Martin Stig Anderson is a Composer/Producer who is the creator of the sound design and soundtracks for games such as ‘Limbo’ and ‘Inside’ for the Game production company Deadplay. His work on these particular games has contributed to their success, winning awards for Best Independent game of the year for 2016. ‘Limbo’ was his first game for them creating sound tracks that create an erie ambience through his use of knowledge of Acousmatics. The particular technique that I would like to try and emulate is his creative use of filters to create an dark atmosphere in his games. In an interview with Designingsound.org he talks about the process’s that he uses to make his sound, something that he talks about that is interesting is how he puts his sounds through an analogue tape recorder or a wire recorder to make a warmer and slightly distorted sound, ‘Inspired by the bleak and grainy b/w imagery I ventured into using obsolete analogue equipment, and by running all sounds through old wire-recorders and tape-recorders they came to echo a distant past.’ (M. S. Anderson, http://designingsound.org/2011/08/limbo-exclusive-interview-with-martin-stig-andersen/ ). This technique would have been one i would have done, although I couldn’t find a wire recorder in time.
For Assessment 1 I decided to use his idea of filters taking out certain frequencies to create a distant atmosphere, in the interview with designingsound.org he talks more about his use of filters, ‘Often the spectral outcome is unevenly balanced with excessive fluctuation in different parts of the spectrum, and I use quite advanced processors such as dynamic EQs, spectral interpolators and restoration tools to tame the results, and to extract the parts that I like. The processes were great for creating the diffuse components of the ambiences in Limbo.’ (Anderson, http://designingsound.org/2011/08/limbo-exclusive-interview-with-martin-stig-andersen/). Although I didn’t have access to the more advanced plug-ins that Anderson uses I still wanted to imitate the techniques with the built-in filters in Logic Pro X, the specific filter that I used was the ‘EVOC 20 Filter bank’. To create a similar sound to Anderson’s I took out frequencies towards the higher end of the spectrum between 130Hz and 8000Hz, this gave the sound that I was hoping to achieve a much more distant feeling to the original sound.
This technique linked with the Brian Eno Ambient part creates an overall together atmospheric track that I was looking for.