“We did custom diegetic for several scenes. After Hitman kept us busy with Italian Pop, Moroccan Hip Hop, Dub, A Virtual Band (The Class) and Swedish Baroque music, we now had the pleasure to delve into Dance Music, Kitschy Synth Pop, Indian Bollywood music and Cumbia.

The latter was a little challenging, as the music needed to be fit a scene where a live band is frequently interrupted – we delivered several stems, transitions and stops so the IOI team had enough material to create an interactive live experience.

As usual, the briefings and references from IOI were concise and to the point – and their choice of music challenging and fun.

The music was composed by Matthias Wolf, Armin Haas, Marvin Hartmann, Björn Obermann-Berger and Severin Schwarz. Hindi lyrics and Vocals were written and performed by Atif Afzal.”
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Felix Diekhake

Are you interested in working together with our team for your next project? Contact us, we’re looking forward to creating an extraordinary music and sound experience together with you.

“Each level consists of three rounds, all in the same musical style, but with an increasing intensity. In preparation for the project, Matthias and I listened to the tracks we had made for Mortal Kombat X to get back into the mood and discussed possible improvements. NetherRealm Studios provided footage of finished levels and sometimes only screenshots of settings that needed to be set to music. We then had to work out a proposal for the first round. After its approval we made a full 50-60 second version of the song and started working on the next round. Before we went on to a next level, we had to finish segments such as intros, breaks, finishes, and endings.”

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Armin Haas

“It was an unusual challenge to work with the significant ethnic sounds of each level. The goal was to always be aware of the level you are in but remain only be a short musical loop to musically visualize that level. Also, rhythms and schemes should not be too repetitive to keep up the energetic, but distinct fighting atmosphere.
Altogether, NetherRealm Studios were a benevolent and appreciative client. They were really pleased with our work and we hardly had to do any reworks.”

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Matthias Wolf

Are you interested in working together with our team for your next project? Contact us, we’re looking forward to creating an extraordinary music and sound experience together with you.

Dirk Riegert, Creative Director at Ubisoft:

„1701, 1404, 2070, 2205 and now 1800. Dynamedion and ANNO, they just belong together! The whole team around Tilman once again did an exceptional work and outstandingly supported us to bring the 19th century to blooming life! “

Alexander Röder, Lead Composer of Dynamedion:

„The musical work for ANNO 1800 has been very relaxing and creative. Ubisoft has had a clear vision and great ideas how the world of ANNO 1800 should sound. They supported us constructively and benevolently during the creative production. Altogether a very pleasant collaboration. “

Are you interested in working together with our team for your next project? Contact us, we’re looking forward to creating an extraordinary music and sound experience together with you.

Italian racing specialist Milestone  has released Monster Energy Supercross – The Official Videogame with sound recordings and sound effect post production by Dynamedion.

Monster Energy Supercross  is the official game of the AMA (American Motorcyclist Association) Supercross Championship sponsored by Monster Energy and available on PlayStation 4, Xbox One and PC.

We had the great pleasure to be part of this ultimate Supercross experience and did some dirt bike recordings in South Africa. We have recorded a total of 10 dirt bikes for the game and worked on its post production.

Enjoy watching the Launch Trailer!

You are also interested in field recording? Check out our services and tell us more about your project!

Italian racing specialist Milestone  (best known for its MotoGP™ and MXGP and previous home of the WRC Rally Championship Series) has released its off-road racer Gravel with sound recordings and sound effect post production by Dynamedion.

We had the great pleasure to be part of this ultimate off-road experience and did some car recordings together with the audio department of Milestone in Italy.

We would like to show you some exclusive behind the scenes material of our recording sessions.

Enjoy watching Gravel’s Launch Trailer!

You are also interested in field recording? Check out our services and tell us more about your project!

You are also interested in live orchestra recordings? Check out our services and tell us more about your project!

PUBG Corporation released the brand new last-man-standing battle game “PLAYERUNKNOWN’S BATTLEGROUNDS” with vehicle sourcing, recording, editing, mixing & mastering by Dynamedion.

For the past months, “PLAYERUNKNOWN’S BATTLEGROUNDS” has taken Steam by storm and has already sold over 2.8 million copies on Steam. The principle is simple: Up to 100 players parachute out of an airplane onto an island where they must immediately arm themselves with any weapons they can scavenge from its abandoned towns, factories and military bases. The aim of the game is simply to survive, which is exactly what makes it so appealing.

We’re delighted to be part of this highly successful online survival game. Read on as our sound designer and project manager Patrice Börding reveals some insights:

WHAT WAS THE EXACT TASK AND AIM OF THIS PROJECT?

“Our task was to find the vehicles (sourcing), record them (recording) and create the final sounds (post production incl. mixing & mastering). Our aim: to create as realistic and detailed sounds of the original vehicles as possible.”

HOW DID YOU APPROACH THE MATTER?

“First of all, I tried to gather as much information as possible about the vehicles I was looking for and watch videos on the internet. This makes sourcing easier (especially in forums) and I get to know how the vehicles should sound. Then I reserved the dates for the acoustically optimized testing site and started looking for the vehicles. I first asked in our own network and then searched for vehicle owners on the internet, in forums and so on.”

WHICH CHALLENGES HAD TO BE MASTERED?

“The most difficult thing is always to get all the vehicles together in the same place at the same time. So in this case to get 7 vehicles organized on two consecutive days in a suitable order.”

HOW DID THE RECORDINGS GO?

“The recordings went well, except for one small mishap. With the Renault R12, fluid suddenly leaked out and we had to interrupt the recording. Fortunately, only the lid of the cooling water had risen. Otherwise, everything went without a hitch.”

WHAT WAS SO SPECIAL ABOUT THIS PROJECT?

“Some of the vehicles requested for this project were very special. For example the van, the UAZ and the Dacia have an older year of construction and are therefore not driven as much and are more difficult to find. The military truck and the buggy are also not everyday vehicles. But working with these vehicles was very relaxed. One of the reasons for this was the fact that they had virtually no electronics installed and therefore there were no problems with the roller (dyno) on the test bench. For example, more modern vehicles notice directly that they do not drive on normal roads, so that warning signals sound or even make the vehicle stop. The older models don’t really care in that regard.”

ARE YOU SATISFIED WITH THE RESULT?

“Yes, very much so. It is always exciting how the recorded vehicle sounds will sound in the game. REV from Crankcase Audio is an incredibly good tool for integrating engine sounds into games. However, the result of granular synthesis depends on the audio material and therefore the synthesis works better for some vehicles and worse for others. Fortunately, this time there were no problems and all vehicles sound great.”

ARE THERE ANY FUN FACTS TO REPORT? 🙂

The van was anything but in its original condition (i.e. old and slow). The car was extremely tuned and had a brute sound with a lot of backfire from the exhaust. The UAZ 469 still had the original tires on it, which were about 39 years old. We’ve been a little worried about that, but apparently these things are indestructible.”

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Patrice Börding

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