And here be the instrumental version for all of you to jam along to! This time though, with the actual video, instead of a still-shot or audio-visualizer thing!
So I kept the structure the same, but I decided to mess with a few things in the chorus. Mainly with making full chords for the rhythm guitar, as opposed to just normal power chords. I also wound up busting out the Strat and recording a bit that sits over on the left side. Its based on the original lead part, but I made those into chords and strummed them out. Then over on the right, we've got the normal leads (with a DAR twist of course!). Made the leads a bit dissonant at times, since I really love that sound, when used in moderation. Also had to throw in those slow whammy detunes at the ends of the choruses. Just felt really good to close the chorus with those detuning leads! I also threw in some harmonics right before the start of each chorus.
Really loved how this turned out! Anyways, I hope you all enjoy the instrumental too! ~DAR
Originally Composed By: Staind (Aaron Lewis, Mike Mushok, Johnny April, Jon Wysocki)
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And here be the instrumental version for all of you to jam along to! This time though, with the actual video, instead of a still-shot or audio-visualizer thing!
So I kept the structure the same, but I decided to mess with a few things in the chorus. Mainly with making full chords for the rhythm guitar, as opposed to just normal power chords. I also wound up busting out the Strat and recording a bit that sits over on the left side. Its based on the original lead part, but I made those into chords and strummed them out. Then over on the right, we've got the normal leads (with a DAR twist of course!). Made the leads a bit dissonant at times, since I really love that sound, when used in moderation. Also had to throw in those slow whammy detunes at the ends of the choruses. Just felt really good to close the chorus with those detuning leads! I also threw in some harmonics right before the start of each chorus.
Really loved how this turned out! Anyways, I hope you all enjoy the instrumental too! ~DAR
Originally Composed By: Staind (Aaron Lewis, Mike Mushok, Johnny April, Jon Wysocki)
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That delicate piano in the beginning was what sparked off the idea for having this be a Winter-themed sort of song.
A nostalgic song about Winter, more specifically, me being nostalgic about an old childhood memory of one of the few times it snowed down here in cowboy land (as opposed to just ice/sleet).
Speaking of the intro piano, I decided to stick with the original piano sound that I had in the original. Only difference this time is that I used lower/softer note velocities, instead of (probably) having near max velocities. I wound up layering another piano and synth-piano with this original piano sound. I particularly liked how the synth-piano wound up sounding in this. Gives off this nice sorta "retro-sparkle" during the choruses.
I had also wanted to try using my original pick-scrape recordings, but I couldn't find them. I guess I wound up recording that sample for another idea that pre-dated this song. I think the new pick-scrape samples that I recorded managed to do the job though. Soaked those samples in loads of reverb and flanger/chorus.
The bassline is mostly the same, just some small adjustments to make it a little more fun.
On the topic of fun, I've always loved the riff in the middle of the song, during the "verse". It had always been one of my favorite little warm-up riffs that I came up with back then. Like the bass, the rhythm guitars are pretty much the same as they were in the original.
The leads are also the same for the most part, except for a brief extended bit in the 2nd half of the song (I think it was about 9 extra measures/bars). I also threw in a couple of extra notes at the end of the choruses. I wasn't actually going to change the leads there, but I wound up really liking the way this bit sounded for the strings.
As for the strings, they are here more for overall texture, rather than as a standout element.
Anyways, I hope you all enjoyed this remake of "Winter Reminisce"! We've only got two more songs to go. Up next, a song that longtime listeners should be familiar with (if not with the original, then with one of its "sequels"/variants). Next time, we take to the "Sky"! ~DAR
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Fitting for the little story here as our protagonist leaves the ocean long behind him (most likely in some classic American muscle-car!).
I kept the song structure the same as the original. I just held the sustain a little longer (like a couple more quarter notes) before the distorted guitars kick in. I also gave the song a proper ending, rather than the fade-out that I did in the original.
From the solo on to the end, I introduced the strings and piano/synth parts. The piano/synth combo is rather subtle and pretty blended, just filling in a bit of space on the left side. The strings are also blended, acting as a subtle support too.
Speaking of subtle, I also changed up the bass line ever so slightly. Back in the old days of not having a bass, and purely thinking only as a guitarist, the poor bass was just relegated to thumping away on root notes. So now, I threw in some octaves to spice things up a little!
Also, getting that clean tone was tricky. I wasn't quite happy with the Ibanez or the Strat by themselves (at least for the rhythm part). So I wound up double-tracking my Ibanez, with the pickup-switch in the middle position. One take was played normally, while the other one was played very, very close to the bridge. That bridge take was mixed and blended in very quietly. Then I brought out the Strat to record on the middle & bridge pickup position. With that, I was quite happy with how the 3 takes blended together. For the clean lead part, my Strat's mid & bridge pickup position was totally sufficient for the job.
Anyways, I hope you all enjoyed the ride, however, its not over yet! Next up, a bit of homesickness, the first of the two retrospective tracks on this album, "Winter Reminisce"! ~DAR
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Ah yes, back when I was in my tapping-phase as a guitarist. A phase that I think all guitarists inevitably will go through, and as they should; because double-tapping will always sound cool \m/! With that context in mind, all the leads (except for the harmony part) were double-tapped.
I think the only other time I've gone tap-only for leads was on "The Shores of Destiny" from the "On Impulse" album. There may've been a couple of covers where I did it, but I think those were with a cleaner/less-distorted tone (like the Metroid Prime cover).
I really enjoyed tinkering with the leads on this one. I made small changes here and there, and even made up a harmony bit towards the middle of the song. Something that I was worried about when sitting down to re-record this was the intro tapping. You see, back when I did the original, I just sort of winged it and didn't play to a metronome. I just tapped, hoping that it would work with the 114bpm tempo. Thankfully I didn't wind up having any timing/tempo issues. I even managed to map out the MIDI notes for the MIDI version without too much hassle. However, double-tapped parts just don't sound as "magical" when done as MIDI. But I'm sure I'll tweak the MIDI later for when I release the MIDI version of the album.
As for the rhythm guitars, I kept them nice and simple, just as they were in the original. What I did do though was spice up the bass guitar a little. Nothing too fancy, just throwing in some octaves and fifths. It always amazes me how such a simple change/addition can do a lot for the bass. I quite enjoyed recording the bass bit during the harmonized lead part.
Also, just like the previous two remakes, the new strings and synth/piano parts are definitely here to stay! I even decided to throw in a choir for the final stretch.
I've got to also give a shoutout to QuietMusic for their free "Rain Maker" VST-plugin. I was almost going to goof around with pink-noise in a synth, trying to fake my own rain. I also have no idea where my original rain sample went, and for that matter, I'm not sure where I even got it from back then either. So it was probably for the best that I found a proper replacement. Compared to a decade ago, the amount of free, high-quality plugins/samples nowadays is stunning! Definitely burning/backing-up this one to disk and keeping it in my toolkit of goodies.
Anyways, I hope you all enjoyed this remake of "A Storm At Sea"! Up next, we finally leave the ocean behind and make landfall in, "Joyride"! ~DAR
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This remake of Track #2 from RISEN comes out absolutely blastin'! Originally, I was going to try and get a bunch of factory/industrial sorts of sounds to build up into the song. However, I felt like the song worked best just being very explosive, with the occasional false stops here and there.
What I did do was add a new extended middle bit! Where the original song would've quickly ended, I decided to riff around a little for a minute. For this new part, I think I really managed to tap back into my classic style from this era, but with dashes of my current "modern" style.
