The project began for me in May 2015, when I joined the team.
One of the first conversations I had was with Creative Director, Dan.
We really want authenticity in the South American cultures that we're going to represent.
I started to look around for specialists in South American music and all those kinds of sounds.
Very quickly came up the name Brian D'Oliveira.
Rob came by in person to the studio.
Very nonchalant, he actually just showed up: "Hey, how's it going?
Wanna chat to you about something that I'm working on, we could possibility work together.
Yeah, it's Tomb Raider."
And I'm just...
I was floored, actually.
One of the first concepts that really came out of that meeting
for the sound and for the music was this idea of fear.
Getting into the texture of what darkness is.
What is that sound?
I got so inspired, I basically spent a whole night sleepless and I started recording right away.
It was really weird, because that was actually the sound that I had in my head.
It was the beginning of an amazing journey for these past three years.
I had done a lot of trips in my life.
I had gone to Mexico, to Peru.
I've been all over South America.
But I realized that I really needed to go and dig deeper.
I did a specific trip to Mexico where I went instrument-hunting.
I showed up there with two suitcases empty, a little backpack.
I didn't know anybody.
I had ten days, and this is like: "Let's go hunt!"
I showed up, started making phone calls.
I remember one time I found these magical rocks in this town called Mineral de Pozos.
Made of volcanic rock.
Hit the rocks with other rocks and it sounds very strange.
I had a little helper and they were like:"What are you doing taking these rocks?"
All these instruments that you would have no idea that they could even be used as an instrument.
I filled up eight bags of instruments!
And the beautiful thing was that everybody was really helpful.
They were fascinated.
"You're taking these pre-hispanic, Mexican instruments and you're doing a video game?"
Many different instruments, the ones that really stand out to me as being really unique
are the death whistles, which is more of an Aztec instrument.
It's a clay skull which can be various sizes but makes a very scary sound, almost like a human scream.
I actually spent some time with makers and I learned how to make instruments.
I sat down for a couple days and learned how the flutes work, what the mechanics are,
and the approach of all these little wind instruments and drums.
Some of the percussion instruments like the teponaztli, which is a horizontal wooden log,
and has a really unique sound.
And the huehuetl, which is a hollowed-out tree trunk.
More of a stand-up kind of drum, which again, has this really unique sound.
All those three together obviously sound really amazing.
One of the things we really wanted to do is
to move away a little bit from the more melodic approach of the previous games.
Go more into that idea of fear and ambiance, and to have the player feel like
they don't really know what is music and what is a sound effect.
In a sense, this how they approached music in pre-hispanic cultures.
It's not just the flute that makes a melody.
Actually, the flute is meant to be a part of the environment.
It would emulate certain birds or effects.
So we'll take a lot of elements of Brian's music like the death whistle and things like that,
and we'll actually place them in 3D in a lot of these tomb spaces.
As the player moves the camera around, they hear these musical elements panning around.
I found two instruments that really represented Lara.
For me, the main one is the cello.
To me, it's her past, it's her physical embodiment.
And then I found also this one death whistle which is shaped like a puma,
and it sounds like a puma.
You hear that all over the game.
In the jungle that she finds herself in, it's a very threatening and dangerous place.
It was really important to get the birds and animals, and pick ones that would really fit in
with the idea of fear, like the howler monkeys.
There are alo birds like the oropendola, which sounds really bizarre and really different
from birds we would expect to hear.
A lot of the instruments you hear are ones I found in the Amazonian jungle.
This instrument was made by this shaman that I spent time with.
This specific instrument was the starting point for me to work the parts of the jungle.
I remember being in the middle of the night and he's playing this.
Another one of the key locations in the game is this hidden city, called Paititi.
Instead of music as a score, we treat music like source music.
The people are actually playing in the marketplace or wherever it is.
We worked really closely with the animation department to make sure that the right instruments
were being played in the correct way.
One of the really important things for us was that this game needed to feel very cinematic.
We took the game to Pinewood Studios in the UK.
We mixed the game in Dolby Atmos.
That really helps to exaggerate this sense of verticality in the game.
They mix so many iconic movies, it felt like the perfect place to finish the project.
When I was a kid, I was obsessed with Maya and Aztec cultures.
It's a huge part of me and to be able to explore that and be real,
and show the aspects of it that are positive, it was a huge chance for me.
Our goal has always been to create the most visceral, emotional and intense Tomb Raider
experience that's ever been seen.
The work we've done on the sound and the music all feel like it's really achieved that goal.
It's something that I'm very proud of.
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