![]() ![]() Computers like the Commodore 64 featured a new way of making music with the advent of so-called tracker software. At the same time, Germany had a massive computer scene that furthered my curiosity about electronic music even more. Acts like New Order, Depeche Mode, and Kraftwerkwere on the radio all the time, and the 80s were synth-crazy. I would say that growing up in Germany has definitely helped my awareness with electronic music. In what ways did the music scene in Germany helped build your skills and awareness of electronic music? After working on my first gig, “ Quake II“, it just seemed logical to combine both of my passions and do this as a career. My love for computers helped, as my first venture into electronic music was through the Commodore 20and 64, and later the Amiga 1000. It wasn’t until after playing “ Quake” back in 1996 that I realized how music in video games was going to be the next big thing. Growing up in Germany during the early electronic music movement, I was intrigued by the sounds early on. Well, doing music for games as a career wasn’t an obvious choice at first, but I’ve always been a gamer and loved music. ![]() How did you get your start as a video game composer, and why this field in particular? “ Tron: Evolution“, “ Mortal Kombat“, “ Mass Effect 3 “, “ Borderlands“, “ God of War 2“, and “ Quake II“ are just a few titles that Sascha Dikiciyan, aka Sonic Mayhem, has been responsible for providing music for, and I was happy to ask him some questions about his work and the tools he uses. I recently had a talk with the man responsible for a wealth of game music on popular titles. ![]()
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