Also, once more, strings and keys have made their way on to this remake as well! RISEN was always supposed to have more pianos/synths, as well as strings. However, only a couple of songs wound up having piano in the original release. Looking back on it, it was probably due to not having access to the sounds that I have now. That, as well as still being rather new to mixing back in 2014.
Now, not being limited to such constraints, I happily added in these new bits to accompany the song, without any issue! The strings really add this "special shine" to the song. Whereas the synth and piano are very subtle. This synth/piano combo hangs out over on the left side of the stereo field. Its certainly one of those subtle elements where without it, it'd feel like something was missing if it was left out of the mix. I think it paired very well with the strings. A bit of sparkle to go with that shine!
An interesting mixing thing that I did on this one was for the lead guitar. For the most part, the lead sits happily somewhere around 25% panned to the right. However, I still wanted to have something over on the left side. I didn't want to double-track the leads, and using a stereo delay still left me wanting something more. So what I wound up doing was sending the leads to an aux track and panning that hard left. Then to mitigate and avoid potential phasing issues, I slapped on a tape-sim VST and a saturator VST on to its signal-chain.
For those that don't know, if identical audio clips/sources are out of sync (or out of phase), the waveforms can and will most likely cancel each other out. However, identical sources synced atop one another results in just making the track louder (and if audio clips/sources are mono and panned, they'll sum up straight down the middle and not sound wide). But, by modifying the signal over in that aux track, the signal becomes different enough that it can stand on its own over on the left here. Its a rather subtle thing in this mix, but I'm happy that this little idea worked!
Anyways, I hope you all enjoyed this remake of "Man Against The Machine"! Up next, a storm is brewing on this voyage, a "Storm at Sea"! ~DAR
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With how nice "The Shores of Destiny" had turned out on the "On Impulse" album, I really wanted to make sure that one of its inspirations and namesakes (the other being "Change Destiny") got the remake that it deserved!
I was very happy about being able to salvage the original intro guitar part (0:00 - 0:48). At first I was worried that the take was going to be too noisy and nasty-sounding to use. After all, back around 10 years ago (...well okay, all the way up until 2022), I recorded like some kinda barbarian, recording DI tracks straight into my motherboard's line-in. The "Strat-Era" of my music-making adventures was especially rough though; mobo/PC noise + the normal noise of single-coil pickups on my Strat... they were dark times indeed.
Thankfully, with a bit of EQ and some finesse, the original haunting, yet magical intro guitar line gets to open up an album once more! (I also added a couple of synths to join the guitar in this intro.)
I've kept the lead guitar part very close to the original melody. However, I did change up the rhythm guitars at 1:45. Back then, I was happy with just having rhythm play normal power-chords while the leads did their thing. Coming back to this song 9 years later, there was certainly room to spice things up! Playing this new bit was fun on both the bass and guitar. After that, I go back into good 'ol power-chords to close out the song.
Speaking of bass, I decided to try a couple of different things this time. For the longest time, I would usually use both my pickups on my PJ bass at %100, or I'd roll off the Precision pickups to about %50 and leave the Jazz pickups at full. This time, I decided to just go full Precision bass, and rolled off the Jazz pickups completely.
From what I've seen and heard, a lot of studio guys seem to prefer working with P-basses since they're a lot less fuss, and sit in most mixes just fine.
The other thing I did was mix in the raw, DI bass track alongside the amped-up signal-chain. I also wound up throwing on a tape-sim VST to saturate and compress the DI a little. I feel that the saturation managed to give it a little more mid-presence. It's subtle, but I think it really helped the bass get on very nicely with the rhythm guitars.
Now, for the most notable change for this remake: piano and strings! I started with placing the strings down, before moving on to the piano. When it came to piano, I just really went with feel, placing down notes almost kinda hap-hazardly. I loved this new piano part so much that I used it as the new outro for this song. I also threw in one of my favorite synth patches to add a bit of sparkle and shine to the piano part.
I think that these new strings and piano parts really elevate the song. Once more, this truly feels like what this song should've been back when I first made it.
Anyhow, I hope you all enjoyed this remake of "Leaving Shore" as much as I do! Going off of this, I'd say that the "RISEN" remake is off to a wonderful start! The Decade of DAR Tour has only YET begun to set sail! ~DAR
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MIDI version here for all the fellow MIDI connoisseurs and aficionados out there! As I always say, feel free to use my stuff in your projects, just make sure to credit me! Also, this may not come as a surprise, but I'm pretty sure the MIDI isn't compatible with vanilla DOOM (as its way over the ~96kb limit).
Anyways, hope you all enjoy the MIDI version as well! ~DAR
Also, in case you missed it, watch the non-MIDI, short-film version here: youtu.be/UdzMd4tsnqE
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Facebook: facebook.com/Davester2296 Twitter: twitter.com/Davester2296 Backup Channel: youtube.com/user/Davester2296The Eternal Sky [A DOOM Short-Film & Music Video By DAR] | Slaughterfest2012 - MAP25Davester22962023-08-08 | A tale of one young man's harrowing journey and first deployment as a UAC Space Marine. War is Hell, even more so when the enemy is Hell itself... -- Well this work has certainly been a journey! Hello all, I'm very proud to say that in spite of everything that happened at the start of the year, this Doom short-film has risen from the ashes!
Just as I mentioned in this upload's previous iteration, I want to give a shoutout to Gaia74, as it was his request during the "Subscriber Appreciation Event 2021" that wound up leading to this short-film/music-video! Also special thanks goes out to Vilison for drawing up the artwork based off the original thumbnail!
Also, I can't forget to also thank the talented spriters and modders in the Doom community. Without their wonderful work, we wouldn't have this video!
For commentary about the video-side of things, check further below.
Now, it's time to dig into this behemoth of a song!
"The Eternal Sky" now stands as my longest original song yet! I was pretty nervous about whether I could pull off composing a song to fit this video. To my surprise though, things went rather smoothly!
With "Sky" being in the name, it seemed only natural that I include the motif from my song "Sky". Sky has had a long history, dating back to my RISEN album (which is getting remade after this posts!). From there, it's seen a few revisits and variants, such as "Heofones Mist" on "HORIZONS" and "Taking Flight" from "On Impulse".
Just to tickle my own nostalgia, I wound up even using the same synth-piano as I had used on the original "Sky" from back in 2014! Never thought I'd go back to it, as I felt it sounded kind of dated compared to my usual pianos. However, I think it worked pretty nicely here!
Recording and riffing around on the guitar was a blast! That double-tapping at the end was intense, I wound up getting a blister from it!
As for bass, I had gotten halfway through recording it when I decided to scrap it. I just didn't quite like the tone I was getting. So instead I opted for a synth-bass, it just felt like it had the right "texture" to it.
I also really enjoyed coming up with the strings and the electric piano parts.
Speaking of piano, I hope you all got a grin out of my little nod/parody to E1M1's motif at 9:37. I just couldn't resist throwing it in there, especially considering the scene, with the Doom Slayer teleporting in and all. Then I follow that up with a bit from my song "Requies" from my Red Planet II album, and then I bring the Sky motif back in. Boy, I tell ya, I would've never imagined mashing together "Requies" and "Sky" like that.
Also, mix-wise, I decided to try something different. For my double-tracked rhythm-guitars, I decided to make the left-side more prominent, and kept the leads aimed to the right, since that's what I had done when making the MIDI.
There's a lot that I love from this track, but I'd probably write a novella's worth going over everything! So I'll end it here.
