- Control Resonantcomposer Petri Alanko says he likes to “go to extremes to add depth to everything” in his work
- He says each Resonant has “their own features in the concept track” that can be picked apart
- Alanko says, “Nothing is obvious and nothing is rubbed into your face, and in the end it’s all only music made with love and enthusiasm”
Control Resonant composer Petri Alanko has revealed that his music features easter eggs that may take fans years to uncover, as he likes to “go to extremes to add depth to everything.”
Speaking to TechRadar Gaming about his favorite aspects of the Control series and its music, Alanko said there are “layers” to each soundtrack, and some of them are only revealed “when you dive deep into my project file timelines and start digging out the details of sounds.”
“One trick I’ve used about a million times with various tools is to add some string section’s ‘resin’ sound to something else, turning it into a resemblance of a stringed instrument,” Alanko said. “Some of the tricks will probably never surface and are more or less subliminal, some of them slightly more at the forefront, but as I mentioned, I love to hide all kinds of nods and winks everywhere, pay homage to the greats.”
He continued, sharing that if any hardware synth is involved in his work (which he explained is a big part of his musical arsenal), it was ” reamped through a speaker setup and a pair of microphones,” which was a trick he learned from the articles concerning the late Konradi “Conny” Plank, the sound engineer and producer of Kraftwerk and Ultravox.
“I learned my chops back in the day meticulously inspecting and evaluating Die Mensch-Maschine, Computerwelt, Vienna and Rage In Eden,” Alanko said, adding that he “learned a good deal of studio tricks during my early adulthood” when he worked as a synth programmer and a producer for various productions, and all of that experience has “proven to be rather handy during the creation of the Control Resonant soundtrack.”
Alanko went on to share some neat details about the creation of the game’s enemies, the Resonant, and said each has “their own features in the concept track,” with Hedron, for instance, having “clangorous, metallic, sequenced, patterned, constantly moving” sounds.
“Hiss wants to corrupt everything and especially with that entity, the pitches start going all over the place,” he said. “And Mold is a triumphant spectacle of all kinds of dispersers, turning everything into some sonic goo.”
Alanko said his passion allowed him to add as much detail as he wanted, which also meant leaving in small hints that listeners likely won’t find until years later.
“I have, and I will go to extremes to add depth to everything,” Alanko said, “and the most beautiful thing is when people realise something after, say, seven-eight years, and I get an email from someone who just realised the rhythm of a certain sound was actually Morse code for ‘BEWARE’.
“Nothing is obvious and nothing is rubbed into your face, and in the end it’s all only music made with love and enthusiasm.”
Alanko has discussed the early stages of Control Resonant‘s development, revealing that he was brought on to the project “very early” and was still working on Alan Wake 2. He explained that this proved to be a better outcome and suggested that other studios should value music more if they care about their games and avoid AI.
