Velasco composed for Mass Effect 3, contributing to a trilogy conclusion built around an existential threat. His writing across the medium favours large forces, dissonance and choral texture, an approach developed on mythological action series where the scale of the antagonists demanded it.
He studied composition and has worked in games for two decades, scoring mythological action series, gothic horror role playing games and shooters across many major titles. Orchestral and choral traditions supply his vocabulary, and he has increasingly incorporated electronic and processed sound, particularly on horror projects where the objective is to make an ensemble sound wrong.
Recurring subjects: scale, antagonists too large to be fought conventionally, and dread built through massed voices rather than through volume alone. He writes for full orchestra and choir where the budget allows, and his horror work uses extended techniques and unconventional instrumentation to produce sounds that resist identification by the listener.
His scores for a mythological action series and a gothic horror role playing game are among the most recognised in the medium, and his output spans a very large number of major titles across two decades. He is a frequent reference point for composers working in orchestral game music.
For listeners who want game scoring at full orchestral force. Suited to anyone who played the gothic horror titles and remembers the choir, and to those interested in how orchestral dread is actually engineered.