I hope you all are as happy as I am to see this short-film make its return! I also hope this new DAR-original tune got all you guys headbangin' out there! \m/ ~DAR
Spritework by Adrian Carmack, Kevin Cloud, Sergeant_Mark_IV, Mike12, Captain Toenail, Das_M, David G., Gifty, DenisBelmondo, Nash, Alandol, Rogue Entertainment (for Strife)
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So this is where it all started; the big turning point in my music journey!
As mentioned in one of the previous vid descriptions, its time to talk about the backstory and importance of this EP. If not for this EP, this channel and all of its covers probably wouldn't exist. I'd probably still be recording a song idea here and there, but nothing complete.
For this story, we've got to go back to sometime in 2013. Things were pretty rough back in the late-2000's and early-2010's. However, while going through all of that, playing my keyboard and my guitar served as my relief.
However after a few years of feeling like I was totally stuck and not going anywhere, I began to question if there was any point to my hobbies. For a while, I began to wonder if music and my other creative hobbies were just a waste of time.
I had hundreds of various little short song ideas at the time (somewhere around 250-300), but nothing really fully fleshed out. For a bit, I contemplated putting music on the backburner, thinking that maybe my time would be better spent indulging in some other hobby. A couple of close friends at the time had encouraged me to not give up on music, so I stuck with it.
However, I decided that it was time to finally make something happen. Though at the time, I didn't think a solo musician would garner much interest. I believed that I needed to be part of some band to hopefully reach more people.
After going through a huge amount of band ads, I finally came across one listing for one particular online band project. Up to this point, I had also been doing a bunch of research and had plans laid out for where to post songs and other stuff. I wanted to be ready and able to have good info to help out any group I wound up being a part of.
So in early 2014, I teamed up with a nice gal and dude, and we were going to do a bunch of pop-punk stuff. Now, while they were friendly, they were awful at getting any progress done. They wanted to be a band without actually putting in any effort. For two months, I was the one doing the majority of the work. I was handling the production, drums, guitars, mixing, and composition.
For a bit, the one dude kept missing meetup times online, and so it was just me and the singer. I figured I'd tough it out and try and make this all work, as I thought she had a nice voice.
For those 2 months, I dealt with shoddy recordings (our singer recorded with her laptop mic, bassist mic'd his bass cab with his webcam, etc.), and playing tech support for those two (they had absolutely no idea how to record and send the correct files). Its quite funny, on one occasion, the singer couldn't even stop herself from taking selfies while recording some vocal tracks. I still have it somewhere, you can clearly hear the camera shutter sound in the take...
After those couple of months, I log in one day and see a new message in the group chat, and it was the singer basically telling us she's quitting and that we needed to find a new singer.
That was the last straw, I uninstalled Skype (only used it specifically for this) and was like "the hell with that!"
Instead of being disheartened and defeated, I was mad and salty! I was doing all of the work here and these two couldn't even be bothered to take this at least a little seriously! Then I realized, "wait, **I** was doing all the work."
I took everything that I had learned and decided to give things one more shot. I was going to make something all by myself, I didn't worry anymore about how many people it would reach. This was something I wanted to and had to prove to myself.
After putting things on hold for a bit (wound up moving and got a much needed change of scenery), I was finally able to sit down and get crackin after unpacking some stuff.
I wound up changing a lot of things in my process, like my guitar tone and drums (among several other things). I wound up making Hard Crash shortly after finding my new tone.
I quickly wrote and recorded the 3 other original tracks and even used what I learned from art stuff to draw up the cover art for SoM. I drew up my (old) signature logo and slapped it on there and was really proud of the whole thing. I finally found "my sound" and I didn't even mind not having any following. I was now having a lot of fun playing pretend-rockstar over here!
Then one thing led to another, made a couple more albums, and then I made the covers channel, and... here we are now!
In retrospect, the tracks in here are all pretty "hopeful-sounding", despite the dystopian theme of SoM. I think the hopeful vibe came through as a reflection of my hopefulness to finally make something at the time. Never thought about it like that until writing all this.
Anyways, hope you all found this interesting, and hope you all enjoy this remake of Solitude Of Mind! ~DAR
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With the majority of mankind freed from the machine, the commander of the uprising gives an uplifting & rousing speech as they prepare to liberate the final stronghold.
Got really into the vibe and short-story that Solitude Of Mind was telling. I really wanted to have a buildup/hype sort of song to precede Change Destiny. After doing those new string sections in Subterfuge, I really wanted to follow up on that.
I envisioned some grand speech taking place before Change Destiny hits. I laid out my strings and actually wrote up a speech to fully get myself immersed and in the right mindset. Then for fun, I decided to go yell it all into a microphone and threw it into the project.
I wound up throwing on a bunch of effects on my voice in order to give it this sense of being played on loudspeakers out to this absolutely massive crowd. The voice may not be super clear, but its not supposed to be. I wanted "Rally Cry" to really give off a feel and vibe about it. To where, you don't necessarily need to understand all the words to get the gist of things. That being said though, I've included the words in the video, for those curious as to what Commander (not)DAR is yelling about over there.
On to the technicals for Rally Cry. Its at the same 144bpm tempo as Change Destiny. The clean strumming on my Strat was an idea derived from the clean intro riff of Change Destiny. I was going to try and have more parts, but decided to just stick with only the strumming bits. I also wound up using some synths to fill in the bottom-end. Sine waves in particular in order to get some bass and sub-bass, since the strings were lacking that thickness and weight.
Now for Change Destiny! This one had always been my favorite track on SoM, so it was tough trying to change things up for it. I wound up slightly changing what the rhythm plays during the intro. I also gave the bass something to do, and even made up a new clean lead part to join in on the action! I also added some synth stuff to contribute to the ambience and atmosphere in the intro.
Probably the most noticeable change/addition is the inclusion of a new lead harmony that joins during the choruses. I also kept in one of the original lead recordings towards the end. Mixed it in right alongside the newly recorded leads. I also decided to go a bit heavier on the reverb and delay aux channels for the leads. I wanted to have a more spacey sort of feel to the leads on this one.
Anyhow, I hope you all enjoy the finale, and have enjoyed this remake of Solitude Of Mind! Also going to be focusing on composing "The Eternal Sky" for the majority of this month, probably. ~DAR
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Facebook: facebook.com/Davester2296 Twitter: twitter.com/Davester2296 Backup Channel: youtube.com/user/Davester2296DAR - SubterfugeDavester22962023-06-16 | This one wound up getting a lot of new things added to it! I felt like the original was a bit too plain. To be fair though, that WAS part of my songwriting "philosophy" back then. I wanted to keep stuff real simple and wanted to focus only on guitars for Solitude Of Mind. Then RISEN would later introduce keys to the mix.
While working on this one, I realized just how much my songwriting has changed over the past decade. Like adding a bit more "spice & flavor" with more elements.
I wound up adding a new riff for the clean part before bringing in the original main riff. Then when the main riff comes in, I made a new lead to play atop of it. Really enjoyed playing the new bass line during these parts too!
The middle section also got some new "chugga-chugga" parts, and an all-new string part! Before adding it, something had felt missing. Soon, I started hearing the new string parts in my head, and so I wound up laying out the notes shortly after.
For its place in SoM's apocalyptic/dystopian story, Subterfuge's second-half is supposed to be humanity finally breaking free of deception and control. Then with this newfound freedom, they gain the power to change their fate; to Change Destiny.
