Game news Call of Duty Modern Warfare 2: “There are regarding 100,000 sounds” – The audio director tells us all
Published on 04/09/2022 at 13:20
The release of the next Call of Duty Modern Warfare 2 is fast approaching – October 28, 2022 – and the news regarding it is growing. On our side, we were able to discuss with Stephen Miller, who supervises all the audio part on the project. What to learn, of course, new things regarding the FPS as well as everything related to the recording of sounds in a video game. So if you want to know everything regarding it, don’t move. We start the interview.
For sound in Modern Warfare 2, what is your philosophy? Did you record everything yourself or do you ever reuse sounds from old games?
Stephen Miller :
“It’s a mix of different things! Simply because there are around a hundred thousand sounds (in Call of Duty Modern Warfare 2, editor’s note) and changing everything would be a daunting task. But we still change almost everything. The atmospheres of the levels are generally new, the weapons, explosions. We try to update everything that is signature of the series. Even for night vision, we are making small updates. The sound in question still looks the same but this time with a bit of freshness overall”.
To record the sounds, you carry out “reconnaissance trips” with your team. Can you explain to us the importance and role of these trips in your work?
Stephen Miller :
“When we go on a reconnaissance trip, we are mainly looking for a sound signature of a given place. When we record weapons and explosions, we make sure that the area is not too flat, that there is relief, topography, so that the sound bounces all over the place. If the area is too flat, there is no low frequency in the recording”.
“But otherwise, first of all, we want to know how calm the area is. Because the sounds we record have a very long tail. If it’s a big sound, like an explosion or a sniper shot, the sound lasts really long. We usually record 20 seconds following the shot itself. We are looking for the smallest bit of information. Are there any bugs, lots of air traffic, can we hear from the highway in the vicinity. The microphones we use are often very sensitive – so even if there is a road with little traffic, you can hear it 3-5 kilometers away in the recording”.
Do you ever borrow files from professional sound banks?
Stephen Miller :
“It depends on what sound it is. For example, we recorded most of our vehicles (…) same for the weapons, the movements of the characters. We try to record everything we can. But there are things that we obviously have to borrow from sound banks, things that we simply don’t have access to. In the game, there are weapons that we cannot legally have, which for example have not been imported into the United States. So we try to find sounds that approach what we are looking for (…) in particular thanks to less modern weapons. In any case, we really want to record as many things as possible, whether it’s us directly or with the help of an external service provider”.
After years of making Call of Duty games, have you found any new tools and techniques to make the franchise sound even more realistic?
Stephen Miller :
“From project to project, we are always looking to improve. We discover things on the way that we cannot necessarily use at the time but that we put aside for the future. Whether it’s recording techniques, new mics, new recorders that come in the middle of a project. Stewart, who takes care of the sound of all the weapons, is always looking for new things and techniques (…) He goes to see professionals to ask questions! How does this mechanism work (for a weapon, editor’s note)? He’s learning everything he can so that we can recreate him as faithfully as possible, with a Hollywood touch”.
“With a Hollywood touch”, does that mean that you modify certain sounds?
Stephen Miller :
“There are things in the game where we use more Hollywood techniques. It can be a jet that goes through the air with a kind of “scream” (…) It adds an organic side to a rather clinical basic sound and emotion to certain things”.
Can you tell us regarding the new audio technologies used in Modern Warfare 2?
Stephen Miller :
“In the game, we have new technologies that are worth mentioning. There is a new inclusion system: when a noise comes from outside a building from inside a room and you are outside, the sound will be integrated in a natural way. We also have a whole system to record the reverberation of a room that we like, to include it very easily in the game”.
What differentiates the sound creation of the single-player and multiplayer campaign?
Stephen Miller :
“There are a lot of shared sounds between the two. In general, the footsteps (…) all the sounds of weapons, grenades, to create a kind of universe in which the game lives. But in terms of the campaign, there are many things “ custom” for special moments – like those in slow motion, slow-motion. For the solo, we generally have much more control, in the linear framework that is a video game experience (…) We can for example anticipate a scene, lower the ambient sound because there is a moment important thing is coming, setting the stage for some big music. Whereas in multiplayer everything is systemic (…) so that as soon as the player does what he has to do – whatever it is – it works as it should”.
In Modern Warfare 2, is there a scene you’re particularly proud of in regards to the audio?
Stephen Miller :
“I have to avoid spoilers on this one (laughs). In this Modern Warfare 2, there are absolutely fantastic moments, whether in cinematics or in game, when the music arrives at the right time. Even for me – having seen it all take shape from start to finish – there are always moments that give me goosebumps.”
On PlayStation 5, did you use technologies like the famous 3D Audio?
Stephen Miller :
“We do indeed use different audio technologies depending on the platforms, including 3D Audio on PS5. For sure, it’s a different experience than playing with stereo sound”.
A last word on your work as audio director on Call of Duty Modern Warfare 2?
Stephen Miller :
“As a team, our goal is to achieve the best possible result. We want the player to enjoy every moment: to feel the power of a weapon, to be scared when you approach a place, when you hear falling debris. Everything we do is to create the best possible world in which to play”.
