Issue link: https://digital.copcomm.com/i/1546054
72 M PS E . O R G How much of Battlefield 6's signature low-end weight and scale come directly from source recordings, and how much comes from layering, processing, and implementation? Rodrigo Morales: For our destruction, we wanted to stay as grounded as possible while still giving it that Battlefield 6 rawness and grit. Processing and layering are key parts of our workflow, but like everything else, having good source is the most important step when creating high- quality content. I like to think of layering and processing as ways to bring out the natural qualities of a sound. If you overprocess or overlayer, especially in a chaotic Battlefield mix, you can quickly lose detail and make things muddy. For many of the core systems, such as weapons and explosions, most of the low end is its own layer, which can then be controlled situationally. The content we use there still comes from natural sources, with organic transients and sustain, and nothing fancier than EQs. Overall, for weight to be impactful, it is especially important to keep that range of the spectrum as dynamic as possible and reserve it for when it's most needed. Reducing bass where it's not needed is the most important aspect of making the bass pop more on weapons, explosions, impacts, and other big moments, since Battlefield can have a very chaotic and busy soundscape. Did the team build or adapt any custom microphone rigs, recording setups, or experimental approaches specifically for this project? Mari S. Minto: Yes, especially when it comes to voice recording. For the multiplayer soldier voices, I really wanted us to nail the difference between the first-person voice perspective and third-person perspective. We knew how to do the third-person voice well, but I felt there was room to evolve the Top: A four-door sedan is dropped from 30 feet to capture authentic vehicle destruction sound effects. Bettom: The exact moment of impact as the car hits the ground.