Songs Covered:
Song 1: “Mick Gordon - BFG Division”
Song 2: “$uicideboy$ - Antarctica”
Song 3: “Golden Features feat. Julia Stone - Wolfie”
“Mick Gordon - BFG Division”
Introduction:
BFG Division is part of the award-winning videogame soundtrack of DOOM 2016 which was released on 28th September 2016 and composed by the Australian producer Mick Gordon. The soundtrack draws from inspirations of the previous DOOM video games, the artwork and of course gameplay of the current DOOM game.
He worked on the album for about two years and dedicated a lot of the time to experimentation with analogue synthesizers and effects to create incredible soundscapes, a unique effect chain which I will later refer as the “DOOM Instrument” to capture the sound of the hellish landscapes of DOOM and the evil energy flowing through everything.
About BFG Division:
Mick Gordon managed to meld metal with industrial and electronic music to create a blend of genres which is hard to pinpoint. In an interview he said that he didn’t want to limit himself to a genre but rather pick and choose elements from different genres which he likes and use them together to create something unique.
BFG Division is the 11th track in the 31-track album and contains a short arrangement of “Waltz of the Demons” from a previous DOOM game and a brief sample of the classic BFG (which is a gun in the game) at the very end.
11
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BFG Division
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8:26
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Contains a short arrangement of "Waltz of the Demons" and a brief sample of the classic BFG at the very end.
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(DoomWiki.org, 2017)
Mick switches the time signature from 4/4 to ¾ at 5:47 and then changes the melody of the main riff to the one in Waltz of Demons which I have recreated in Logic. 
From 5:47-5:53 the guitar has what sounds like a heavy bandpass filter on it, which opens up completely at 5:53 to reveal a heavily distorted and compressed 9-string guitar sound.
Link to “Waltz of Demons” composed by Bobby Prince:
The sample of the classic BFG sound appears at 8:24, unfortunately I wasn’t able to find the original sound effect. The sample doesn’t really have a musical purpose except for creating extra tension at the end of the track. I believe that adding the sample in was more of a metaphorical tip of the hat to Bobby Prince, who was the composer of the first and original DOOM soundtrack, he also created the sound effects for that game and by including the sample in it and naming the track after it Mick Gordon is paying him tribute.
Resources:
Instrument/effect category
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Exact instrument/effect used
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Process
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Guitar
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Schecter Damien Platinum 9
|
He recorded his 9 string guitar for heavy riffs and melodies running it through distortion pedals, recording it to tape and morphing it with samples of chainsaws
|
Effect Pedals
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Metasonix
Trogotronic
MuTron
Dwarfcraft
DeviEver
Copicat Tape Echo
Etc.
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Utilising many effect pedals from these brands Mick created effect pedal chains. He ran sine waves through these chains to achieve distorted and rhythmic basslines. He later referred to this process as “The DOOM Instrument”
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Compressors
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1176
Doublewide
LA3A
old massive broadcast limiters
etc.
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Mick used the compressors not just during the mixing phase but also as a sound design tool, for example to meld the different effect chains together and beef up the bass and guitar sounds
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Synthesizers
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Korg MS20
Polivoks
Eurorack
|
He used the synths for lead sounds, to create drones, sound effects and he sent sine waves through the effect pedals
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DAW’s
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Ableton
FL Studio
Pro Tools
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Ableton & FL For sound design and Pro Tools for mixing and the arrangement
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Plugins
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UAD
Waves
FabFilter
Slate
Softube
iZotope
etc.
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Plugins are for sound design, mixing and mastering
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(Game Audio Australia, 2017), (Machkovech, 2016), (New, 2017), (Noclip, 2016), (Sphere, 2016), (Origin Effects, 2016)
Workflow and sound design:
When Mick was asked to provide some insight into his writing process of DOOM he came up with a short and straightforward answer:
“It was pretty basic – I’d set up a video of some early gameplay of the level and tap out a tempo that felt appropriate for the level of on-screen action. Once I had the tempo, I’d just set up a metronome and jam out riffs for an hour. Then, I’d take a break and come back and comb through it all looking for cool parts.” (Sphere, 2016)
Mick Gordon spent two months making sounds and testing the limits of synths. He received a lot of artwork from the designers from which he drew inspiration. He set himself a goal to make the DOOM soundtrack as authentic as possible that the player would really feel enveloped by the world and the music and instead of these two elements coexisting he wanted to bring them together to make the music part of this world full of demons that want to kill you. So he created distorted rhythmic bass sounds that mimic the raw evil energy flowing through everything and holding the world of DOOM together. These are at the core of the majority of the titles in the soundtrack and set the pace of the game and create the drive that makes the player want to move forward and always stay on the offensive. This unique element makes the track different from similar sounding genres such as djent.
