Redout is the first internal IP developed by the 34BigThings team. Initiated with the intention of filling the void left by Wipeout and the closure of Studio Liverpool and the sense of abandon Nintendo left F-Zero fans with, it is designed to be an uncompromising, fast, tough and satisfying driving experience, soaked in that vertigo that stands at the core of the arcade racing genre.
I defined the music direction, worked on adaptive systems with FMOD and UE4 blueprints and composing most of the soundtrack, coordinating the additional composer and recording sessions with musicians. I also worked on part of the sound design, creating dynamic engine thrusters and magnetic drifting sounds, with the Lead Sound Designer Paolo Armao.
The soundtrack is a mix of different styles blended together (trance, drum’n’bass, dubstep, metal, industrial, cinematic orchestra, etc) that evolves with the game progression and the environments. I started from what the first F-Zero and Wipeout did in the past and re-imagined it done today, keeping it true to their experimental approach and evolving it to new directions. The result was heavy electronics with folk instruments, lush violins and roaring guitars. By the way, there are tons of small easter eggs hidden in it, from music quotes to morse code!
I worked on the audio of Redout under the direction of Lead Sound Designer Paolo Armao. The true focus of Redout was the soundtrack, being it a new generation arcade game, so the big challenge was to make an interesting sounding game while keeping the heavy-beat music volume up. We worked a lot together to achieve this result, defining complementary frequency bands and exploring different ways to achieve the sense of speed and acceleration through the manipulation of natural sounds (distorted winds, saturated turbines, synth magnetic drifts).