I think that the new strings (and the new choir layer) really helped bring out that "hopeful shine" in the final half. I think that thematically, it fits really well. Also just overall happy to have strings back in this song, since the original idea before SoM (~2011-2013) was rather string-heavy.
Another one of my changes in songwriting was giving a song as much time as it needed. Back then, I had concerned myself with things like not wanting to go too far past 3.5 minutes of time. Back then I had thought I might be able to get plays on some online or local radio. I also aimed for hitting the chorus within the first 30 seconds as well. At some point I said "The hell with that!" and took on the mindset of letting the songs "breathe" a bit more.
In this case, I extended the intro to help set the mood. Opening with that spooky gust of wind, followed by the "heartbeat" and then it transforms into the drums. A neat and simple little trick through the use of automating a lowpass on both the drum and the reverb-send tracks.
One of my other changes in mindset was getting rid of fade-outs. This time, I wanted a proper outro.
My views on bass have changed since the early days too. As I didn't own a bass back then, I just stuck with copying what the rhythm guitar was doing; just simple root-notes. I still do that here during the chorus, but like I mentioned earlier, I gave a bit more movement during the verses.
As for the mixing side of things, I enjoyed throwing chorus on to the clean guitars! I wanted the original clean guitars to have more grit, so I opted to use my Ibanez alongside my Strat. Speaking of which, I had recorded the leads on my Strat first, but wound up re-recording them with my Ibanez. Due to the more mellow feel of the song, I needed a tone that was warmer. In fact, its thanks to having to do this that I wound up making up the new harmonized leads! I got a bit frustrated about having to re-record all the leads, so I started noodling over a certain part. Then I was like, "Oh hey, this sounds cool!" and thus much noodling was had until I was satisfied with it.
Once those bits were recorded, I just HAD to also throw in a cool whammy dive to lead into it! This also came about by accident too. I originally planned to dive with a harmonic, but wound up fat-fingering (fat-plucking?) the wrong string. Turned out that the open 3rd string just happened to be perfect! Also near the end, I got to bust out my chrome slide. At first I was a little goofy with it and used way too much vibrato. I toned that back a bit, but still kept playing the guitar as if it were one of those steel lap guitars.
Also, I had a hell of a time trying to mix this one. Some of my leads had these overpowering harmonics ringing. I wound up trying to EQ it, only to end up butchering my tone. Spent a few days messing with EQ and troubleshooting my guitar. My conclusion was that under the right conditions (tuning, play-style, etc.) these strong resonances come out. Upon realizing that it wasn't something I could fix, I had one last option: changing my technique and re-recording. Wrapped a sock around the headstock to try dampening vibrations a little, and played with a bit more palm-muting. The result was much easier to EQ and work with!
Anyways, real happy to have another track achieve what I had originally envisioned for it! I hope you all enjoy it too! After this, we've got SoM's final track, "Change Destiny"! Hope you all look forward to it. ~DAR
---------------------------------------------------------------------------------------------------- Follow me at: (The Den of DAR) Official DISCORD: discord.gg/uEAfRWP SUPPORT / DONATE: theofficialdavester2296.wordpress.comDAR - Hard CrashDavester22962023-06-02 | Track #2 for "Solitude Of Mind"!
So, back in 2014, this had actually been the very first song that I wrote and recorded for this EP.
While SoM holds a special place in my heart overall, "Hard Crash" was the crucial spark that got everything rolling. If not for this song, I don't know how everything else would've turned out. Heck, I'd go as far to say that we might not even have this channel or the rest of my catalog (as we know it) if not for this particular song.
I'll save more of the story and details for the vid description of the "Full-Album" video. That being said, this was the song that I wound up making after experimenting and finding my tone. Said tone with my Strat would continue on until I got my Ibanez. Then from thereon its been small adjustments to this signal-chain over the past decade.
Not only guitar tone, but this was a big turning point in my style. I had demos here and there that had "my sound", but for a while, I was really headed toward a lighter and poppier sort of style. Not super light or anything, but it was a bit different to what I have now. Some elements of that sound made their way on to Cyclic Divide's poppier-sounding tunes (for example: Always Right, Remember, and Sweethearts).
This change in style was mainly out of spite towards the horrid, failed online band experience that I had in the first half of 2014. I wanted to distance myself greatly from that lighter sound. Along with my guitar tone, I also changed up my drum samples and some other things to move further from the old sound.
However, a change in tone and drums wasn't enough. I wanted "something with balls", I wanted tracks to have attitude and energy. Of course, I didn't have it in me to go super brutal black metal or anything, so instead I wound up taking what I already knew, and tried going heavier with it. The result being what I (and a good friend of mine) jokingly dubbed "Aluminum Metal", since its like "light-metal". Several years ago, it made my day when a random comment had also used "aluminum metal" to describe my style when it came to one of my Doom covers!
The original Hard Crash was admittedly a bit repetitive, but the energy and spirit were there for sure. That's why its been great revisiting and recreating this song. This is pretty much what this song should've been back then, just that I didn't have enough experience at the time.
To deal with the repetitiveness, I wound up changing up the main riff a little bit at times. I've also introduced some new double-tapped leads to add a bit more flavor to the sound. The solo remains mostly intact, with just a small change towards the end of it (the bit from 3:30-3:35). This time around my Ibanez is handling the clean/dirt parts, along with the rhythm and main riff. The Strat gets to reprise its role for the solo, as well as for the new double-tapped parts. There's just something special about that bell-like tone on the neck pickup when combined with double-tapping. Chalk it up to Strat and single-coil magic, I suppose \m/!
Bass guitar stuff is more subtle and simple. Main standout would probably be the new bass bit that plays in the 2nd half of the intro. I also wound up throwing a tube-screamer plugin at the top of the effects-chain for giggles... something I should try doing more often from now on actually!
I've also changed up the drums in some parts, and also added drums to the 2nd half of the intro. During the verses I added some ghost notes that wound up giving this shuffle sort of vibe at times. Helped to add some spice to the usual 4/4 beat!
Anyways, I hope you all enjoy this recreation of yet another one of my classic tunes! Took me a bit longer than I thought to get this one done. Mainly since I got stuck when trying to come up with those new double-tapped leads (those parts threw my brain for a loop, until they eventually became muscle-memory). That, and Hard Crash had been one of my early songs that I've always wanted to "fix up". Definitely very happy with it now! ~DAR
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I figured it was about time I started remaking everything in my song catalog. The "ON IMPULSE" album just needs small tweaks and a simple remaster. However, everything that came before it is going to get the redux treatment (much like the treatment that Cyclic Divide recently received!). Its going to be fun recapturing the magic of 45+ of my own songs!
For the most part, I'm going to stay very close to the originals, and try not to change them too much. Just making additions and modifications that sound cool... you know, its almost as if I'm covering myself! "DAR Covered By DAR"!
As I've come quite a long ways in the 9 years since I originally wrote and recorded this, I decided to spice up the leads! Throwing in a diving harmonic in the beginning for a stronger start and introduction. Then I also added those little runs (starting at 0:43) that both the leads and rhythm guitars play. Really enjoyed these, as I felt like it enhanced the energy of the track.
I also did some double-tapping, which wasn't used at all on the original. I even modified the melody a bit for the sake of variation, but also because the new bit has this certain feel about it. Really liked this small modification!
Something I found interesting was that I wound up going to my Strat for the leads. I used my Ibanez at first since I've been so used to using it for nearly everything. However, when I compared the two, the Strat just had that little extra bit of "magic" to the sound. Not quite sure how to put it, other than it had that and was a bit more nuanced.