Mick created these heavy driving bass by sending sine waves through 4 different chains of guitar pedals:
• Chain 1: Four FX pedals and a splitter.
• Chain 2: Four FX pedals and a compressor.
• Chain 3: Tape Echo, FX pedal, AKAI, spring reverb, and a compressor.
• Chain 4: Mini amp, microphone, splitter, and a pair of compressors.
Each output was then run into a mixer, then into an EQ and compressor, before finally being entered into the Digital Audio Workstation. (New, 2017)
(Game Audio Australia, 2017)
The result was incredible, the distorted but very interesting and rhythmic sounds were a very accurate representation of what pure energy would sound like.
From then on, he referred to this setup as his “DOOM instrument”
A lot of the guitar sounds are incredibly aggressive and gritty without losing their fidelity and in an interview with Prog-sphere Mick explains how he achieved this:
“One cool trick I picked up from Sean Beavan was to record really distorted guitar parts at double speed up an octave to tape at 30ips. Then, play it back at 15ips. It’s such a cool sound – it’s really distorted but the note is still super clear.” (Sphere, 2016)
Additionally to this technique he morphed his 9 string guitar sound with a sample of the chainsaw in the original DOOM game using a plugin from Zynaptiq called Morph 2 to achieve a brutal and utterly aggressive sound. I am unsure whether he used this technique in BFG Division or only in the song “Hellwalker” but it is impressive nonetheless and shows the creativity of Mick Gordon.
(Game Audio Australia, 2017)
The lead sound in BFG Division, which can be heard at 1:14 was created on the Korg MS20 and most likely processed with multiple effect pedals to achieve the sci-fi-like gritty lead.
During the last chorus he harmonises the synth which makes it sound thicker and creates a lot of tension because of the slight dissonance of the chord.
A very interesting recording technique of his was to create a feedback loop on a mini desktop amp, record it with a sm58 and then fade the feedback loop in and out of the mix, using it like a sound effect.
(Anon, n.d.)
The following quotes are excerpts from the GDC 2017 presentation where Mick gives advice on how to find new motivation and creativity if you are in a creative block.
These quotes say a lot about his work ethic and approach to each new project.
“Change the process, change the outcome. If you’re struggling to come up with something new, if you find yourself stuck in a rut, if you’re suffering from creative blocks, change the process. Change the way you’re doing things and you’ll end up with a different result.
“Not only that, have the courage to do so. I say courage, not confidence. Confidence comes from doing the same thing over and over again. It takes courage to change that.
“Finally, and most important,” concludes Gordon, “A team that encourages an environment where you feel comfortable in failure will enable you to thrive.” (New, 2017)
Use of ambience and sound effects:
Mick Gordon creates incredible soundscapes in his tracks by using ambience and sound effects which he created or recorded himself. I personally asked him via facebook messenger if he uses sample packs and he replied that he creates everything from scratch, which is very impressive.
(Screenshot from my facebook messenger, 2017)
He uses sound effects a lot to add rhythm and groove changes and also to make smoother transitions.
The mix:
BFG Division is incredibly well-mixed, Mick managed to capture a very large dynamic range without having to resort to too drastic changes in volume. The guitar and the wailing lead are the focal point of the track next to the rhythmic and almost percussive basslines in the breakdown.
Sometimes he cuts out the audio almost completely and just lets the reverb tail of the synth fade out before slowly fading in a synth arpeggio like for example at 3:56.
He also plays with distance by putting a slight reverb and delay on the arpeggio at 3:58 which makes it seem very far away. He then fades what sounds like a feedback loop of some sort that has been processed with EQ to make it less harsh and more drone-like. During the entire track Mick fades ambient sounds and sound effects in and out to always capture the interest of the listener and make it feel like you are walking through an ever-changing hellish landscape.
Mick makes full use of the stereo spectrum by panning the instruments and sound effects heavily. The guitars are double tracked and panned to make them sound huge; the synth lead is in the middle because it was recorded in mono and not panned.
The kick and the snare sit nicely in the center along with the sub bass giving the track an anchor point, the cymbals on the other hand are panned out.
