unique sonic fingerprint—matching the architecture, social atmosphere, and energy of the people who live there.


One City, Three Distinct Sonic Identities

To bring the diverse cultures of Savanah Royal City to life, Benny took a completely different stylistic approach for each of the three tracks:

The Central Plaza: Grandeur & Unity

To capture the massive scale and cultural weight of the city’s heart, we utilized a full 60-piece symphony orchestra. The main theme begins intimately with a solo trumpet before the orchestration gradually expands into a massive, sweeping crescendo. This musical growth perfectly mirrors the coming together of different cultures meeting in the plaza.

The Upper District: Elegance & Refinement

For the high society and aristocratic vibes of the Upper District, the music shifts away from a massive orchestra toward a refined, chamber-like sound. Centered around an elegant string quartet, this piece draws inspiration from European classical music and historical court dance forms to reflect the district’s prestige.

The Lower District: Folk & Everyday Life

To capture the vibrant, gritty energy of everyday medieval life in the Lower District, Benny pivoted to a light, folk-inspired direction. This track strips back the heavy orchestration to highlight historical acoustic instruments, bringing a rustic, lived-in warmth to the game’s streets.


From the Studio to Esperia

Bringing a score of this ambition to life requires world-class talent, so we took the production to the historic TomTom Studios Budapest. There, we recorded the sweeping orchestral arrangements with the magnificent Budapest Art Orchestra.

To ground the folk elements of the Lower District in absolute authenticity, we also collaborated with multi-instrumentalist Christian Wirtz, who tracked beautifully intricate layers of mandolin and lute. 

The result is a rich, dynamic soundtrack that we are incredibly proud of, and we can’t wait for players to experience it.


Orchestral Recordings: Budapest Art Orchestra

Orchestration: David Christiansen

Viola Da Gamba Recordings: TomTom Studios Budapest

Mandolin, Lute: Christian Wirtz

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The Soundtrack for Age of Empires IV: Yue Fei’s Legacy

Dynamedion creates the Soundtrack for Age of Empires IV: Yue Fei’s Legacy

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Project: Age of Empires IV: Yue Fei’s Legacy

Client: Relic, Worlds Edge

We Did: Music Composition • Music Production  • Orchestra Recording – Sound Design – Audio Integration

Composers: Nicolai Patricio, Christian Wirtz, Alexander Röder, Matthias Wolf

The Sound of Legend: Scoring Age of Empires IV: Yue Fei’s Legacy

History doesn’t just live in books; it lives in the thunder of drums and the haunting cry of a bamboo flute. We are thrilled to finally pull back the curtain on one of our fantastic projects: composing and implementing the full audio experience for the Age of Empires IV expansion, Yue Fei’s Legacy.

From the first sketch of a melody to the final mix, our team lived and breathed the Song & Jin Dynasty for months. Here’s a look behind the scenes at how we brought this legendary general’s story to life.

A Global Symphony

Yue Fei’s story required us to record historic instruments as well as an enormous symphonic orchestra. Just like the fans are used to hearing in Age of Empires 4.

  • The Power: We recorded a full symphony orchestra to provide the sweeping, cinematic foundation that Age of Empires fans expect.
  • The Soul: To ensure cultural authenticity, we collaborated with master instrumentalists in China and across the globe. The distinct timbre of the Guzheng, pipa, and bamboo flutes were recorded in highest quality in China and all around the world to serve as the emotional heart of the score.

Beyond the Notes: Implementation & Cinematics

We didn’t just hand over a folder of MP3s. Our team was embedded in the development process, handling the technical implementation to ensure the music reacts dynamically to your gameplay. Whether you’re peacefully building your economy or engaging in a desperate siege, the score shifts seamlessly with your strategy.

Furthermore, we took the reins on the sound design and music for all campaign cutscenes. We treated these as mini-feature films, layering foley, environmental ambience, and a custom score to make Yue Fei’s rise and sacrifice feel visceral and immediate.


“Our goal was to bridge the gap between historical reverence and modern gaming intensity. Every note played on a solo instrument in Shanghai had to feel right at home next to a brass section recorded in Europe.”

Age of Empires IV: Yue Fei’s Legacy is out now. Put on your best headphones—it’s time to lead.


