sound Design for 216k Escape Room

Case study June 2019

Product: Ambience

Production time: 7 days

Complexity: ●●●○○

Production price: 2,195.00 €


For the opening of the third room "Haunted", 216k Escape Room was searching for ways to bring the beautifully designed setting to life. A professional sound design should lead the players acoustically through the game and increase the production quality even further. Scopetune Sound Designer Sascha Rössler describes the project.


About 216k Escape Room:


Objectives:

  • to create an audible representation of world and scenes

  • to lead the players into and through the story acoustically

  • to bring the spirit of Luise to life


Approach:

  • 60-minute ambience including all levels: World, Scene and Story

  • use of female vocal samples

  • automating the ambience in surround

  • installation of a surround sound system


Results:

  • players experience the scenery in context to the outside world through ambient sounds

  • spirit "glides" through the room

  • the world and the setting appear more credible

  • interaction between world, setting and story

 

Step 1: Highlands in Mongolia

 
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I started the ambience with the design of the outside world. For this I used iconic mountain wind, which later, for dramaturgical reasons, would lead to a thunderstorm.

 
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By filtering high frequencies and modulating the volume, I adjusted the mountain wind to give the impression that the wind was whipping the tent from outside.

In interaction with the wind movements you can hear the metal poles on the tent rattling and the wooden floor boards creaking, which leads us to the design of the ambience inside the yurt.

 

Step 2: Setting of the Ghost Yurt

Because of the construction of a yurt, much of what can be heard classically in a ghost house, such as footsteps in the house, doors that slam shut by themselves, noises from neighbouring rooms, etc., remained outside for the sake of authenticity.

Innerhalb der Jurte befindet sich eine große Standuhr, die zu meinem Vorteil kein klassisches Uhrenticken erzeugt. Ich fügte das Ticken in die  Klanglandschaft ein und so entstand im Kontext mit dem Wind von außen und den stellenweise platzierten Holz- und Stangensounds ein realistisches Klangbild, welches zugleich die Einsamkeit der Berge sowie Intimität innerhalb der Jurte vermittelt.

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Step 3: The Ghost of Luise

For the spirit of Luise I used samples like "laughter", "sobbing" and "breath sounds" and put them into the context of the yurt. Cabinet doors that open and close, crockery that clashes and the change of weather seem to be triggered by them.

I gave Luise two sides: The helpless Luise who wants to escape from the yurt, but also the evil Luise who, trapped in her past, does not want any visitors in her yurt.

 

Step 4: Increase

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In order to put the players in different moods relative to the course of the game, I used many surreal sounds, which complement the location-bound level. In the last ten minutes, as the players approach the liberation from Luise and the end of the game, the events of the levels "scene" and "story" condense to further increase the tension, creating a conflict between the good and bad sides of Luise.

 

Step 5: Technical equipment

For the technical implementation and the mixdown we chose a classic 5.1 surround system.

Four loudspeakers were installed in the yurt so that sound could be played from any direction. The fifth loudspeaker was installed in a closet, from which Luise should escape at the end. The subwoofer was placed invisibly on the floor.

The surround system made it possible for me to move Luise through the tent in all directions and to indicate her escape from the closet via the loudspeaker (centre) installed there at the proper time.

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Proudly made by Sascha Rössler

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