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OCR01410 - *YES* Descent 2 'Revelation'


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Hi DjPretzel,

I've just finished this mix, shock horror its not final doom =P It's from descent 2, incidentally the first pc game I ever owned and still one of my faves. The original track was from the closing credits of the game. However the game had two soundtracks, an industrial/metal CD soundtrack and a midi soundtrack, both of which were completely different. I always preferred the latter and hence its the midi version of the credits that I remixed.

The original midi file is here.


My remix is here.

Thanks for listening =)

*Contact Info

remixer name - djredlight

real name - Ashley Carr

email - djredlight@djredlight.com

website - http://www.djredlight.com

(by the way, if it's at all possible, can you change the website info on this page to http://www.djredlight.com?)

*Remix Info

name of game - descent 2

name of individual song - descent 2 midi soundtrack - credits

- original composer - Dan Wentz

- system - PC

- published by Interplay.

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Descent Midi 2 Soundtrack - 07 "Credits"

Heaps of luscious sound programming. On the surface, this ReMix comes off as insanely repetitive thanks to the similar textures and lack of real chord progression throughout, BUT things are not always what they appear to be! Why don't we go over some highlights? Okay, sounds like a plan.

At 0:32 a phrase is repeated twice, but each time it is given a different response. First a filter sweeping arpeggio and then a rhythmically charged melodic statement. 1:36 presents the bridge chord progression and opens things up by removing any lead instruments. When the original harmonies return, a spot of atmospheric interplay takes it's time before reintroducing the melody. A one time only short duration stuttered sixteenth note shot sticks it's head out for a moment and then swiftly darts back under the surface. When it emerges again at 2:23, it's a completely different phrase.

Things of this nature continue for the entirety of the mix. Constant and I mean CONSTANT subtle variation, almost to the point where I would say this is one of the LEAST repetitive mixes I've heard in a while. The note streams starting at 3:33 are delightful, not to mention the brief percussive absence directly follwing them. The only element of this song that could possibly be accused of using too much repition would be the drums. They don't have nearly as much variety as everything else, but as the one anchor, I find that acceptable. Here's to deceptive simplicity!


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Thanks for providing the source here, as well as giving that background for Descent's soundtrack. Good stuff, Ashley. Reminds me a lot of Protricity's electronic textures due to the sounds you used, which are slick as hell. The texture might annoy some people, but I enjoyed it.

Great arrangement compared to the original in that it's not hugely interpretive on the surface, but subtely evolving much like Shna pointed out. On that point, sections like the one starting at 2:39 really showcased that understated evolution.

Up until 1:40, I was somewhat worried that you just had generally original passages on top of some motifs from the original, but that wasn't the case here at all. If chill bias is wrong, I don't wanna be right. But in all seriousness, this definitely had the goods and genuinely had a great deal of expansiveness and creativity. The was appreciated much more after comparing it with the source material.


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Ah, well done Material Defender! Next stop: Beta Aquilae.

I can't quite place my finger on it, but the lead synth reminds me, however vaguely, of the main lead synth from Unreal (And by proxy, Deus Ex). It's not a bad thing. It sends you hurtling into the netherrealm of nostalgia, when men were men and VR-helmets were "the next big thing".

Some great "Weaving" of the synths. Much of the time, people get their hands on a synth, layer it, get a muddy toxic-revenger type amalgam, and call it a day. Even with the long synth releases, this sounds clean, tight, and well integrated. And, lord ah mighty, dynamics!

There is a gripe with repetition here. I don't think some permutations or build-ups would be frowned upon in repeated segments.

But if it's good enough for Guidebot, it's good enough for me.


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One of the few tracks from descent that I hadn't heard before dj redlight showed it to me.

The synths in this mix are so crisp and clear, which has been a consistent thing with dj redlight. With this mix, the overall feeling is a lot smoother and flowing than some of his final doom mixes, paying more attention to the higher frequencies and synths than the accustomed pattern of thick beats and punchy kicks. Everything in this mix is sleak and warming to the ear.

The drums in this piece are simplistic, while the kick is light and works simply to keep the beat going, the percussion taps along lightly and keeps the piece interesting.

The actual mix is very similar to the source. If it wasn't for the very creative synthwork flowing around this mix, I'd be tempted to say it's too close to the original. The key to this mix however lies in the way the synths have been utilised. As Shna said, two phrases may be the same in the notation, but the effects layered over them and the unique phrasing on minor sections of the theme ensures that the mix never gets old, nor does it feel like it gets repetitive. The arpeggio synth-work that shows up occasionally is a good example of this (around 0:54 is an example.) The extra guitar brought in towards the end to coincide with the lead-synth cinches the deal and gives the mix the extra bit of energy it needed to flow smoothly into the finish.

A definite YES from me.

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