Overall pretty happy that the Strat is reprising its role on leads for these classic albums/releases!
I also got around to experimenting with saturation a bit more. Through a bit of research, I wound up finding out that when used right, saturation can actually help tame the high frequencies. I wound up throwing saturation plugins on the rhythm and leads. I think it wound up rounding and smoothing things off quite nicely!
Aside from falling back in love with my Strat, the only other things I changed up were a few minor things regarding the song structure. The rhythm guitar in the intro repeated itself for an extra loop before everything kicked in. I also extended the pause/rest at 0:23 to give the stereo delay more room to echo out (that and to give things more impact when everything comes back in).
Anyways, I hope you all enjoy this remake of a "DAR Classic"! Also hope you all look forward to joining my on this trip down memory lane. Its sure to be a treat for old-time listeners, as well as folks new to the channel! ~DAR
(Also, I think this serves as a nice teaser for what my old works could all sound like now, both originals AND covers!)
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For the first time in quite a while, I just wound up having both this song, and the album art pop in to my head. My brain was going, "quick, make it, do it before the inspiration passes!"
For this album, I really want it to have this really dreamy and uplifting sort of vibe about it (hence the name of the album and the title of this opening track). Of course, being dreamy doesn't mean its going to be a chill and sleepy kind of album. I really want to try and combine soothing atmospheres with moments that just really slap.
I also want to experiment a bit more with synths and electronic drums in this one. I think my bass guitar is going to be sitting this album out, mainly since I really like the bass synth patch that I made. I still might use it, but it'll be rather situational. My main guitar work is definitely still going to be present here.
Something that I think I'm going to do for this album is to change up how I write and compose. For pretty much all of my works (except for the Wolfenstein Rising OST and a few other exceptions), I usually have my guitar in my hands and wind up coming up with stuff as I go. However, this time around, I'm going to write in MIDI first, and tweak and record afterward. I've come to notice that my style is a bit different when I start with the MIDI. I guess I'm more focused on "writing" as opposed to just jamming out in the moment.
Something else that I'm also experimenting with here is using more compression and bass in the mix and master track. I usually try not to heavily compress things, and also try to keep the bass from being super loud. However, since I'm wanting to lean more into the electronic side of things here, I feel like it works out nicely here.
I've also got a feeling that this album stands a pretty good chance of being completed in a reasonable time too. Mainly since I think its going to be a great outlet for a sound and style that I don't often get delve into here on the channel.
Lastly, on the visual side of things, I had a lot of fun putting together the album art and images for the video! This also marks the first time that a mainline "DAR" release breaks away from the whole "one main color" sort of theme. The art wound up evolving and changing a bit from what I originally envisioned (for the better). As it began to take form, it became this kinda trippy, artsy-looking thing!
Anyways, I hope you all enjoy this opening track to this upcoming album! I'll release new tracks when they are finished. ~DAR
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Technically I did a non-MIDI version of "The Call of War" back then, but I think I could redo that one to sound a lot better now. Pretty psyched about eventually giving the rest of the Wolfenstein Rising soundtrack a nice facelift!
Also, while I was working on this, I was really surprised to hear how much this reminded me of Return to Castle Wolfenstein's soundtrack! Really has the same kind of vibe going on.
Anyhow, I hope you all enjoy this version of "Plodding" as well! Also thanks to Raees for sending over the "Enhanced Soundtrack" cover art! ~DAR
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So this one came about after Raees had asked if I could try making a more "hyped up" and/or "punchier" version of "Plodding".
I wound up bumping up the tempo from ~92bpm to 104bpm in order to liven things up a little bit. I tried to be as faithful as I could when it came to the instrumentation (at least as much as one could within the confines of General MIDI samples).
For the first loop, I kept things very close to the original, with only a few minor additions and adjustments. Starting on the 2nd loop, I decided to spruce things up a bit with a new piano part. Sounded nice and felt pretty in line with the piano parts I've made up for the WR soundtrack so far. Then on the 3rd and final loop, I decided to get all jazzy with the horns!
Always nice to make more things for Wolfenstein Rising, and also nice to finally do something from the Mac soundtrack of Wolf3D! Anyways, hope you all enjoy this new addition to the Wolfenstein Rising Soundtrack! ~DAR
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As always, modders and mappers, feel free to use these in your projects if you'd like! Just make sure to credit me! Oh and a headsup for anyone that wants to use these for a vanilla compatible WAD for DOOM. All of these should work, but the Vox Ver. of "Always Right" might not play properly (as its slightly over 96kb).
0:00 Realize 3:49 Waiting 8:21 Sweethearts & Lightshows 12:24 Always Right 17:28 Addiction 20:59 Fate 24:52 Remember 28:29 Not There
For some retro-sounding chiptune fun, I highly recommend listening to this with the GXSCC_gm_033 soundfont: musical-artifacts.com/artifacts/9
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0:00 Realize 3:49 Waiting 8:21 Sweethearts & Lightshows 12:24 Always Right 17:28 Addiction 20:59 Fate 24:52 Remember 28:29 Not There
For some retro-sounding chiptune fun, I highly recommend listening to this with the GXSCC_gm_033 soundfont: musical-artifacts.com/artifacts/9
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Originally Composed By Staind (Aaron Lewis, Johnny April, Jon Wysocki, Mike Mushok)
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On a serious note though, man, this is such a somber and hauntingly beautiful song.
I have such a soft spot for tunes like this, I just can't help but feel compelled to cover them!
I've been continuing my re-listening of Staind's catalog for the past month, and I had gotten around to listening to their self-titled album (from back in 2011) for the first time. Great album, and I recommend giving it a listen \m/! This track had been the closer for that album.
As I listened to the song, I could hear strings and other little elements playing in my head. I also wanted to try and expand upon the potential for this "push and pull" sort of energy and pacing that this song has.
I start off with the clean guitar and the vocals, just like the original. However, when the chorus comes, I take that opportunity to elevate things by bringing in the cellos and double bass. I also automated a high pass filter on the piano. Having the "brightness" of the piano right at the start of the chorus didn't feel right, so I gradually brought it in instead.
Continuing in upping things, once I put a bit of "rock" in my voice for the "The road is long" part, I decide to continue elevating. I decide to bring in the violas and violins to sweeten things.
When the chorus ends, I pull things back, and have a couple of acoustics playing the lead from the original. One acoustic plays the original part, while the other one plays the same thing an octave lower (to get that fake 12-string sort of sound). Also layered in a kantele to add a little extra shimmer and brightness to the acoustics.
I let the cello keep going, while I eventually fade out the double bass. I wanted that to impart this lingering feeling of brooding from the chorus. Eventually I bring things back down to just clean guitars and vocals. However that's only for a brief moment, as I begin ramping things up with the strings once more.
I really loved how the strings turned out! It was tricky working on this, because I didn't want to go overboard with adding things. I also wanted to try recording my violin, but a solo violin like that just didn't have quite the right texture for this situation. I think I managed to strike a good balance in staying true to the original, but giving it that extra little "oomph" that tickles ya in the feels.
Anyhow, things build up and then you have the tension before the final chorus kicks in. Oh, also, another thing I did was add a half measure before the first chorus comes in. Then for the 2nd chorus, I gave things a whole measure before it kicked in. Rather than just flowing normally into the choruses like the original, I wanted to have that pause, and let the clean guitar part sustain for a tad bit longer. Made it feel more dramatic to me.
