Control’s dev diary once again turned its attention to the game’s sound design and music. The ninth part features the duo of composers — Petri Alanko and Martin Stig Andersen, and Control’s sound designer Ville Sorsa, all talking about peculiar sounds they cooked up for Remedy’s most recent, physics-defying outing. Needless to say, watch this one with headphones on.

Control’s audio and music team really seem to be doing something more and something original.

Sorsa talks on his experience with ultrasonic microphones that allowed him to record sounds that go beyond the range perceptible my human ear (to be heard in the bossfights), later mentioning a sound-designing instrument called Microphonic Soundbox, a small yet powerful tool that can produce deep, overwhelming sounds. Finally, he brings out his Aztec death whistle, supposedly used to scare the enemy before a fight, which has a wonderful, boiling-kettle-from-hell kind of sound.

The composers mentioned a plethora of instruments they used, too. Most notably a daxophone (a tripod played with a wooden bow) which was used to illustrate all the moving concrete parts in the game’s world. An EMT reverb plate, which was used before the digital era, also found its way to the project along a burned piano that Alanko used in his own, life-threatening manner.

Control’s audio and music team really seem to be doing something more and something original for the game, and as the project seems crucial and career-changing for Remedy, it also may be one of the year’s audio highlights. I am thoroughly excited to hear all those sounds in action, to see how they work and how they blend in with the score.

Executive Editor

Jan Szafraniec

Fasicinated by everything that is noisy, minimal and industrial. He spends most of the time writing and floating around in ambient. He's been loyally professing videogame music for a decade and won't ever stop.