We talk to sound designer Joel Corelitz about the found sounds and synth noise of Death Stranding.
? According to Joel Corelitz, it’s vertigo—the sense, he says, that you “don’t know which way is up or out.”
Speaking with Corelitz by email, I got an informative look at the logistics of digital composing and the unconventional lengths a composer will go to in order to get just the right sound.Death Stranding: I’ve always wanted to do a prepared piano. I love that with some modifications or some creatively “incorrect” playing, a familiar instrument can turn into something so alien and there’s something so horrific and exciting about that to me.
The screws went in between strings and so did the cards. I kind of wove them in and out across several strings. The screws were used to affect the sound; by sort of stopping the strings, they created interesting harmonics—dual tones and bell-like sounds. The cards did the same thing but in a much sloppier way with a lot of vibrations. The duct tape prevents the strings from resonating, but we only really did that on the higher strings.
Paste: Did you feel any guilt abusing the heck out of the piano? What sort of condition is it in now?: At first, yes. I’ve always been very uncomfortable with things like guitar smashing and destruction of instruments. I think it’s sort of profane to destroy the same instruments that fulfill our creative vision. But this was different.
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