Faction's Sonic Identity

Hi Sanctuary and sound enjoyers! I’m Vincent from Plume Pulse, and I work closely with the team to shape the sound design of our beloved game.

Whenever I start working on a new project, I don’t jump straight into making sounds. Instead, I like to take a step back and look at the game as a whole to get a better sense of its overall sound direction.

As a Supreme Commander player, one key insight that came out of those early analysis sessions was the importance of giving each faction a strong and distinct sonic identity. In this article, I’ll walk you through the techniques I’m using to bring that idea to life.

A SYSTEM FOR SOUND IDENTITY

Each faction should have a sound that’s unique and instantly recognizable. That sounds simple, but how do you actually make it happen?

All of them includes a wide range of units, and each one can produce different types of sounds: gunfire, engines, abilities, destruction effects, and so on. I needed a system to design all of these sounds in a way that would let players distinguish units by ear, even in the middle of a chaotic battle.

Creating strong sonic identities isn’t just about making things sound cool : it’s also a powerful way to give players meaningful feedback through sound.

That system also needed to be scalable (we’re producing a lot of assets!) but still focused and consistent, so I could apply it across many different types of sounds and end up with something cohesive.

Facing a similar challenge, Supreme Commander’s sound designer Frank Bry (a.k.a. The Recordist) used dedicated effect chains (combinations of delay, reverb, distortion, etc.) for each faction. It’s an efficient approach: you set it up once and it keeps things consistent.

But since we’re not just trying to copy Supreme Commander, I wanted to take it a step further. I added another constraint to my process, what I call the “signature source.”

In sound design, a source is a raw recording or a processed sound that isn’t meant to be used on its own, but layered with other elements to build something more complex. For Sanctuary, I created a unique pool of sources for each faction and committed to always using them, no exceptions.

Now let’s dive into each faction’s signature sources and effect chains.

EDA: Jet Engines & Decapitator

For the EDA, the signature source is a processed jet engine I created.

The EDA doesn’t try to be elegant or cutting-edge. They focus on efficiency, relying on rugged, “low-tech” weapons and engines. This source has a strong "turbine" quality (the faction’s creator actually confirmed that all EDA units use turbine engines), and it also reminds me of a tank shell flying past, so it felt like a perfect fit.

For the effects chain, I use a distortion plugin called Decapitator. Distortion is that crunchy, harsh sound you hear when someone screams into a mic on your typical online multiplayer session, but when controlled and fine-tuned, it becomes an essential tool for sound designers. It adds grit, power, and edge.

That roughness felt perfect for the EDA’s raw, minimalist strength.

For the example below, in chronoligical order : the naked source, the source with layers, the ensemble processed with distortion.

CHOSENS: Animal Sounds & All-Pass Filter

The Chosen are on the opposite end of the spectrum. Their designs are sleek, organic, and almost ornamental like they’re showcasing some advanced alien technology.

For them, I chose animal sounds as the signature source and sometimes even props designed to imitate animals. The beauty of animal sounds is that with a bit of processing, they can start to sound like synthesizers. But they still retain something natural and alive, which makes the final design feel both futuristic and grounded.

To reinforce that sci-fi quality, I use an effect called an All-Pass Filter, via a plugin called Disperser. It adds a tonal, almost synthesized character to any sound without making it feel artificial.

If I had to sum up The Chosen’s sound philosophy, it would be:“Sound like synths, without using synths.”

For the example below, in chronoligical order : the naked and unprocessed source, the source processed, the ensemble without all pass filter, then the full ensemble processed.

GUARD: Glitches & Ring Modulation

The Guard is the only non-human faction in the game : they're pure robots. So I really wanted their sound design to emphasize that artificial, mechanical nature.

Their signature source is built from glitches, which I generate using a plugin called Fracture. It takes bits of audio, scrambles their timing, repeats them, and creates the feeling of a corrupted digital file.

Their main effect is a ring modulator. I don’t use it 100% of the time (sometimes it’s too much) but when it fits, it adds a harsh, metallic, otherworldly tone.

If you’ve watched any sci-fi anime from the ’80s or ’90s, you’ve probably heard this sound. Back then, ring modulation and giant mechs were everywhere, so it made perfect sense to use that effect for a robotic faction that feels straight out of that tradition.

For the example below, in chronoligical order : the naked source, the source glitched, the source processed with ring modulator, then the full ensemble.

So there you have it!

Of course I bend the rules from time to time, especially as I get more familiar with the project, but this system gave us a solid foundation to start from. It helped kick off sound production in a focused, consistent way and gave Sanctuary the sonic personality it deserves.

I hope you’ll enjoy listening to it as much as I’ve enjoyed creating it.

Take Care,

Vincent Audio Designer