AimSound Studios Shanghai, China

GuZheng: Wu Hao 吴昊

Recording engineer: Tang Jian 唐舰

Flutes: Veronika Vitazkova

Pipa: Christian Wirtz

Orchestral Recordings: Budapest Art Orchestra

Orchestration: David Christiansen

Postpro and mix: Christian Wirtz

Sound Design: Philippe Spankus, Severin Schwarz

Audio Integration: Philippe Spankus

Release Trailer

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The music of Age of Mythology: Retold

Dynamedion creates the Soundtrack for Age of Mythology: Retold – Obsidian Mirror

Client: Relic

Composers: Alexander Röder, Matthias Wolf, Henning Nugel, Christian Wirtz, Nicolai Patricio, Dominik Morgenroth

Sound Designers: Severin Schwarz, Vincenzo Bellanova, Fabio Coressel, Michael Prechtl, Manik Möllers

Oud, Mandolin, Bouzouki: Christian Wirtz

Orchestra Recording: Budapest Art Orchestra

Orchestration: David Christiansen

Orchestral Mix & Session Production: Christian Wirtz

Summoning the Gods: Behind the Soundtrack of Age of Mythology: Retold and the Obsidian Mirror Expansion

When you are tasked with scoring a world where gods walk the earth and monsters clash in the thousands, the music cannot afford to be quiet. It needs to feel ancient, terrifying, and endlessly divine.

We are incredibly proud to pull back the curtain on one of our biggest audio undertakings yet: crafting the definitive soundtrack for Age of Mythology: Retold, as well as the dark, sprawling soundscapes for the brand-new campaign expansion, Obsidian Mirror.

From re-imagining iconic themes to giving a brand-new voice to the rising Aztec pantheon, we’ve spent months shaping an audio experience fit for the gods.

Retold: Modernizing a Mythic Classic

The original Age of Mythology holds a sacred place in strategy gaming history, and its music is a core part of that nostalgia. Our first challenge with Age of Mythology: Retold was balancing deep reverence for the past with modern production standards.

We didn’t just up-sample the old tracks—we rebuilt the musical foundation of the game from the ground up.

  • Fully Symphonic Scope: We took the original motifs and exploded them into massive, fully symphonic arrangements. Every brass swell and choral chant was designed to make players feel the staggering scale of a Guardian rising or a God Power tearing across the map.
  • Distinct Regional Textures: Whether you’re building a settlement in the Norse snowfields, defending the sands of Egypt, or marching through classical Greece, we ensured each civilization’s sonic footprint felt distinct by utilizing rare, era-accurate regional acoustic instruments.

Stepping Into the Smoke: The Obsidian Mirror Campaign

If Retold was about honoring a classic, the Obsidian Mirror expansion gave us a completely blank, blood-soaked canvas. Centered entirely on the highly anticipated Aztec pantheon, this 12-mission campaign demanded a fundamentally different sonic identity.

The mechanics of the expansion revolve around Tonalli (harvesting life force), sacrifice, and illusion. To capture that tone, our score had to feel vastly different from the European and Mediterranean structures of the base game.

The Instruments of Mesoamerica

To bring the Aztec empire to life, we bypassed traditional orchestral strings and focused on building an organic, rhythmically driven soundscape. We leaned heavily into:

  • Pre-Columbian Woodwinds: Haunting clay flutes, ocarinas, and specialized death whistles to mirror the tactical “Fear and Illusion” mechanics deployed on the battlefield.
  • Thunderous Percussion: The driving force of the combat tracks relies on the deep, booming resonance of traditional huehuetl and teponaztli log drums.
  • The Sibling Rivalry: Musically, the soundtrack mirrors the central narrative clash between Quetzalcoatl and Tezcatlipoca. While Quetzalcoatl’s themes incorporate lighter, wind-based textures and soaring melodies, Tezcatlipoca’s motifs are dark, heavy, and jagged—shrouded in ambient low-end sound design to signify his domain of night and chaos.

Listen Close: The Sound of Cosmic Conflict

“When a player sacrifices a unit to gain favor, or when Tezcatlipoca steps through the Obsidian Mirror, the music has to communicate the terrifying gravity of that moment. We wanted the Aztec soundtrack to feel alive, raw, and fiercely distinct from anything else in the franchise.” — [Matthias Wolf, Lead Composer]

The gods have ascended, and the mirrors are smoking. Both the base game soundtrack of Age of Mythology: Retold and the intense new themes of Obsidian Mirror are out now. Pull up the game, crank up your speakers, and experience the power of the pantheons.