Now, the final chorus, man this was really fun, rocking out to this bit. I also got to come up with a bass part, and riffed a little on the rhythm guitar. I also came up with leads that "sing along" with the vocals. Then had the leads smoothly transition into the solo from the original. Also came up with and sang a backing harmony part too.
After the climax of the track here, we bring things back down and close out with just the clean guitars and vocals.
Anyways, I hope you all enjoy this surprise cover! I promise this time for real, that I'm going to get the MIDI's for Cyclic Divide out SOON, and get back to the Plutonia marathon! It's just that this song was one of those tunes that I couldn't leave alone or get out of my head! ~DAR
Originally Composed By Staind (Aaron Lewis, Johnny April, Jon Wysocki, Mike Mushok)
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Yes, Infinite Sky is gone, but no, its not gone for good. It shall rise from the ashes, without Mr. Siegel's composition. For obvious reasons, I'm also not going to cover any of his other MIDI's that were featured in several other WADs.
Also, as I state in this video: unlike somebody else, I would be incredibly flattered and humbled to have people share my work. Your connection and reputation with listeners is what matters most. For anyone making WADs, feel free to use my work in your stuff if you'd like. Here is a link to my currently released/finished MIDI's: mega.nz/folder/ED9SiRAC#R3AAOJ6rXxP6uU0tiakxEQ
That, and I'm not so insecure as to worry about the sharing of MIDI's hurting my bottom-line of streaming pennies on the big platforms... Unlike this dude. ~DAR
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Surprise, all! My decision to cover this one was so spontaneous that I even surprised myself!
So after wrapping up stuff for Cyclic Divide, I was still craving a bit more vocal stuff. I wanted to do something with a little more grit, since CD was more on the lighter side (for the most part). I wound up goofing around with a couple of songs (that shall remain a surprise until the time is right), however things didn't really go all that well. So while unwinding from my session, I decided to just put this song on, cause why not?
"Break the Cycle" was (and still is) one of my favorite albums. For the past couple of years, I would have songs from it come up in my shuffle while driving. Every time "For You" came on, I'd always think, "man, I'd love to do a cover of this one sometime." (there are also a few others I shared the same sentiment for too)
It wound up on the backburner the whole entire time until a few days ago when I messed around with it on a whim. Felt like things really clicked, so I decided to go all in on getting the cover done!
I had a lot of fun putting this one together. As always, I tried to stay faithful to the original, while also trying to give it a few things make it my own. I'll save my guitar and instrumental commentary for the Instr. video description.
Now, for a thought dump on the vocals. It was a blast to use this one to explore and experiment with my voice. Had my usual clean vocals during the chorus, turned on the grit during the verses, got croaky during parts of the bridge, and even threw in some screams during the end of the bridge! I was very happy and surprised when I pulled off those screams without coughing or blowing out my voice.
I also decided to further combine the things I've learned about doing vocal stuff. Combining the knowledge I've gained from doing "FAME" and the recent "Cyclic Divide" redux. I decided to keep the vocals straight-down the center here, and tried not to get too crazy with my layering. I did make up a couple of vocal harmonies for the chorus, to give it a little extra something. It was also pretty fun getting right up on the mic and doing the croaky voice (the bit during "And I feel like...").
As for the video, I WAS going to have me up there lip-syncing and stuff, but wound up scrapping it during recording. Looked and felt too silly, so I decided to stick to the good 'ol guitar-dance (because the guitar-dance looks much cooler than noiselessly trying to sing along on camera).
This little music/cover side-quest has definitely been a great learning experience, and has certainly opened up new doors for other covers in the future.
Originally Composed By: Staind (Aaron Lewis, Mike Mushok, Johnny April, Jon Wysocki)
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For the past two years, Vilison and I have been working together very closely in order to bring this universe into reality! I had originally hopped on board as soley just an audio and music guy. However, I've put on many different hats so far in my time with Vilisons Productions! Compiled together a wiki with all of the lore, wrote a couple scripts/screenplays, helped with frame/shot composition, and a bunch of other things.
I personally see a lot of potential in this universe. In the beginning, we're aiming for a sci-fi horror series and focus, but there are so many stories and tales to tell.
Anyhow, I'll leave it at that for now. I hope you all enjoy the interview! Also hope you all look forward to what Vilisons Productions brings in the future!
Vilison's Discord handle: Vilison the Space Jarl #7021
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Vilison's Discord handle: Vilison the Space Jarl #7021
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First off, I want to give a shoutout and thanks to Niko for being the one to suggest that I revisit this album. If not, this probably would've just sat on the backburner for a much longer time.
I had originally set off to remake this 8-song album back 2 or 3 years ago. However, after a few songs, I stopped since I felt like I wasn't quite ready yet to go all in on the album. Fast forward to the present, and now I feel like I have the experience to give this album the remake it deserved.
I wound up re-recording nearly all of the guitars, except for the dirty/clean parts I did on my Strat, as well as the acoustic guitar parts. Bass guitar is all new, since I didn't even have my bass back when I had first made the album. I've edited the drums a bit, changes to note velocities and placements, as well as different pieces/samples of kit.
I wasn't able to completely salvage the original vocals, so I had to record new vocals for all the songs. The original ones had issues due to how I recorded them back then (no audio interface, and poor choice of recording location). Worked fine for back then, but certainly not for the current mix. However, I did manage to layer the original vocals underneath/alongside the new vocals. I've also added harmonies/backing-vocals to all of the songs now.
In addition to the harmonies, I've also made some small changes/additions to some songs. Changes to basslines, and other guitar work. It was almost as if I was giving the cover treatment to my own songs, or something!
Anyhow, lastly, I spent some time trying to decide on the track order. I almost kept the original track order, but finally decided against it after moving the songs around.
As for sounds and inspiration, this album took a lot of inspiration from all the "pop-punk" and emo stuff that was popular during the 2000's. Of course, there's quite a bit of grunge and post-grunge influence in here as well. I remember wanting to try and find a balance for this album back then. I wanted to have the sweet and poppy kinds of songs, but I also wanted stuff with a darker tone, like "Addiction". I wanted there to be something for everyone to jam to. Thus the resulting mix of light and dark; sweet and bitter.
On a side note, I also decided to try revamping my signal-chain for mastering. Tried out new techniques and went about things a bit differently. Quite happy with how everything sounds!
0:00 Realize 4:01 Waiting 8:39 Sweethearts & Lightshows 12:51 Always Right 18:00 Addiction 21:37 Fate 25:39 Remember 29:25 Not There
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This one had originally started out as a song idea that Raees had recently sent over to me. However, things wound up changing up a little bit whilst I was recreating the idea as a MIDI.
The original synth part (the one on the left) remains mostly in tact, with only a small new addition to it.
While I was trying to recreate the percussion and beat, that was when things went in their own sort of direction. I still tried my best to keep true to the original idea's primal kind of energy. I wound up doing everything in triplets, which I think really lent itself well to getting this tribal vibe. Also fun fact: this is also probably the first song in the soundtrack that was done in a triplet feel.
For the first time so far in the soundtrack (or in any MIDI's I've made), I've made use of the "guitar fret noise" sound patch. I found that it really made for a nice addition when playing along with the drums. However, not all soundfonts recreate this properly. Some wind up playing the full sound, instead of cutting it off when the note ends. So, for any of you out there that might want to use this MIDI, just keep that in mind!
