Stratton notes this internal mix was created using music fragments pre-compressed by Gordon for use in-game (hence the reduced dynamic range on these tracks) and not the composer's original source material, which the developer "typically have access to".įollowing a last-minute delay, Gordon eventually submitted nine of his own mixes, with the remainder requested for delivery "as soon as possible".
The remainder of Stratton's post includes a detailed breakdown of events leading up to the release of the Doom Eternal soundtrack, covering everything from id's original agreement with Gordon (who was contracted to deliver "a minimum" of 12 tracks), to the fact the developer granted a six week deadline extension at the composer's request.Īccording to Stratton, however, as the revised submission date approached, he became "increasingly concerned about delivering the OST to us on time" and asked id's lead audio designer to begin mixing tracks as a back-up plan. For id, this has created an unsustainable pattern of project uncertainty and risk." While Stratton praised Gordon's abilities, he admitted the two parties had "struggled to connect on some of the more production-related realities of development" and that "communication around those issues have eroded trust. "What has become unacceptable to me," Stratton continued, "are the direct and personal attacks on our lead audio designer - particularly considering his outstanding contributions to the game - as well as the damage this mischaracterisation is doing to the many talented people who have contributed to the game and continue to support it." "Some have suggested that we've been careless with or disrespectful of the game music," he wrote, "Others have speculated that wasn't given the time or creative freedom to deliver something different or better. Now, in a lengthy statement posted to the Doom subreddit, Doom Eternal executive producer Marty Stratton has addressed the "speculation and criticism" surrounding the soundtrack's release. This content is hosted on an external platform, which will only display it if you accept targeting cookies. the original with more definition /TCJRdOe1Yf- Doominal Crossing HAS 100%'D METROID DREAD April 19, 2020 Notice how the wavelengths in BFG 2020 form a nearly perfectly straight bar vs. the BFG 2020 remix on Eternal's soundtrack from today (right). Here's a comparison between the original BFG Division from Doom 2016's official soundtrack (left) vs.
#Doom 2 music software#
In a separate but related comment, Gordon told an inquiring fan that he doubted he'd work with id Software again, driving speculation that relations between the two parties had soured - which, in turn, and with depressing inevitably, saw id's lead audio designer, who was responsible for remixing the remainder of the soundtrack, become the target of online abuse from certain quarters of the Doom community.
Niles pointed the finger of blame at Gordon, writing "I expect much better from him", to which the composer responded, explaining he'd only mixed a "small handful of tracks" and "wouldn't have done that" on the other tracks. Issues around the soundtrack first came to light at the end of April, when audio blogger and Ruff Audio founder Reace "thatACDCguy" Niles noted dramatically variable differences in quality across the recording, which he attributed to reduced dynamic range on certain tracks. After several weeks of silence, id Software has addressed the controversy surrounding the quality of its official Doom Eternal soundtrack and, in particular, the comments made by original composer Mick Gordon in light of fan complaints, confirming Gordon will not be returning to work on the music for Doom Eternal's DLC.