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The music of Age of Empires II: Definitive Edition

Dynamedion creates the Soundtrack for 3 campaigns of Age of Empires II: Definitive Edition

Client: Relic

Composers: Matthias Wolf, Alexander Röder, Henning Nugel, Christian Wirtz, Nicolai Patricio, Simon Wiebe, Armin Haas, Jochen Flach

Sound Designers: Severin Schwarz, Michael Prechtl, Fabio Corossel

Scoring History: Crafting the Music and Sound Design for Age of Empires II: Definitive Edition

There are few gaming franchises with a legacy as rich as Age of Empires. For decades, the clatter of swords, the ring of gathering resources, and the sweeping orchestral themes have defined the strategy genre.

That is why we are absolutely thrilled to share this wonderful project: we have officially designed the music and sound design for the cinematic campaign cutscenes across three epic expansions for Age of Empires II: Definitive Edition!

From the dusty battlefields of ancient Greece to the dense rainforests of South America, our mission was to create an immersive audio landscape that honors history while maximizing emotional impact.

Bringing historical warfare to life through immersive audio. Quelle: Age of Empires

A Journey Across Eras and Continents

Scoring a game like Age of Empires II isn’t just about making things sound “epic.” It requires deep historical research, unique instrumentation, and a careful balance between authentic traditional textures and modern cinematic power.

Here is a look at the incredible worlds we had the privilege to bring to life through sound:

1. Chronicles: Alexander the Great (2025)

  • The Civilizations: Macedonians, Thracians, Puru
  • The Sonic Approach: For this massive step backward into classical antiquity, we stepped away from traditional medieval tones. We blended ancient Mediterranean modalities with thunderous, driving percussion. For the Puru, we integrated rich, resonant ancient Indian textures to emphasize the clash of vastly different superpowers.

2. Three Kingdoms (2025)

  • The Civilizations: Shu, Wei, Wu, Jurchens, Khitans
  • The Sonic Approach: This expansion demanded immense emotional nuance. To score the legendary drama and political intrigue of early China, we utilized traditional solo string and wind instrumentation, contrasted against heavy, metallic sound design for the brutal sieges and cavalry charges of the Northern Jurchen and Khitan tribes.

3. The Last Chieftains (2026)

  • The Civilizations: Mapuche, Muisca, Tupi
  • The Sonic Approach: Our most recent project took us to the heart of South America. This soundtrack relied heavily on organic textures, utilizing indigenous woodwinds, deep skin drums, and environmental soundscapes. The sound design focuses on the dense, untamed terrain, weaponizing the sounds of nature alongside specialized war cries and acoustic weaponry.

Balancing Blade and Bow: The Sound Design Process

Every arrow zip, trebuchet launch, and armor clink in a campaign cutscene has to tell a story. In our studio, we approached the sound design by focusing on tactile realism.

When a commander speaks to their troops, the ambient world matters. We crafted bespoke atmospheric backgrounds for each campaign—whether it was the humid, insect-laden air of the Amazon basin or the echoing mountain passes of Macedonia. By layering authentic, foley-recorded armor rustles and weapon impacts, we ensured that the stakes felt incredibly high before the player even took control of their units.

“Working on a legendary franchise like Age of Empires is a dream come true, but it’s also a massive responsibility. The fans know these worlds intimately. Every instrument we chose and every sword clash we mixed was designed to respect the history while blowing the audience away.” — [Matthias Wolf, Lead Composer]

Experience the Campaigns Now

We want to extend a massive thank you to the developers and the incredible audio teams who trusted us with their vision.

All three expansions are now live. Fire up your game, jump into the new campaigns, and put on your favorite pair of headphones. We can’t wait for you to hear the world we’ve built.

Have a project that needs a distinct sonic identity? From cinematic scores to bespoke sound design, let’s talk about how we can bring your world to life. [Contact us today].

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Creating the sound of Pagiona

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Project: Pioneers of Pagonia

Client: Envision Entertainment

We Did: Music Composition • Music Production  • Sound Design • Technical Sound Design

Envision Entertainment are, quite literally, Dynamedion’s oldest clients, and we have contributed to several of their projects over the last twenty plus years.
So naturally, when they asked us to work on their new city-building game Pioneers of Pagonia, we jumped to the opportunity – and we were particularly thrilled to be entrusted with all aspects of the game’s audio, from a little sound design for the first teaser trailer to the creation and integration of the full soundscape and original soundtrack.