The percussive bassline is heavily panned and Mick most likely used some kind of stereo shaper tool with an LFO to control the pan of it because it seems like it’s skipping from left to right and vice versa.
He also makes use of a kind of call and response technique where at 5:10 he has a hard-panned sound on the left side which is quite subtle and then another sound which sits in the middle of the mix responding to it and then suddenly panning out to the left and the right again probably being controlled by a stereo shaper utilizing either an envelope or LFO.
Mick fades in white noise to create tension in the buildups. He is a big fan of filters and most of the instruments and effects are being affected a filter which he probably played around with live and recorded the result to make it feel more authentic than an envelope programmed in a DAW.
In the last chorus he automated the volume of the synth so that it would open in an 1/8th note pattern with a slight attack on the first note to change up the rhythm and give it a more cut-off feel.
He then chopped up the guitar in the last part of the chorus and rearranged it, this kind of adds a final touch to the song and indicates that it’s finished now by in a way glitching out and breaking the melody but remaining melodic.
The drums are heavily compressed and the kick sounds very much like a classic flat metal kick with not much body to it. The snare is quite strong in comparison and is reinforced by a ping sound effect.
The guitar and bass are slightly sidechained to the kick and the snare so that he can keep them at a low volume but still have the drums punch through the mix.
What is very interesting and a bit controversial about the mix is that a lot of the effects are inserted in-line instead of parallel. This is because Mick chooses to manipulate the sound rather than to just affect it; he often doesn’t want any of the dry signal, this is very apparent in the “DOOM Instrument”, where he heavily processes sine waves to the point where you wouldn’t be able to to tell that it once was a sine wave.
Mick uses effects like instruments and plays around with feedback loops, reverb tails which he boosted through very heavy compression etc.
So you could ask where does the sound design process end and the mixing process begin?
This is a hard question to determine and I would say that Mick himself would need to answer that question.
Live performance:
He performed the song live during the Game Awards 2016, along with two others.
Mick played his extended-range guitar and was accompanied by a synth player and a drummer.
The performance was excellent and the live version is incredible.
“$uicideboy$ - Antarctica”
Introduction:
“$uicideboy$” are a New Orleans, Louisiana based hip hop duo and have their own record label: G*59
Suicideboys consist of the members Ruby and Scrim who are cousins and were both involved in bands before forming the group Suicideboys and creating rap music. They draw their main influences from punk rock and rap music from artists like for example Lil Wayne.
The two cousins grew up with mostly african americans and were heavily influenced by their culture.
They have released over 30 ep's and albums to date which is a very impressive number, Scrim who makes the beats is said in an interview with XXL that he hates relaxing and spends every free moment on his laptop making beats.
Their lyrics are mainly about their personal experiences with drugs, religion, suicide, life, death, money and fear.
They are both heavily involved in drugs but unlike most rappers they don't brag about it.
In an interview with No Jumper they talked about how their follower base is quite large but only recently have they been able to quit their day jobs and live from off of the income their music and shows generate. A gimmick of them is writing dollar signs instead of "s".
(No Jumper, 2015)
About Antarctica:
Scrim who produces the majority of the Suicideboys tracks is known for sampling other people’s work and creating his own beats.
The producers of hip hop are known for taking unusual samples and creating new original content. Scim did exactly that when he sampled the song “I Remember” by Joel Zimmerman, better known as Deadmau5 and Kaskade, which was released on Ultra in 2008 and created the track Antarctica out of it.
He used an 18 second loop of the vocal and the chords played on a pad which appears at about 4:06 in the original track.
Deadmau5 and Kaskade's song is EDM and very different to Antarctica which makes apparent that Ruby and Scrim draw their influences from various genres such as for example House music.
(Who Sampled, n.d.)
