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OCR01285 - *YES* Final Doom 'Clairvoyant Elegy'

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Remixer Names: Bladiator, TO

Real Names: Karl Harmdierks, Lee Barber

Remix Name: Clairvoyant Elegy

Game: Final Doom

Original: wormhole (E1L4) (Also called between the levels)

Original MIDI: http://www.geocities.com/finaldoomremix/finalDtnt-betwee.mid

Email: bladiator@juno.com, the_orichalcon@hotmail.com


Bladiator: When Lee asked me to add some piano to this track, I wasn't sure if he was asking the right person. Thankfully, his groove style and my new age style somehow locked together to make something we're both really proud of. This was an enjoyable collaboration.

TO: I originally started this remix by request from the requests forums. It's from the wormhole level music in final doom (My second FD entry.) I'm not sure what genre you'd put this kind of music under, though we believe it fits under a groove/new age genre or even just chill music. It involves a completely rewritten drumline with some crisp drum sounds, heavy backing strings, belltones, synthstrings for the main melody and a bassline to kick the main section. I collab'ed with Bladiator to bring in his miraculous live-piano skills.

Hope you guys like it, stay well,

~Bladiator & TO

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hey, thanks for including a link to the original.

this here follows the original's structure more or less, but this is very good work.

good piano playing over groovy drums and synthy strings... ah, that's what i like.

tasty ending.


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Yep, quality stuff here. Thanks from me as well for providing the source tune. Lee was nice enough to throw me a copy of this one as soon as it was finished. I didn't get around to formally prejudging it, but looped it a number of times and knew this was good to go.

The beats were initially too basic for my taste and could have flowed better with the groove here via some increased activity, but were full-sounding and otherwise fuctioned well to start things off. Things really picked up on that front once we hit 2:29 and the activity levels rose to where I wanted them. In that sense, there was good development over the course of the track.

Very nice synth work from Lee that's reverbed heavily but doesn't get too overbearing over Karl's piano work. Interesting swtichup at 1:47 that I remember not totally feeling the very first time around, but it worked after several listens. Same with the key change at 2:28. Kind of awkward, but certainly nothing that kills the momentum. Ear acclimation made the changes less jarring over time.

Most of the arrangement work focuses on the piano work, so the beats generally kept the same structure though you could hear subtle changes made during different sections. Very nice close with the piano at 3:57. For any people that aren't really sold on the mix all the way, I swear to you, that ending it gonna hook 'em and make 'em go "Alright, that was pretty sweet." Satisfying flow and energy and very loopable work. I'm genuinely glad I had the privilege to hear this as soon as it was finished. Good collab, bros. They're two of PRC's finer homegrown talents.


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This is really great. Fantastic piano work, cool pads, nice drums.

My main gripe here is everything is so loud, especially the two minutes of this mix where it's particularly strong. Music like this doesn't need to be this overcompressed/limited. :?

Professionals at various publications have spent a great deal of time educating the average joe with a compressor/limiter handy. Here is an example: Quote from an issue of Electronic Musician from Tim Palmer, “The current trend for overcompression doesn't do it for me,” says Palmer. “It makes things sound very, very loud, but also very undynamic and small. Lately, even the mastering engineers seem to be bored with the cheap thrill of overcompression! If you're mastering specifically for the radio, you obviously have to make sure your songs aren't going to dip compared to your competition. But a commercial CD for home use should have some depth. Lately every CD is prepared as though it's on the radio already. I want my CDs to sound more dynamic and have more variation in sound and level.”

A mix of this nature, in my opinion, should not be anywhere this strong.

Still while it is worth noting, it isn't a big enough issue to detract. Cool mix. YES

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I'm not one to hate on overcompression, I think it's an effect that greatly augments the style of certain genres. It makes things link together in a really cool way, and when not used simply to cover up balance issues, greatly augments the clarity and punchiness of a mix.

However, I think in this case, the compression is a mixed blessing. It has a very focused, clear sound. But the mix as a whole seriously lacks dynamic contrast. There could definately be a solid ABA structure to the dynamics, and that would very much aid the transitions between sections.

That's my only main beef, as the rest of the mix is an excellent example of adept piano usage combined with energetic and interesting electronic elements. The percussion is pretty basic, but in this instance, less is definately more. Synths are slightly above average, but mixed very well and arranged in a way that many new electronic artists can't seem to master - in context. They fit the more organic elements of the tune like a glove, and it really makes it seem much more cohesive experience.

Not much to critique, only nitpick. Great job, dudes. This is a rare one that will be playing in my car. Thanks.



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