Three years, 5,157 sound effects and 59:33 minutes of music later, we look back on a wonderful project.

Getting Started

The primary objective in developing the game’s sound and music was to find a sound palette that reinforces its core experience.
Pioneers of Pagonia is a relaxed, player-friendly game that avoids punitive mechanics and naturally adapts to each player’s pace and style. With that in mind, we focused on creating a gentle, calming, and rewarding sonic atmosphere that supports the game’s overall mood.

Bustle!

Of course, the defining element of the game is its „Wuselfaktor“ (the „bustle factor“), the liveliness and vibrancy of a growing community full of tiny people and animals running to and fro between lots of buildings producing tons of goods, lovingly animated so the player can closely follow the transportation and transformation of goods in real time, contributing to a lively and dynamic settlement—the “Wuselfaktor” (bustle factor).

To contribute tot hat, we devoted considerable attention to the sound design of the building animations. We aimed to craft detailed sounds that enrich the soundscape, maintain clarity even when triggered repeatedly, and avoid listener fatigue.

To bring the stars oft he show, Pagonia’s Pioneers, to life, we produced custom voice-over lines that match the game’s tone and emphasize its warm, welcoming atmosphere.

As a very special addition to the voice overs we created, we had the honor to record five influencers who generously lent their voices to our lovely in-game characters.

Not only were the recordings sessions a lot of fun, their remarkable performances are a genuine enrichment to the game.

The Tunes

A big contributor to any game’s tone is, of course, the music. Composed by veteran composer Alex Röder, the Pioneers of Pagonia soundtrack accompanies you through your adventures without ever intruding. And every now and then, when the moment is right, it takes center stage, accentuating the emotional and dramatic moments.

Same as the soundscape, the music for the endless game mode needed to feel positive and friendly to convey both the beauty of untouched nature and the various aspects of the stages of building.

For the campaign music, Alex crafted individual themes to lend character to the different factions and accentuate their differences.

Highlights

Lead Technical Sound Designer Philipp, when asked about his personal highlights of the project, had this to say:

“Creating sounds for the characters and enemy factions was really challenging and an extremely fun task. For some characters, defining their character through sound was as simple as a laugh – mischievous for the thief, or darker and rougher for the bandit. For others, it was more intricate: the Scav enemy faction, for example, got their own fantasy language – still somewhat human, but also coarse and a touch machine-like, to capture their defining trait, which is rapacious exploitation of natural resources. The same features reoccur in the Scavs’ sound design and music: metallic qualities, sounds of dirt and ore, and an overall industrial tone (well, as industrial as Pioneers of Pagonia can be).”

Thanks!

Working with the Team at Envision Entertainment was incredibly smooth and fun. They’ve been a wonderful partner who enabled and supported us to realize our shared vision for Pioneers of Pagonia’s sound and music. Thank you so much! We can’t wait to work with you again, be it later or sooner.

Pioneers of Pagonia: Full-Release trailer

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Monster Hunter: Wilds – Bringing the DIVA Songs to life & Explosions

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Project: Monster Hunter: Wilds

Client: Capcom

We Did: Vocal Production – Source Recordings

 

Recording the Diva Songs for Monster Hunter: Wilds

We’re excited to share a behind-the-scenes look at one magical aspect of Monster Hunter: Wilds— the vocal recording sessions for the game’s iconic diva songs.

The diva songs have become a beloved tradition in the Monster Hunter series, weaving emotional depth and cultural richness into the hunting experience. For Wilds, we knew we had to create something truly special that would resonate with both longtime fans and newcomers to the series.

Studio Sessions

The recording process was an incredible journey. Working with talented vocalists, we captured performances that blend power, beauty, and the untamed spirit of the wilderness that defines Wilds. Each take required careful attention to both technical precision and emotional authenticity.

Our sound engineers worked tirelessly to ensure every note captured the essence of the game’s new environments—from sweeping plains to mysterious ancient ruins. The result is a sonic landscape that we believe will enhance every moment of your hunting adventures.

A Labor of Love

These recording sessions reminded us why we do what we do. Hearing Anna bring these compositions to life, watching the music team’s vision become reality, and knowing that players al around the world will experience these songs — it’s what makes game development so rewarding.