Elements:
Sound
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Processing
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I Remember sample from Deadmau5 & Kaskade
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The sample has a flanger on it with a slow sweep rate and has been eq’d to clean up any unnecessary low end and roll off the high end to give it an old radio sound
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808 for the bass with a medium sustain
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Light compression, eq to get rid of high frequencies, soft tape saturation or clipping to add harmonics
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Kick which is staked with the 808 to give it more punch
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The sub frequencies have been removed from the kick to avoid a muddy low end of the song
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Snare
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The snare is not punchy at, it has a lot of noise in it but the sample is slightly sidechained to it and ducks when it comes one to let it come through the mix, there is not a lot of low nor high end in the snare and the panning goes from right to left which is quite unique, it sounds as though there are at least two layers to it
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Snap
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The snap is very punchy and clean and was most likely heavily compressed and eq’d, there is also some reverb present
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Crowd Chant on the off beat
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The chant is very subtle and only has some compression and eq on it to make it tighter and clean up unnecessary frequencies
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Vocals
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The vocals have been double tracked and panned left to right, they have been processed with a medium space reverb, eq to brighten them up and compression to control the dynamics, when the vocals stop they
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Arrangement:
The arrangement is very simple, the song has quite a long intro with the sample of Deadmau5 processed by a flanger then the drums kick in and the rap vocals. Scrim raps the first verse and Ruby the second one, there is no chorus and then a short outro where the drums stop and the sample fades out
Recording Techniques:
The dynamic performance of the vocal is quite high because in the second verse where Ruby raps he sings quite loud so my guess is that they used a dynamic mic like the Shure Sm7b which is quite popular in the rap scene.
The vocals were overdubbed and panned left and right to widen the stereo image and make it seem more in your face. They often change their voice and their tone while rapping which can be heard in verse one where Scrim starts off singing quite low and then his voice changes tonality in the second part of the first verse.
Audio quality:
The fidelity of the vocals and drums are very high but the sample has a more lo fi feel to it which they purposefully processed to sound like that.
The mix:
The overall quality of the mix is very good, the levels are all The vocals were recorded dry with no effects and processed with reverb on a bus send, eq and compression to clean up and control the vocal. Everything is quite centered except for the vocals and the snare which are panned. The snare consists of at least two layers and goes from the right to the left ear which gives an interesting effect.
“Golden Features feat. Julia Stone - Wolfie”
Introduction:
Tom Stell aka. Golden Features is an Australian producer who is currently working on his debut album. He had great success in Australia when his first ep got picked up by triple j radio host Lewi McKirdy and soon he found success all over the world touring with the likes of Alison Wonderland.
About Wolfie:
Wolfie is a collaboration between Golden Features (Tom Stell) the edm producer and Julia Stone a singer/songwriter. In an interview Tom says that the song is about his 3-year-old nephew and he even incorporated samples of him talking in the song.
He said that he wrote the song in about an hour after speaking for quite a while and that it all went very smoothly. This refers to the vocals and the lyrics, there is no information in the interview about how long it took him to write the instrumental backing track.
The interview excerpt:
"Once I sat down with Julia and explained what the song was about, she and I just connected and hit it off straight away. I don't think there was any small talk at all. We just spoke for an hour-and-a-half. Wrote it in another hour and then tracked it and it was done."
Stell admits that the Ms. Stone hook-up was "actually very clinical," organised by management, but the two worked side-by-side on lyrics and melody to get to the heart of the sentimental significance of the song, which is a lullaby dedicated to his 3-year-old nephew of the same name. (Abc.net.au, 2016)
Elements:
Section
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Sound
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Processing
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Intro
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Sample of Wolfie (3-year-old nephew of Tom Stell)
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Bandpass filter, possibly some slight tape saturation and a lot of reverb, the processing makes it sound like the sound is coming from a dream or memory
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Synth sound with medium attack
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Processed with eq and reverb, medium long attack with a long release which makes it sound like it’s gliding in and then fading out again
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Vocal of Julia Stone singing uuuh
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Bandpass filter, reverb, gives it a dreamy quality
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Bass, sounds like a digitally created clean sub bass from a sine wave
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Eq, slight tape saturation to add harmonics
| |
Verse
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Kick and snare, sounds like samples layered with an acoustic kit and a recorded snap
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Very clean sounding, eq, slight compression
The snap has a lot of reverb on it and sounds like he stereo separated it
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Percussion
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Cleaned up with eq to not interfere with any of the instruments, compression to make it tight and close, very small amount of reverb probably set on a bus send to keep the dry signal in takt
| |
Synth with medium attack FROM INTRO
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See Intro
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Bass sound layered with a bass stab
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Eq to get rid of unnecessary high end, compression/multiband compression to make the initial stab of the bass have more impact, possibly slight tape saturation to add some additional harmonics
| |
Synth layer playing a melody, originates from a sine or triangle wave, low in harmonics, very soft
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Eq to cut out low end and roll off the high end, stereo shaper tool to control pan with an LFO, slight reverb to make it sound further away
| |
Buildup
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Two different risers are added, 1 fast white noise riser and a glittery sounding longer riser most likely made in a soft synth with an lfo on the amplitude
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Eq to roll off high and bottom to make the white noise less harsh
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Synth layer
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Envelope on the filter opens up to reveal a more distorted and thin synth sound
| |
Chorus
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Acoustic bass with a wide stereo image
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Sounds quite compressed and eq to roll off the top and get a warmer mid section, slight tape saturation
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Distorted synth lead possibly made from a square wave
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Eq to get rid of any low frequencies, distortion, it sounds like slight clipping or overdrive
| |
Vocals with automation on the delay and reverb
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Every time the singer stops singing the delay and reverb kicks in so that the space gets filled up
| |
Reverse vocal sound effects
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Processed with a bandpass filter
| |
Break
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Square saw synth playing a couple of notes at the start of the breakdown
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With a lowpass filter and a high resonance to make it sound a bit more acid like and edgy
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Buildup 2
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Snare hits
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Lowpass filter opening up and automation on the volume
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Outro
|
Same as intro with different sample of Wolfie saying have a lovely saturday
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Bandpass filter, possibly some slight tape saturation and a lot of reverb, the processing makes it sound like the sound is coming from a dream or memory
|
Recording Techniques:
The only instruments that sound recorded is the bass guitar in the chorus and the vocals.
