We praised Elite’s au­dio de­sign in our re­view and in 2015’s Edge Awards, but it’s the ships en­gines that re­ally stick in the mind. “They’re all very dif­fer­ent,” Croft says. “Some of them have very or­ganic qual­i­ties and sources, and for other ones we used synths a lot. It’s a mix­ture of var­i­ous things. For ex­am­ple, with the big­ger ships like the Type-9s and the Asp, there’s some old sea­plane in there to give them that growl. Most of the ships have a me­chan­i­cal base, but it’s about cre­at­ing lots of lay­ers and bring­ing those in and out at dif­fer­ent times. We mix it on the fly, so if you ac­cel­er­ate, I’ll be sup­press­ing one layer and bring­ing in an­other one. There’s also a lot of re­al­time pro­cess­ing – we use teleme­try from the game to change the EQ for how much high or low pass is on a sound, and we’ll also be chang­ing the pitch, the vol­ume and blend­ing live ef­fects like tremolo and gui­tar ef­fects to give you a sense of chang­ing mo­tions.”

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