 

 

Vocals by: Anna Serierse

Recording Engineer: Steffen Lütke

Recorded at Fattoria Musica, Osnabrück, Germany

Session Producer and recording manager: Christian Wirtz

 

Capturing the Roar: Recording Explosions for Monster Hunter: Wilds

 

Beyond the musical elements, we also had the thrilling opportunity to record explosive sound source recordings for Monster Hunter: Wilds. Our sound design team captured a variety of detonations and impacts to bring the game’s most intense moments to life. Each explosion was carefully recorded and processed to ensure it would convey the raw power and visceral impact that players expect when facing down massive monsters. These recordings add another layer of immersion to the hunting experience.

 

Lead Recordist, Project Manager & Sound Designer: Patrice Börding

Sound Designers & Recordists:  Wieland Müller, Fabio Coressel

Sound Designers: Benjamin Drumeaux, Axel Rohrbach, Michael Schwendler

Monster Hunter: Wilds – Release Trailer

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Dynamedion creates the Soundtrack for Anno 117: Pax Romana

Dynamedion creates the Soundtrack for Anno 117: Pax Romana

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Project: Anno 117: Pax Romana

Client: Ubisoft

We Did: Music Composition • Music Production  • Orchestra Recording

Dynamedion are proud to announce that we continue our long-standing collaboration with Ubisoft Mainz on the Anno series by composing and producing the official soundtrack for Anno 117: Pax Romana. Building on years of partnership and a shared musical vision, Dynamedion composers Matthias Wolf, Tilman SillescuAlex RöderArmin Haas and Henning Nugel crafted a score that brings the grandeur, ambition, and humanity of the Roman Empire to life through rich orchestral textures and expressive themes.

All music was composed and recorded by Dynamedion, featuring live orchestral sessions and solo performances that blend authentic ancient influences with cinematic storytelling. The result is a deeply immersive soundscape that captures both the power and the peace of the Pax Romana – a soundtrack that continues the proud musical legacy of the Anno series.

Anno 117: Pax Romana is out today – build your empire in Albion or Latium!

Anno 117 release trailer

Impressions from the recordings at OPERA Eiffel Art Studio in Budapest, Hungary

Creative Director Music & Lead Composer

Matthias Wolf

 

Composers

Tilman Sillescu

Alex Röder

Armin Haas

Henning Nugel

 

Orchestra

Budapest Art Orchestra

 

Conductor

Gyorgy Gulyas Nagy

 

Recording

East Connection Music Recording at OPERA Eiffel Art Studio in Budapest, Hungary

 

Digital Recordist

David Lukacs

 

Recording Engineer

Gabor Buczko

 

Contractor

Miklos Lukacs

 

Session Producer

David Christiansen

 

Orchestrator

David Christiansen

 

Orchestral Mixing Engineer

Chris Wirtz

 

Final Mixing Engineer

Matthias Wolf

 

Soloists

Henning Nugel

Anna Mkhitaryan

Chris Wirtz

Sandro Friedrich

Armin Haas

Matthias Wolf

Katharina Wirtz

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Baelin goes fishing – and Dynamedion brings the music

Baelin goes fishing – and Dynamedion brings the music

Composing the theme music for Viva La Dirt League’s Nice Day for Fishing

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Project: Nice Day for Fishing

Client: Fusion Play

We Did: Music Composition • Music Production

Sometimes it’s the side characters who deserve the greatest stories. Baelin, the laid-back fisherman from Viva La Dirt League‘s world of Azerim, is just an NPC – but that’s exactly what makes the fact that he now takes the leading role in his own video game so wonderfully absurd and amusing. Together with FusionPlay, Viva La Dirt League has created an 8-bit retro game that focuses on Baelin’s adventures: Nice Day for Fishing.

We are thrilled that Dynamedion composer Jochen Flach got to create the soundtrack for this charming pixel adventure. After all, what would a retro game be without the appropriate 8-bit music?

We spoke to our composer Jochen Flach about his work on this special project – and gained some exciting insights.

Question: Which sound elements were important to you in authentically capturing the “8-bit retro” character of the game without making it seem old-fashioned?

Jochen Flach: I think the very fact that we mixed 8-bit sound with a modern epic orchestra gives it a fresh feel. But “old-fashioned” is a difficult term to define. Since the visuals of the real scenes are based on the Middle Ages, I used appropriate harmonies and musical phrasing. Some people might find this “old-fashioned.”