I believe that the acoustic drum sounds were recorded as samples and then layered with punchier electronic sounding drums.
The vocal was most likely recorded with a high end condenser microphone like a TLM 103 or an AKG C414. I speculate that only one microphone was used as the vocal sounds very in your face and straight forward. It was probably recorded dry with no effects or eq through either an interface or a mixing console in the studio and then later processed with eq, delay, compression, reverb and possibly a noise gate.
Arrangement:
The arrangement is very minimalistic and every instrument and effect has its purpose. This allows for a lot of headroom to play with stereo effects such as ping pong delays on the vocal during silences. It’s easy to focus on each individual element and because of the minimalistic instrumental it doesn’t overwhelm the listener.
Panning:
Tom makes great use of the stereo spectrum and makes use of panning in creative ways such as using a stereo shaper tool which control the panning of the synth in the background utilizing an LFO. The downfall and riser straight before and during the buildup switches from left to right really fast which creates a kind of swirling feeling that captures the attention to lead into the chorus.
The center of the track are the drums, the bass and the vocal and these sit nicely in the middle, the synths are slightly panned along with the percussive elements like the shaker or the hats.
Audio quality:
The fidelity of the song is incredible, the recording quality of the vocal is supreme, the drums sound crisp and cut through the mix, the low end is clean and the mids and highs are clear yet not harsh in any way.
Sound design:
The sound design of the synths is not too complicated, he most likely used basic waveforms such as sine waves, triangle waves, square waves and possibly saw waves. Tom utilizes filters a lot and automates them throughout the track. He plays with attack and decay to make synths slide in rather than abruptly start which can be heard in the gliding lead in the intro. Whether he used vst plugins to create the sounds or analog equipment can only be speculated but my guess is that it was mostly made in the DAW as the sound is very clean and you can’t hear any noise from the analog synths in the track.
Use of Sound effects and Ambience:
There aren’t too many sound effects or ambience elements in the track as it is a more commercial production but the sample in the intro and outro of Tom’s nephew Wolfie who the track is named after creates a dreamy vibe and can definitely counted as an ambience/sound effect. Other than that there are a couple of reverse whitenoise risers and also vocal chops that have been reversed to create tension in the buildup.
The mix:
In contrast to Mick Gordon, Tom Stell uses a lot of parallel bus sends to captures the dry sound and process it rather than completely soaking the signal in effects to create something new. This is due to the difference in the song and the genre, a cleaner sound is required for the more pop’ish/edm production.
The focal point of the track are the vocals, the distorted synth in the chorus and the driving drums. They sit in the center of the mix and everything else is there to add rhythm and interest to the track and to support the main elements.
There is a lot of space and headroom in the mix and you can clearly hear everything that is going on.
An interesting technique that Tom made use of is putting delay and reverb on the vocal at the end of a sentence when to fill the silence after with the reverb tail and the delay.
This creates rhythm and eliminates the need to have too much vocals because you can fill the parts where the singer isn’t singing.
Bibliography:
Mick Gordon - BFG Division:
Anon, (n.d.). [image] Available at: http://www.rainbow-music.hr/image/cache/data/Pojačala%20elektricna(marshall)/ms-2-800x800.jpg [Accessed 1 Jun. 2017].
