Sascha Dikiciyan

"B2 from 2C Audio is what I use the most. Andrew (one of the founders) is also a good friend of mine and also helps me from time to time with some additional sound design! Their plugins are brilliant and I’m a big fan of algorithmic reverbs so B2 is really amazing at that and can so much more than just reverbs. From crazy delays to extreme granular sound mangling."

Among the key pieces of gear are the Roland Juno-106 synth (which Dikiciyan first used way back on Quake 2), a Moog Slim Phatty for arpeggiated bass parts, the highly-desirable, retro-futuristic OP-1... and an iPad. Dikiciyan calls the iPad "a legit tool to use as a music pro" and notes that he used the Animoog app on "pretty much every single cue."

"I have been using Cubase Pro 8 for a while now and what I’ve seen so far is just awesome."

Also from this interview:

"I use mainly PCs, running Steinberg’s Cubase 6.5. My audio IO is a RME fireface. I just added a Dangerous Music D-Box to my setup so I’m finally enjoying the advantages of summoning mixing. Before the audio goes back into my DAW, I run everything through my Obsidian Compressor. It’s a simple but solid and good-sounding chain. I still use real keyboards, like the Korg MS2000, Korg Prophecy, Juno-106 and I’ve used a real CS-80 for my score on Mass Effect 3. I love the newer, more experimental synths like the OP-1 and all of the synths from Dave Smith. There are tons of other hardware gems I use, like Metasonix pedals and the Moog Froggers to name a few."

"These were some of the main tools used to create the musical soundscape that is Mass Effect 3. Honorable mention: The MS2000 (still a great synth), Roland V-synth and of course my Symbolic Sounds Kyma system, which was used to create some drones and other morph-like effects."

Sascha Dikiciyan, in an interview with Time+Space, mentions his use of iZotope Ozone, specifically highlighting the EQ and limiter as essential tools in his mastering process. Although he primarily uses Ozone 4, he expresses anticipation for trying out Ozone 5.

"We have a few slave machines here running Vienna Ensemble Pro 5. Currently, I use a lot of string stuff from Project Sam Symphobia 2 among others. Of course, we also own our own custom library, all running within Kontakt as well."

"We have a few slave machines here running Vienna Ensemble Pro 5. Currently, I use a lot of string stuff from Project Sam Symphobia 2 among others. Of course, we also own our own custom library, all running within Kontakt as well."

"We have a few slave machines here running Vienna Ensemble Pro 5. Currently, I use a lot of string stuff from Project Sam Symphobia 2 among others. Of course, we also own our own custom library, all running within Kontakt as well."

"Sonnox Inflator and Limiter. These two are built into my Cubase template. Inflator is great at adding some high end sprinkle without changing the dynamics drastically. It’s like a magic EQ. The limiter just adds a little more juice when needed."

"Sonnox Inflator and Limiter. These two are built into my Cubase template. Inflator is great at adding some high end sprinkle without changing the dynamics drastically. It’s like a magic EQ. The limiter just adds a little more juice when needed."

"I still feel very close to NI’s FM8. It’s just very deep, and always has a surprise in store for you, and that’s the reason why I use it as one of my to go synths."

"Of course, the Fabfilter plugin’s are built into my template, as well as most of iZotope stuff like Ozone (I still use 4, sadly) and Trash 2 being my favorite distortion tool these days."