About the Project

For “Tours & Tournaments”, a major expansion to Crusader Kings III, we composed several event tracks and mood music for three different cultures in the game.

The event tracks are used to announce important gameplay events like the start or end of a tournament, a royal tour, wedding or murder feast and are composed with the respective ethnic flavours of the three different cultures in mind. On top of that we wrote mood music to accompany the regular gameplay using only Medieval instruments as well as our own bespoke musical sound design.

The whole soundtrack was recorded live with a full symphony orchestra (FILMharmonic Orchestra, Prague, Czech Republic) and with a multitude of skilled solo instrumentalists that add an appropriate ethnic and authentic medieval flavour to the soundtrack. The special instruments that we composed for and recorded are Ney, Shawm, Soprano Recorder, Bansuri, Lute, Renaissance Guitar Ensemble, Vihuela and Shehnai.

Get the game on Steam: https://store.steampowered.com/app/2311920/Crusader_Kings_III_Tours__Tournaments/

About the Project

<sub>For this mobile game we composed a Main Menu Theme and several ambient in-game tracks. The music is supposed to help the player relax and concentrate.

Get the Game on Google Play: memory®</sub>

About the Project

<sub>We wrote a soundtrack of over 80 minutes of music. The ambient music for this medieval strategy game is split into three different cultural regions (Christian, Pagan, Arabian) with each one consisting of several orchestral tracks and solo/ensemble tracks with historical/ethnic instruments. On top of that comes battle and tension music and some event tracks.
The soundtrack follows a unique music concept and compositional approach, but still references characteristical elements of the prequel’s soundtrack (2004). This is that we always try to heed when working on a sequel to a game.

This soundtrack was recorded with a 60 piece live orchestra (FILMharmonic Orchestra Prague) and more than 20 ethnic and historical instruments, performed by a group of acclaimed musicians.

Get the game on Steam: Knights of Honor II: Sovereign</sub>

About the Project

<sub>Having composed music for The Guild 2 Renaissance, it was a great honour to come back to work on the third installment from The Guild series again.

Our main goal was to develop a soundtrack that on the one hand captures the special character of the predecessors’ soundtracks and on the other hand write music that stands out from other medieval game soundtracks. We decided to go for a melody-focussed, orchestral soundtrack heavily enriched with authentic medieval musical elements, since the game is aimed to provide a realistic depiction of the life in the middle ages.
Thus, the ambient music features several authentic melodies from that era, like the Song of the Sybil or the old flagellants’ song Nu Tret Herzuo Der Buossen Welle.
The soundtrack also features tracks like lute solos that enhance the authentic historical feeling.

The music for the playable professions is split in three intensity levels and variations, which depends on the progress and success of the player’s character in the game.

The Main Theme of The Guild 3 was recorded live with the Sofia Session Orchestra from Sofia, Bulgaria.

Get the Game on Steam: The Guild 3
Get the Soundtrack on Steam: The Guild 3 Official Soundtrack</sub>

About the Project

<sub>It was a lot of fun creating the acoustic experience for this visual novel set in the world of The Dark Eye (Das Schwarze Auge).
Because it’s a visual novel RPG that doesn’t have many action-heavy animations, audio plays a big role in making the story and game setting come to life and immerse the player into the game. We created lots of ambient soundscapes and sound effects, and composed a variety of viking-themed ambient and action music tracks to support the pacing of the story and gameplay. The music features live-recorded instruments like the talharpa for special viking flavour.
For the antagonist, we created a unique, eerie sound effect that can dynamically blend into the music tracks as an extra musical layer when the characters experience the subtleinfluence of the antagonist or directly confront it. This sound can be used as foreshadowing effect for the story or as a direct acoustic feedback around the antagonist in the game.


Get the game on Steam: Forgotten Fables: Wolves on the Westwind
Get the soundtrack on Steam: Forgotten Fables: Wolves on the Westwind – Original Soundtrack</sub>

About the Project

<sub>For “Royal Court”, the first major expansion to Crusader Kings III, we composed several event tracks and mood music that have a certain royal touch to them. The event tracks are used for the throne rooms of various cultural regions (Indian, Middle Eastern, Mediterranean, European) and are composed with the respective ethnic flavours.