DoomWiki.org. (2017). Doom (Original Game Soundtrack). [online] Available at: https://doomwiki.org/wiki/Doom_(Original_Game_Soundtrack) [Accessed 1 Jun. 2017].
Game Audio Australia (2017). DOOM: Behind the Music. [image] Available at: http://www.gdcvault.com/play/1024068/-DOOM-Behind-the [Accessed 1 Jun. 2017].
Gordon, M. (n.d.). Mick Gordon. [online] Image-line.com. Available at: http://www.image-line.com/documents/powerusers.php?entry_id=1333956895 [Accessed 1 Jun. 2017].
Gordon, M. (2016). Mick Gordon - 11. BFG Division. [image] Available at: http://DOOM Soundtrack LIVE at The Game Awards 2016 [Accessed 1 Jun. 2017].
Machkovech, S. (2016). Doom 2016’s eardrum-tearing soundtrack finally loosed from the game. [online] Ars Technica UK. Available at: https://arstechnica.co.uk/gaming/2016/09/doom-2016-soundtrack-released/ [Accessed 1 Jun. 2017].
New, D. (2017). Highway to Hell: How Mick Gordon crafted the Doom soundtrack - Thumbsticks. [online] Thumbsticks. Available at: http://www.thumbsticks.com/mick-gordon-crafted-doom-soundtrack/ [Accessed 1 Jun. 2017].
Noclip (2016). Mick Gordon on Composing DOOM's Soundtrack - Extended Interview. [video] Available at: https://www.youtube.com/watch?v=Bthei5ylvZ4 [Accessed 1 Jun. 2017].
Noclip (2016). DOOM Resurrected [Part 2] - Designing a First Impression (Doom Documentary). [video] Available at: https://www.youtube.com/watch?v=vsoVQWnSOfM [Accessed 1 Jun. 2017].
Prince, B. (2007). Doom OST - E2M7 - Waltz of the Demons. [video] Available at: https://www.youtube.com/watch?v=ETV9fPmieOM [Accessed 1 Jun. 2017].
Sphere, P. (2016). Interview with MICK GORDON, Composer of DOOM 2k16 Soundtrack. [online] Prog Sphere. Available at: http://www.prog-sphere.com/interviews/mick-gordon-interview/ [Accessed 5 Jun. 2017].
Origin Effects. (2016). THE TUNES OF DOOM – IT DJENTS INTERVIEWS MICK GORDON. [online] Available at: https://origineffects.com/2016/06/21/the-tunes-of-doom-it-djents-interviews-mick-gordon/ [Accessed 1 Jun. 2017].
thegameawards (2016). DOOM Soundtrack LIVE at The Game Awards 2016. [image] Available at: https://www.youtube.com/watch?v=5a9E3n_VZRQ [Accessed 2 Jun. 2017].
$uicideboy$ - Antarctica:
Who Sampled. (n.d.). [online] Available at: http://www.whosampled.com/sample/406356/$uicideboy$-ANTARCTICA-deadmau5-Kaskade-I-Remember/ [Accessed 1 Jun. 2017].
Antarctica. (2017). [online] g*59. Available at: https://soundcloud.com/skatings-gay/uicideboy-antarctica [Accessed 1 Jun. 2017].
No Jumper (2015). No Jumper - The Suicide Boys Interview. [video] Available at: https://www.youtube.com/watch?v=Zvj_U1JOOzA [Accessed 1 Jun. 2017].
XXL (2017). Suicideboys End in a Tie in 'Real Friends'. [image] Available at: https://www.youtube.com/watch?v=ZyOJnlJA7_8 [Accessed 1 Jun. 2017].
Golden Features (feat. Julia Stone) - Wolfie
Golden Features. (n.d.). About. [online] Available at: http://goldenfeatures.com/about/ [Accessed 1 Jun. 2017].
Abc.net.au. (2016). Behind the mask: Golden Features on his Julia Stone lullaby and 'hyper emotive' debut album | Music News | triple j. [online] Available at: http://www.abc.net.au/triplej/musicnews/s4580302.htm [Accessed 1 Jun. 2017].
Stell, T. (2016). Golden Features - Wolfie (feat. Julia Stone). [online] Foreign Family Collective. Available at: https://soundcloud.com/foreignfamily/golden-features-wolfie-feat-julia-stone [Accessed 1 Jun. 2017].
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