The other thing that I wanted to try and recreate was the synth and electronic stuff. In General MIDI form, its more subtle than I would have liked, but I tried to make things a bit glitchy. Mainly by throwing in some electric pianos that were also playing to the same beat as the drums. That, and I also had the "fifths" sound patch doing some eerie rises and fades.
Speaking of eerie stuff, I also had fun throwing in the spooky xylophones. I actually wound up doubling up on those. I would have one channel and speaker more dominant, while the other channel played the same thing by quieter and delayed on the opposite speaker.
Really liking this loop that I had going, I felt like I needed to try and insert a melodic element to this track. After throwing in some piano parts, I was quite satisfied. As always, I really love adding in this sense of triumph and confidence to tracks like this.
Also, something neat that I did with the pianos here was that I layered three of them together. I had an electric piano on the left, very quietly playing the same thing as the one on the right. The one on the right is my usual honky-tonk piano sound patch that I've become very fond of using in this soundtrack. Then lastly, I had the normal acoustic grand piano playing a bit on the left as well. Having that there, managed to balance things out stereo-wise.
Not 100% sure where exactly this will pop up in Wolfenstein Rising, but there's a good chance this could be used for the moon levels! All leading up to reclaiming the Spear of Destiny, hence the title "Radiant Relic".
Anyways, I hope you all enjoy this new addition to the Wolfenstein Rising Soundtrack! Raees is also still working hard on mapping, and had recently shared some screenshots for a lab level! ~DAR
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So this one was pretty interesting to tackle. First thing I did right off the bat was stare at the MIDI channel/track titled "8 string" and went "Hahaha--oh no!"
However, it was about time that I finally got to test out one of a several ideas I've had for faking an 8-string. In the interest of saving time, I decided to try the simplest of my ideas... recording it all with my bass. Yep, that's right, all the guitars in this is actually me running my bass through my guitar signal-chain. I wound up tweaking a few things on my amp sim, but other than that, the rest of the signal-chain was the same as my normal one.
Now, just straight up strumming power chords on the bass was going to sound awful. So, knowing this, I decided to record the chords one note at a time. After quad-tracking the guitar parts, I went and spread them out. The root and its octave taking up the left side, and the 5th and its octave taking up the right.
Pretty happy with how this "fake-8-string" turned out. But man, my bass was noisy as hell. However, I wound up heavily chopping up the starts and ends of the notes, so the noise really wasn't much of a problem.
Eventually at some point, I finally had an idea for how I wanted this track to sound. I wanted it to sound really gritty and ugly (but like, in a good way!). Cue lots and lots of distortion on everything! It started with the guitar parts, but then quickly spread to nearly every other element in the mix. I especially love what the added distortion did for the kick and snare, it really gave them some balls!
Only thing that I think was spared from distortion hell was my shaker sample... which, fun fact; I went and chopped up and repurposed the shakers that I had recorded for my "Watch Your Rock" cover. That's right, the (near-empty) bag of alfalfa seeds strikes again!
Also, with everything going on, it may not be as apparent, but I changed up my bass tone. I was messing around with something else and I wound up trying out a different bass amp sim. Definitely going to be sticking with this new amp sim!
Overall, I'm pretty happy with how this turned out. I think I managed to stay really close to the original. That, and I'm satisfied with how my fake-8-string experiment turned out. Its something that I've messed with on and off for at least two years now. Its nice finally being able to put it to the test and use it for something here on the channel!
Anyways, I hope you all enjoy this gritty addition to the Plutonia Marathon! On the next episode, arch-vile maze-madness awaits us. Stay tuned! ~DAR
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Facebook: facebook.com/Davester2296 Twitter: twitter.com/Davester2296 Backup Channel: youtube.com/user/Davester2296DOOM | Plutonia MIDI Pack - Plutocrat [Cover By DAR] - MAP09Davester22962022-11-21 | Had fun using the retro-style synths again in this one. Also tried to keep things close to the original. Only change of course being the DAR-style guitar outro.
Speaking of which, part of the melody (same melody as one of the synths before the solo), was actually taken from the timpani notes in the MIDI. Originally, I was going to keep it as a kettle drum, but wound up changing it to one of my favorite synth sounds. Loved the way it sounded, and so I included it in the solo!
Anyhow, gonna keep the description short this time around. Hope you all enjoy this addition to the Plutonia MIDI Pack marathon! ~DAR
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At first, I had thought about going for a more "acoustic" sound on this one, mainly because of the harp. However, I was tempted by my synths, and then I also thought back to my "Jade Empire" (MAP03) cover. From there on out, I wanted to try and go for a sort of retrowave/synthwave sound. Didn't quite get the sound I had set off to find, but I quite like where things ended up.
I also got to use a nice free sample library of an instrument called a "kantele". Found this set sometime last year while expanding my acoustic/world-instrument soundfont/sample collection for use with another project. Never had a good opportunity to use it until now, mainly because of its very limited range. Using it in combination with a harp sounded great! The kantele is the one that sounds slightly dissonant/out-of-tune. Those two together, piped through a reverb-send just felt so right for this track!
Speaking of piping stuff through some reverb, the sad cello returns! Originally, I had wanted to try using my violin and pitching-shifting down an octave. However, things didn't quite sound right. Not sure if I need to try recording at higher samplerates, and/or try going plugged in, rather than mic'd up. In any case, I used what I did for the "Watch Your Rock" cover. I took my favorite violin soundfont, and after recording playback, I went and pitch-shifted down an octave.
Playing the bass and guitar riff parts were also a lot of fun! Which is a surprise, since I had to tune my Ibanez down to B Standard (bass got to stay in Drop D, thankfully). Low-tension spaghetti-strings weren't a problem this time around while recording the rhythm and lead guitar parts. One of these days though, I'm gonna add a nice baritone or 7-string to my arsenal of instruments over here!
Anyhow, the way the new lead part came about was actually pretty funny. I got stuck and then after plucking the first note, I just started tapping around. Liked what I was playing and just rolled with it. I think that the tapped sound really lent itself well to the feel of this track, as well as that section.
Aside from the new leads (2:48), I tried to stay close to the original. Only thing I had changed was cutting the "bass solo" (2:15) in half. Originally it had played the same thing a second time, but I felt like I wanted to jump back in with the guitar and other synths a bit sooner. That and I wound up changing a part in the bass solo. While practicing it, I had goofed up and wound up doing a hammer-on and pull-off that sounded really cool, so I kept it.
Anyways, I hope you all enjoy this addition to the Plutonia MIDI Pack Marathon! ~DAR
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Shoutout to Azzy Asbourne for suggesting this track!
Liked the energy this one had, as well as how it really gave me Touhou vibes. So much so, that I decided to throw in some of those Touhou trumpets (layered with some other brass).
While this one was short, it took me a little bit since I needed to sit down and practice with my new violin. Never touched a violin in all my life... that is, until this little beauty arrived in the mail last month! Originally, I had planned on playing the main bit with the violin, but that was a bit too much to take on starting out. However, it all worked out, since I got to throw in the Touhou trumpets instead. From there, I made up my own bits and played to the song!
I made some slight changes here and there, in particular, I added some more notes to the 2nd piano part. Also had fun noodling around once more for the outro/solo.
Anyways, hope you all enjoyed this surprise Doom cover! More Plutonia will be following up here soon. ~DAR
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As always, I tried to stay faithful to the MIDI in the beginning. I had mainly changed up the bassline ever so slightly, just to spice it up a little. I also decided to open up once more with power-chords to suit the more aggressive start of the level. This was a pretty fun riff to play around with.
