DOOM: Behind the Music

GDC: In this 2017 session, Doom composer Mick Gordon provides a detailed look into the compositional process, production techniques and creative philosophies behind the hell-raising soundtrack to the 4th installment of the seminal first-person shooter franchise, Doom.

This is one of the best talks I’ve seen on the GDC YouTube channel! In addition to the new Doom game, Mick Gordon has composed music for the new Wolfenstein games and Prey. In his talk Gordon covers a lot of ground, including how he approached the brief, making satisfying bass come across on unsatisfactory equipment, hiding subliminal messages and courage vs. confidence.

See also

  • A history of DoomIf you had a PC — you had to have Doom.
  • The art of FirewatchA recreation of Jane Ng’s talk from Game Developers Conference 2015.
  • Black MIDIHave you ever been listening to a normal song and thought, “I really wish this normal song had 280 million notes and took up 1.1 terabytes of data and was literally unplayable on any computer?”

Also: Two recent Vox explainers on Shepard tones and gated reverb →

Rogue One: A Star Wars Legacy

You won’t hear the “Star Wars” theme in “Rogue One,” but the newest movie’s score does pack a bunch of other little musical references to the original saga. And if you reeeaaally strain your ears, you might actually hear that main theme after all. (via digg)

See also: Lord Of The Rings: How Music Elevates Story — Evan Puschak talks about Howard Shore’s use of leitmotifs.

Black MIDI songs will kill your brain and your computer

This Exists: Have you ever been listening to a normal song and thought, “I really wish this normal song had 280 million notes and took up 1.1 terabytes of data and was literally unplayable on any computer?” Of course, you’re only human. Black MIDI is the hypnotic madness you’ve been craving.

Black MIDI

Black MIDI is a sequenced MIDI file so dense with notes, it literally just appears to be jet black.

[Black MIDI] Nyan Trololol

See also

  • YouTube Poop…does YTP qualify as a “statement” of sorts? Is it a way to reclaim these pop culture symbols and create something that is truly our own? Or are they just the annoying byproduct of having video editing software and too much time on your hands?
  • Mechanical techno demonstrationMade at Lime Wharf Machines Room as part of Rhythm & Drone Research & Development residency, September 2015
  • The “millennial whoop” is taking over pop musicThe same exact whooping, melodic sequence has been showing up in a surprisingly high number of recent pop songs

More Black MIDI →

The Fundamental Elements of Film Music

Filmmaker IQ: Explore the role of music in film from it’s importance in silent film to the elements and tools that modern composers use to create music for the silver screen. See how minor changes in momentum, depth and power can drastically alter the feel of a scene.

See also

The Marvel Symphonic Universe

Every Frame a Painting is back with a new video about the use of ‘temp music’ in modern moviemaking, particularly in the Marvel Cinematic Universe.

Tony Zhou: Off the top of your head, could you sing the theme from Star Wars? How about James Bond? Or Harry Potter? But here’s the kicker: can you sing any theme from a Marvel film? Despite 13 films and 10 billion dollars at the box office, the Marvel Cinematic Universe lacks a distinctive musical identity or approach. So let’s try to answer the question: what is missing from Marvel music?

Hollywood Scores & Soundtracks: What Do They Sound Like? Do They Sound Like Things?? Let’s Find Out! →

Quartz: “The Millennial Whoop”: The same annoying whooping sound is showing up in every popular song.

The same exact whooping, melodic sequence has been showing up in a surprisingly high number of recent pop songs. The phenomenon was first noticed by musician and product manager Patrick Metzger. He detailed the trend, dubbing it “The Millennial Whoop,” in a post on his blog, The Patterning. Here’s how Metzger described it:

It’s a sequence of notes that alternates between the fifth and third notes of a major scale, typically starting on the fifth. The rhythm is usually straight 8th-notes, but it may start on the downbeat or on the upbeat in different songs. A singer usually belts these notes with an “Oh” phoneme, often in a “Wa-oh-wa-oh” pattern. And it is in so many pop songs it’s criminal.

See also: This mashup proves that all country music sounds the same

“I feel like I should have a really good answer for this, but somehow I also feel that the question is wrong.”

The Function of Music

Mac Premo: I sat down with Jad Abumrad and talked about sound, music and the function of music. Then I turned that conversation into a film.

(via Boing Boing)

See also