Making your own tweaks is, literally, a breeze. Since Breeze is so efficient, I just use it on every single channel. I use various Groups within Cubase Brass, Low String, High String etc. Using Breeze on them gives them a new life, if you wanna call it that. for the Brass samples which tend to be dull at times. What kind of source sounds do you usually use with Breeze? What type of presets do you usually use? Have you made any custom presets?īreeze is being used on our entire Orchestra samples Lib, Esp. To listen to the Mass Effect Arrival tracks please visit our soundcloud page: Breeze We needed somehow a way to glue lush synth sounds together with the Orchestra, so they wouldn’t sound like 2 separate layers but just like one. Of course, upon looking how to recreate that Blade Runner’estique reverb/echo, Aether once again hit the spot. That style was influenced by the likes of Vangelis, Tangerine Dream and so forth. ( for samples) For our just released score to Mass Effect 2 Arrival, the DLC (downloadable), we had to write within a style I call “Retro Futurism”. I have used Aether on the entire Tron: Evolution score. Quality is one of the best i’ve ever heard and I know when I load it into a channel that stuff will sound good.Ĭould you name some of your works in which you have actively used Aether? Could you share any short clips of these tracks for public listening? With Aether, you can shape your own particular reverb sounds, everything can be controlled. Now that you have been using it regularly in your work, what keeps you most excited about it? What is your favorite feature? I usually create a few FX sends with Aether as I’m using Breeze on almost every single channel within Cubase. ) Some of the FX patches work really well on more percussion like sounds. It can turn really boring pads into something amazing and turns it into what I like to call “expensive sound”. My favorite thing is running a pad or string like instruments through Aether. When i came across Aether I was immediately attracted to it because it wasn’t just another convolution reverb but seem rather unique.ĭo you tend to use Aether for extreme FX oriented presets, or more subtle and traditional reverb needs, or both? How many instances per project do you typically use? What kind of source sounds do you usually use with Aether? While doing pre-production for the Tron: Evolution game, I was doing research to find better reverbs and delays. :) Let’s just say once I had a change to try Aether, it was all over. What competitive products were you using for reverb prior to Aether? Do you still use any of these? In 2005, Sascha teamed up with symphonic composer Cris Velasco (God of War) to create a new hybrid of cinematic orchestra with electronica/musical sound design which has garnered industry acclaim for its versatility and pushing the boundaries of music in games. Sascha's musical identity as "Sonic Mayhem" was born and has since become one of the leading, progressive voices in music for games, scoring various genres including Tron: Evolution, M.A.G., Terminator: Rise of the Machines and James Bond 007: Tomorrow Never Dies. In 1997, Sascha's unique electronic/industrial sounds caught the attention of pioneering game developer id Software, who approached him to compose music for the award-winning Quake II, following Trent Reznor's work on the original Quake. Sascha moved from Berlin to Los Angeles in 1993, where he studied at Hollywood's famous Musicians Institute as well as UCLA's prestigious School of Music. Drawing upon his heavy electronic music roots in Berlin and Hollywood, Sascha's original scores feature epic synth sound-sound-scapes, raw electronic beats and musical sound design mixed with live orchestra. Sascha Dikiciyan (aka "Sonic Mayhem") is one of the most distinctive and prolific music composers in interactive entertainment, renowned for his cutting-edge electronic sounds and hybrid scores for blockbuster franchises such as Mass Effect, Tron, Quake and Borderlands.
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