We really tried to follow the idea of what we would like to hear in the game and hoped that other people would think the same. We didn't think that much of it as challenging because the melody and the rhythm in the theme is so recognizable. The only acoustic instruments in the theme are some real drums, but they are also heavily processed through effects. When we started working on the main theme we wanted to create a dark, almost crawling theme that evolved to the hero theme but without strings and such. Jukka: From day one we were influenced by electronic music. Was it challenging to remix it in a new way without losing the essence of the song, without making it too different for fans who love the original? Obviously, the Battlefield series has a very recognizable theme song, but in this game it sounds more distorted than before. The soundtrack on the other hand has to work on it's own, and I think it does, because we managed to stick to the main vision - urban, dark music. But since we have seen very little of the game while working on the score, we had to stick with what Stefan had in mind trying to decode his vision of the overall sound of the game, and what feeling it should have. Johan: The most important thing is to make it work with scenes. What kind of feelings are you hoping to evoke with the score? So, you didn't ever consider bringing big orchestral pieces into Battlefield 3's soundtrack? If we would play a game and really feel something about a scene because of the music we knew we hit the right note. Johan and I would sit at my place and play different games, mute the sound and try out our own music sketches to different game situations and see what we thought worked the best. We worked around often very minimalistic and harsh sounds, deliberately avoiding to make the big Hollywood sound, but rather dark and sort of uncooperative. After that Johan and I proceed in the studio, starting with electronic music with our keyboards (modular systems, Korg MS-20, ARP Avatar and about 10 more keyboards and drum machines) and chains of effect pedals. So Stefan had a very clear idea of what he wanted us to achieve, an electronic score that isn't mixing in any classic instruments or hardly any acoustic instruments. Listening to music we like, playing different games to see what was in there and figuring what we wanted to do and what not to. Jukka: Initially we had a couple of long night discussions with music and red wine, with me, Johan and Stefan Strandberg just talking about music in general and in games. It's also a new medium to work with for us, so we were learning as we went along what we could do, and how to use the medium.Ĭould you elaborate the creations process? How did you came up with the electronic theme and did you get some broad directions for the soundtrack from the studio? There's great people involved and it was an open-minded creative environment. What's it been like working with the game? He figured he would combine are ways of composing and also reckoned we would work well together, which we did. I'm more into composing traditional music and film music as well and Stefan knew my music from contemporary dance and from the band Silverbullit. Johan is a composer who is a wizard on synths and electronica and I think Stefan wanted to combine us two. Jukka: Stefan Strandberg (sound designer for BF3) started looking for composers and was looking for an electronic approach to the music. So, first of all, how did you guys become involved with DICE and Battlefield 3?
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