- The Battlefield 6 sound crews dropped cars from cranes, fired real-world weapons and more to capture the perfect sounds
- Senior technical sound designer Goncalo Tavares revealed that the team will “go to great lengths to capture real sounds”
- In-game audio “first comes from a real context,” he said
The Battlefield 6 the sound team has revealed that they destroyed cars, walls, shipping containers and more in their quest to capture the perfect sound.
In a new interview with TechRadar Gaming, senior technical sound designer Goncalo Tavares explained that every sound clip in the game “comes from a real context first.”
“We’re very particular about recording real sounds because it’s easier to record reality than trying to replicate reality,” he said. “For example, we have been accompanied by the Swedish military on some of their exercises and recorded for reference.”
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From crumbling buildings to exploding vehicles, Battlefield 6 contains plenty of destruction, which requires its own sound profile – some of which the developers recreated in the real world.
“We tried a lot of experimental techniques on those recordings,” Tavares said.
“We did things like put mics underground to see how it would sound through the floor vibrations, put mics inside buildings to hear how it would sound blocked through a few layers of walls. And probably my favorite, even though it cost me a recorder, I put the mic to a shipping container that we dropped and filmed in slow motion.”
Tavares also brought up another incident where the team “recorded bullet impact” by shooting the side of a car and accidentally hit “at least one of the recorders.” Fortunately, he says, it turns out that “the final sound from a recorder is pretty cool.”
Similarly, senior sound director Mari Saastamoinen reminded Minto of the team-building “brick walls to knock them over and drop cars” equipped with a microphone (a microphone that Tavares quickly specified “didn’t hold”).
Lots of weapons were also recorded, although senior sound director David Jegutidse explained that in cases where it would be “really difficult” to record something (he gave “big projectiles like tank shells or artillery shells or rockets” as examples), the team relied on paid sound libraries.
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