When the player enters the temple, i wanted the wind to remain in the scene, whistling down the halls. To achieve this i used an RTPC curve that's connected to one of the Cube triggers. This alters the high pass, low pass filtering and voice volume over a period of time. There's also an EQ attached to the wind sounds, and the RTPC boosts one of the frequency bands to to creating a whistling resonance. Adding an LFO to the bands frequency paramter creates small variations in the whistling. Boosting the volume gives the wind more low end rumble and makes things more tense. This RTPC also brings in the sound of water dripping to add to the indoor ambience. The water was extracted from my footstep recordings. I randomised the positioning of the drips to keep things sporadic.
For the music i wanted to create quite a large contrast between the outdoor and indoor areas. After recently studying the sound design of the film 'No Country for Old Men', i learned about burying musical tones beneath SFX so they don't distract and almost blend in or become part of the environment. Carter Burwell did a lot of this in the film by placing singing bowls underneath the endless wind sound in the desert. It's incredibly subtle. I tried a similar thing for the outside using a granular synthesised bowl sound. To spice things up i also added some strings chords and plucks that play lightly in the atmosphere. These are in random containers with varying delay periods to make it more interesting.
The indoor music was to be much more intense as this is where the true danger lies. Here i wanted to keep the wind as a main part of the audio, so it almost acts as a drone in the composition. Many of the sound SFX were created using granular synthesis on everyday objects, such as the keys to my flat. The main melody instrument is a granulised sitar. I was attempting to keep the music as SFX based as possible, so the player may have a hard time determining whether some things are coming from the environment or the music track.