Question: Could you give us some insight into how you approached the initial sketches for the soundtrack? Did you start with melodies, rhythms, or timbres?

Jochen Flach: I always start at the piano. That’s how it’s been in recent years. It’s a good place to develop melody and rhythm. Of course, I could have started directly with a synthesizer. With that, the sound aesthetics of a sound, the way you play the sound, can also influence the theme. But with Nice Day For Fishing, the theme was already established as a motif in the music of the Youtube videos by Viva La Dirt League. In that respect, the piano is really a wonderful instrument for developing or refining ideas.

Question: To what extent did you draw on classic retro soundtracks when composing – and where did you consciously incorporate modern influences?

Jochen Flach: To be honest, I was not really inspired by classic retro soundtracks when composing. I only drew inspiration from the sound aesthetics. I was inspired by the images and descriptions of the levels that were provided to me. The rest came about through trial and error.

Question: How close was the collaboration with FusionPlay and Viva La Dirt League – did you receive specific musical guidelines or did you have a lot of artistic freedom?

Jochen Flach: The motif for the main theme came from the VLDL web series. For the Maintheme composition and the soundtrack creation, it was a creative back-and-forth between us and FusionPlay. Sometimes it took a few rounds to find the right touch for a track. The developers had specific ideas about how the soundtrack should sound in the end. That helped a lot and I think we successfully developed the ideas and themes together.

The Nice Day for Fishing release trailer

Whether you’ve known Baelin for years or are going on your first fishing adventure with him, Nice Day for Fishing is a lovingly crafted retro game that charmingly combines nostalgia, humor, and fantasy. We are proud that our music has helped bring this special feeling to life, and we hope you enjoy playing the game as much as we enjoyed composing it.

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MUSIC FOR BRAWL STARS CHARACTER DRACO

Music for Brawl Stars Character Draco

Composing the theme music for Draco in Brawl Stars

brawlstars-bg

Project: Brawl Stars

Client: Supercell

We Did: Music Composition • Music Production

 

To celebrate the new Brawl Stars game character “Draco”, Dynamedion teamed up with Metalverse/Musical Bits to create a heavy metal in-game soundtrack called “Draco’s Flames”.

Draco, the new game character in the multiplayer mobile game Brawl Stars with over 1 billion downloads, is the game’s first legendary Brawler to wield a guitar and with Draco’s love for heavy metal, extreme sports and “Dungeons & Dragons”, the in-game soundtrack “Draco’s Flames” is the perfect musical accompaniment. The song was written by Dynamedion’s Armin Haas and was then fully produced with help of Musical Bits’ AI driven composing and production tools.

Draco’s Song

Pierre Langer, Co-Founder of Dynamedion, says:

“Game music has its own unique value, that strongly links the players emotions to the gaming experience. So, creating an original song for Draco as an ingame character was really exciting. In the past 25 years, we have created quite a few virtual bands for games, but always analog to digital. This time, we had the exceptional chance to get to a new level of immersion, by creating AI powered instrumentalists, playing their instruments like a musician would in real life, while being completely virtual.”

Stefan Schmidt, Metalverse and Musical Bits CEO, comments:

“Musical Bits’ Production Assistance Tools have been used to generate Drumbeats, Rhythm Guitars and Choirs based on the composition of Dynamedion Composer Armin Haas. Given the song structure, the chords and the fully produced medieval instruments, Drums, Guitars and Choirs have been generated automatically out of AI models that have been trained, annotated and developed by musicians of the Musical Bits team over the last 2 years. The lead vocals have been recorded and produced “old-school” by a real singer singing with his real voice.
Drako was interpreted as a young metalhead, enthuthiastic about metal in general and his own guitar in particular. There is not too much dynamics in this stay of metal, it is just about fast and faster, loud and louder and high and higher, and we tried to push composition, melodies, vocals and production in this very positive “over-the-top”-attitude that is the definition of powerful heavy metal. Draco is pure power metal! Together with the heroic, 100% human made lead vocals, Draco’s Flames is a great example of how technical tools can help to bring a great human composition to full production readiness  – Have no Fear, Draco will be near!”

Armin Haas, Dynamedion Composer, adds:

“For me as a composer, it is vital that the creative part of a composition stays human, even if the result is designed to appear in a 100% digital computer game. Draco’s Flames reveals its own very special energy with the interaction of men and machine and the result is fantastic.”

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