Now, you may not imagine there’d be a lot of call for synth sounds in a score set during World War II. And you’d be right.
However, there is room for a little synthetic sound design to accompany the otherwise traditional orchestral music in the Call of Duty: WWII score. Originally, the plan was to design some original sounds for composer, Wilbert Roget II, to use on the soundtrack. But, alas, despite our best efforts, I spent most of the crucial time travelling up and down the UK trying to secure a new house to live in!
Nil desperandum. Wilbert was still able to use a few patches from commercial Zebra soundsets such as Gravastar and The Snarling. In particular, there are some deep, percussive booms (to mimic the sound of distant rhythmic explosions within the score), as well as some organic soundscapes to add to the disorientating “fog of war” vibe.
Wilbert has delivered an absolutely stunning score, so I’m pleased he was able to find some space for The Unfinished sound design in there. Hopefully we’ll get our act together and work alongside each other properly in the future.