Los Angeles, CA (February 28, 2011)–Engineer John Rodd mixed and mastered composer Jesper Kyd’s music for Ubisoft’s Assassin’s Creed Brotherhood using Pete’s Place Audio compressors.
Rodd, an L.A.-based score recording, mixing and mastering engineer, initially auditioned the pair of Pete’s Place Audio BAC-500 compressors at the recommendation of producer/engineer Ronan Chris Murphy. “Before the mix started, I ran a bunch of different sounds through the BAC-500s to get to know them. I was impressed with how well they handled a wide variety of tracks: lead vocals, drums, guitars, electric bass, strings, drum loops…basically everything I could throw at them. Ronan had described the BAC-500 as ‘an 1176 style compressor with a twist–it sounds great across a wide variety of audio tracks.’ I would agree with that assessment. It’s also very easy to quickly dial in a wide variety of sounds–everything from gentle compression to fat, pumping, aggressive squashing.”
The BAC-500 pair won Rodd’s approval and ended up living on the large live percussion ensemble’s stereo buss insert during the mix sessions for the Assassin’s Creed Brotherhood video game’s score. “The percussion ensemble needed to blend together, sit well in the mixes, and gain some size and authority, and the BAC-500s did this beautifully,” he says. “In the end, I used the module’s distortion setting to add a bit of grit to the drum ensemble, to help it to have a nice presence in the complex arrangements.”
Rodd further notes that he utilized several pieces of gear from sibling company A-Designs Audio during the project as well. “As with Assassin’s Creed 2, the final mixing and mastering stereo buss included both the HM2EQ HAMMER and my pair of EM-PEQs. With those two EQs in series, I was able to dial in both a beautiful, open top end as well as a meaty, tight bottom end.”
Assassin’s Creed Brotherhood has sold more than 6.5 million copies as of February and helped the entire Assassin’s Creed series sell over 26 million units worldwide.
Pete’s Place Audio