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OCR01412 - *YES* Final Doom 'River Styx'


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Game: Final Doom

ReMix Name: River Styx

G'day, it's TO

This isn't a remix of the music in the level "River Styx" in Final Doom, but I liked the name of that level anyway. I actually remixed two scarcer sounding pieces together into one. Level 6 and level 17 in final doom.

Mainly piano and glockenspiel, with acoustic guitar coming in later.

Strings, Bass Synth, a little bit of mandolin plucking and some rhodes as backing. The drumline is very much groove oriented, however I've worked on making it as varied as I can without going overboard.


LT Edit: I asked Lee what the hell was going on in this one, cuz frankly I didn't recognize a damn thing. Here's the skinny and so forth:

The two source tunes aren't apparent, but they're there. I figured the first piece wasn't enough in itself to remix as a source, so I adopted the 4-chord backing in source 1 (tntmessag.ogg, the one that goes D4A4D5 -> G4C5D#5 -> D4A4D5 -> G4C5F5) and had that playing for the majority of the mix as the key. The Celesta playing at the beginning is playing in that pattern, however I shaped a melody over it, rather than just having the chords.

The piano is mainly original keeping in the key, I've adopted trace amounts of other doom tunes from doom 1 in there, but they're not very apparent.

Source 2 (tntthe_da.ogg) comes in with the Mandolin, playing the D -> D# -> D -> F pattern of the source in swing time. The nylon guitar that comes in at 2:00 plays an original solo and then plays the source 2 melody G -> A# -> G -> A also in swing time.

The most apparent parts are around 3:10 when I made the build up, using the same 4 chord backing and bringing in the strings.

When it comes down to it, Source 1 was very limiting, but that was the piece that I based my remix on. Source 2 was used to solidate the melody of the remix. A lot of the melody is interpreted from the original rather than just keeping to the basic pattern.

Now, as for my opinion on the matter, it's probably sitting on the edge of what's acceptable in terms of adhering to the source (of what is a very simple source) however I still feel that it fits snugly around the pattern, and the use of the second source brings it up to a more recognisable stature. The other recently posted Final Doom mix (Quick Fix) is not immediately recognisable as a remix of the source material either, beyond the bassline, which leads me to argue my case on this one.

Hope that's enough, thanks for giving me a chance to explain it.


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omg. dhooomed.

The first thing that struck me was the reverb. The judge in me immediately cried out, "Fuck dood, u use 2 much verb. Lolz. Lfg Elona reach." but the new-ager in me rather likes it. So I'm torn. I think, with the emotional slant you're going for, the reverb works, and to a certain extent, is required.

I really like this. It feels like really odd dark new-age genre, which I find intriguing. Production is solid, reverb debates notwithstanding. There's development, dynamics, even a quick little soliloqy [sic] for a guitar solo of sorts.

I applaud you on making a Doom remix that, while dark, isn't garishly gothic. Even though, and I will admit this freely, Darkside of Phobos is my favorite Collab to date.

very nicely done. Hey you goth kids who like new age, this is for you. Hey you Tori Amos fans who play Doom, put down your rainbow flags and pick up this song!


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  • 2 weeks later...

http://www.doom2.net/~doomdepot/music/tnt/TNT20.mp3 - TNT Evilution Map20

http://www.doom2.net/~doomdepot/music/tnt/TNT06.mp3 - TNT Evilution Map06

Thanks a lot to Lee for providing the sources and spelling things out on the arrangement side, along with Gray for helping as well. This was a tricky one to get a grasp on, and won't please anyone looking for a conservative sounding take on the theme. Nonetheless, the "message" theme was indeed worked into a swing time form and used as the melodic base of the mix, so the crux of the arrangement was covered right there. Good stuff using the piano at :17-:24 to do the same, before moving onto some more liberal but noticeable arrangement, basing things off of the chords you mentioned.

Still not really feeling the percussion and production so much, just cuz I feel like those could sound less looped and sharper respectively. To me, I'd say it's a step down from some of Lee's prior stuff, but still solid. The overall tone is good, and there was a good deal of developement here as the track evolved. The percussion did change up, but was a little too prominent for me, so sometimes the loops dragged the piece down.

In any case, all the points of arrangement Lee pointed out were there, so I don't have to go through those and I'm glad he clarified that for me. Even for the liberal stuff, as long as I hear the connection overtly and the source tune is used enough, we're good to go.


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Larry asked for my help and opinion on this mix as he had trouble picking it out at first. I think the problem with a lot of Doom type source materials is how minimal there is a material to work with, so anything that expands on it has a great danger of sounding very liberal. In this case, I think this bears repeated listenings for some people, because there's a lot of subtlety and lack of overtness that might not make itself apparent at first. Some people will get this, some won't. In this case I think it's a very nicely combined mix of two materials into one cohesive arrangement.

This is typical of a lot of TO's mixes. Atmospheric with lots of powerful rock type drums/electro drums/percussion.

Production in general here is tastefully done.

I really can't see a reason not to pass this. Good work, and I love the instruments! YES

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my only real complaint about this is the mastering, it's a tad too loud. there's some soft-clipping going on and that piano low-end is overbearing.

otherwise though i think this is 'good enough'

it's got a nice groove, it expands on the original quite a bit and it has good pacing and decent variety.

not too shabby.


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