The Main Theme for Royal Court brings back well-known main melodies from the Crusader Kings soundtracks. With the idea of the royal court assembling in the throne room for a king’s audience, the track starts with a traditional renaissance-style ensemble and then switches to full orchestra. The track constantly builds up in intensity towards a climactic fanfare, representing the king entering the room.

We recorded the whole soundtrack live with a full symphony orchestra (FILMharmonic Orchestra, Prague, Czech Republic) and with a multitude of skilled solo instrumentalists that add an appropriate ethnic and authentic medieval flavour to the soundtrack.

The special instruments that we composed for and recorded are Ney, Shawm, Crumhorn, Soprano Recorder, Bansuri, Lute, Renaissance Guitar Ensemble, Ronroco and Viola da Gamba.

Get the game on Steam: Crusader Kings III: Royal Court</sub>

About the Project

Expanding on our music for the Victoria 3 main game we were asked to provide the main content for the first music pack for Victoria 3. Our focus lied on the daily life of the common people during the Victorian Era. Melancholy meets ambition while facing disruptive change.

To blend smoothly into the music we have already written for Victoria 3 we used similar instrumentation and arrangements, while extending the overall amount of musicians quite a lot. Therefore this music pack features not only string quartet and piano, but also symphonic music recorded with a full 70 piece orchestra all at once.

The recordings took place in the renowned Smecky Music Studios in Prague with the FILMharmonic Orchestra.

Hear the soundtrack on Spotify: https://open.spotify.com/album/2gSA5gHmO4DO4oBfO9fDs5

About the Project

Our second collaboration with Realmforge Studios allowed us to work on their successful Dungeons series. We oversaw the game audio production process of this project and collaborated with two external Sound Designers.
Dungeons 4 is split between a classic RTS gameplay in the Overworld conquering the lands of the good and a city building element in the Underworld, where the player has to build and manage an evil Dungeon. The music we wrote is divided accordingly featuring influences from the rock and metal genre for the bad and a blend of medieval and fantasy orchestra for the good guys. Having the infamous Realmforge humour in mind we tried to always add a sense of playfulness to the music and even made Snots sing for us.

The MainTheme features live recordings from our long time collaborator Ingo Hampf, who we invited to contribute three additional tracks to the game.

Get the Game on Steam:
https://store.steampowered.com/app/1643310/Dungeons_4/

About the Project

_{We composed three medieval ambient tracks with a total length of 12 minutes for this event pack from Crusader Kings III. One mood track was composed for the MENA region, one for Western Europe and the third one in a neutral medieval tone.
We recorded several live soloists with medieval and ethnic instruments (ney, recorders, vihuela, medieval fiddle, lute, oud and darbuka).}

About the Project

<sub>The gameplay of Foundation is generally pretty relaxing and the visual style rather bright and positive. This is reflected in our soundtrack, which keeps a steady flow and a positive vibe.

The soundtrack is completely non-orchestral, which is a key feature that makes it stand out from most other soundtracks in the (medieval) city-building genre. Instead, we feature several medieval instruments. The musical style itself can be defined as a mixture of folk, pop and authentic medieval elements.

The main ambient soundtrack is organised in three levels with an individual playlist for each level, and musically follows the expansion of the settlement. While the music is very sparse in the beginning and is not much more than some musical fragments, it becomes more consistent and flowing and evolves to bigger instrumentation as the village grows and becomes more busy and populated.

Get the game on Steam: Foundation
Get the soundtrack on Steam: Foundation Original Soundtrack</sub>

About the Project

Our first collaboration with industry veterans Owned by Gravity brought us into the fantasy world of Eo for a Grand Strategy spinnoff of the renowned SpellForce franchise. We wrote the official soundtrack for this game and provided some additional sound design.

Featuring a diverse world we composed different music for the different biomes of the game map including Dark Forest, Golden Fields and Lava using various world instruments as well as musical sound design.
In addition to that each mage class received unique music for their towers, which function as the player’s headquarter in the game.

The tactical battles were scored with orchestral music blending in our own arsenal of medieval sounds to give the music a more unique touch.

We were also fortunate to record the orchestral strings heard in the MainTheme live with a 50 piece string ensemble of the FILMharmonic Orchestra Prague.

Get the game on Steam: https://store.steampowered.com/app/1581770/SpellForce_Conquest_of_Eo/