Now, around the halfway point is when I decided to start noodling. Threw in some new leads and bends that had a lot of delay and reverb on it. After that little appetizer, its time for the main course; the solo!
I still have some pent-up noodling that needs to continue working itself outta my system, so I had loads of fun making up the solo for this. Really loved playing and recording every bit of this solo, but I think my favorite bit is doing that descending double-tapped bit.
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Really loved recording this one, especially since it feels like its been a while since I got to rock out and noodle around!
Structure-wise (until halfway through) and instrumentation have been kept the same as the original. In the beginning, I had an octave harmony going on, mainly since I think it sounded neat. I also threw in some power-chords for a little more impact in the beginning, but then I switch back to single-note riffing when the rock organ comes in.
Speaking of the organ, I actually wound up layering an electric piano underneath it as well. The electric piano had a bit of a delayed release time, so it wound up acting like this sort of reverb splash for the organ.
Recording the rhythm guitar and the bass was pretty quick and easy. Sweet and simple rock n' roll! I was surprised that I managed to get both of them all recorded and done in one evening!
After having everything laid out, it was time to start noodling around and extending this track. Originally, the two new parts were flipped around. I had intended to have the first new bit be the part that closed out the cover. However, after listening to it, it didn't quite feel right, so instead of closing, I had it introduce the second half.
Had a lot of fun noodling around and making up these lead parts. All in all, I think this was a great one to come back to for the Plutonia marathon!
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Also shoutout and thanks goes out to Sraigius for being the one to originally suggest that I take on these PSX Doom covers once I had finished up D64D2! (also shoutout to him for suggesting I also squeeze in this song as well!)
So this one turned out a bit different from what I had originally set out to make. So, on the audio side of things, tonally, things here felt more "dark, icy, and cool" as opposed to the "dark, warm, and murky" vibe that I got from the original. I think my choice in synths and textures contributed to that, along with my choice to omit the claves and other miscellaneous percussion.
I wound up changing the bass a little, and quite like how it turned out. I had some muted power chords like the original, but I also threw in some strumming for good measure. I also couldn't resist recording (and making up) some clean leads with my Strat (rhythm was done with my Ibanez). I think those clean Strat bits that I recorded at the Neck+Middle pickup-position really further added to that "cool and icy" atmosphere that I had going in this cover.
As for the video, I had originally wanted to do something pretty fancy and more animated: a stylized monster credits sort of thing. In the interest of time, as well as the time constraints of getting everything to fit in the video, I wound up opting for moving still-shots of all these baddies that we've enjoyed blasting away all this time. I had also wanted to have all their variants shown as well, however I had issues finding Doom 3 sprites to use (which is also why D3Guy is missing from the end). Still, I tried including the monsters' D64 and NuDoom versions where applicable. Also as a bit of a fun-fact, the order that they appear is the same order as the end/monster-credits!
Anyhow, with this wrapped up, its time to go nuts on the ~27 songs left to do for Plutonia! Things are going to get very active on the channel once again! Having MIDIs to work with again will certainly help (as opposed to the guess-work and transcribing that I did for a few of the PSX Doom tracks). I'm gonna aim for 2 or 3 a week, like I had done when wrapping up the D64D2 Marathon! I hope you all look forward to my adventures in finishing the Plutonia Marathon! ~DAR
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Shoutout and thanks goes out to Sraigius, for suggesting/requesting this one!
So this one took a while, mainly because I got stuck being picky with how I was layering all my orchestral bits and pieces. It wasn't so much about transposing as it was about texture. I had crazy amounts of layers and stuff loaded up for this one.
I tried to faithfully stick to the original, all up until the last 1/3 of the song. Until then, I added little things like those epic taiko and orchestral bass drums (for dramatic impact). I also made a slight alteration to some brass bits like at 1:13. Really liked the way the brass resolves in these parts.
As the song heads into its final stretch, I had finally come up with something special for this cover! I wanted to give a nod to Doom 64 here, so I threw in some power chords on the guitar, as well as adding some marcato and staccato violin and viola sections. In these new violin and viola parts, the melody is a bit of a play on the synth-harp bit from the Doom 64 theme. I wound up stacking things up and had some harmonies going in those parts, in order to really drive home that epic and heroic flair.
As for the video, rather than going with my original idea of just holding the ending text, I decided to get a little artsy. My idea being to try and cram in as much Doom as I could in the span of roughly 3 minutes. Parodied/recreated the box art for Doom 1, 2, 3, and PSX. RIP AND TEAR. Encounters with the bosses (even threw in the Mother Demon just for good measure there toward the end). I actually wanted to try and fit a whole lot more into this video, but had to cut and streamline some ideas in order to try and fit it all in this cover.
One idea that partially made it was having the two marines in dress blues turn out to actually be the Protagonist and his buddy from my Infinite Sky cover. Though due to trying to fit everything here, the only thing to go off of are the hair and eye colors of those two dressed-up marines.
All in all, I'm glad I finally wrapped up this one, however we're not done with this mini-marathon just yet! We've still got the "Credits & Demo" song left to go.
Anyways, I hope you all enjoy the cover and look forward to the last cover for this PSX DOOM mini-marathon! ~DAR
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As well as other various places too. Anyways, hope you all enjoy the MIDI renditions of "FAME"
On another note, I'll try and get back to DOOM stuff here soon! I've just been busy working on a really cool project the past couple of weeks. I haven't made any announcements for it yet here on the channel, but I hope that I'll get to drop a big announcement video for it sometime in the very near future! Hope you all will look forward to it! ~DAR
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As well as other various places too. Anyways, hope you all enjoy the MIDI renditions of "FAME"
On another note, I'll try and get back to DOOM stuff here soon! I've just been busy working on a really cool project the past couple of weeks. I haven't made any announcements for it yet here on the channel, but I hope that I'll get to drop a big announcement video for it sometime in the very near future! Hope you all will look forward to it! ~DAR
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SUPPORT / DONATE: theofficialdavester2296.wordpress.com (on a side note, I've also finally got a Paypal donate thing set up, the link to it can be found on my site above!)
So, after pumping out all of that Doom, I've been really craving to just do a good 'ol rock song. Took a little break for a bit, in order to lay out and explore some song ideas I've had floating around in my head... And now we have "Fame".
First vocal original in FOREVER, and is right now probably my favorite among my songs with vocals. Loved how I got my voice to sound here, and also really really loved playing the bass in this song.
Anyhow, I hope you all check out things over on Bandcamp, and enjoy this new single! ~DAR
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So, I wound up setting the guitar aside on this one (even though I was originally thinking of throwing in some power chords). I decided to stick with the big and epic orchestral atmosphere of the original.
I've kept the song mostly the same. I've made small additions like the choir bits, and also throwing in those big epic orchestral drums. Got some kettle-drums, taiko, and other big drums banging around for dramatic impact!
I also wanted to give the synth part a little more movement in the stereo space, so I had it moving from left to right.
The "DAR - Beerstorming" sample I recorded for the "Blood Red Shadows" cover makes a return here. Taking the best beer burp from that sample, time-stretching it out and pitching it down by 8 or 9 semi-tones. Throw in a slight bit of distortion and a nice delay/reverb combo, and we've got ourselves a nice, guttural, monstrous rumble once more!
I also rendered out a woodwind section part (0:53), distorted it and then ran it through some reverb and delay (along with some panning automation). I feel like this combined with the new choir part, really adds to that feeling of unease during this section.
The staccato cello and contrabass also had a few harmony notes added to them, just to spice things up a tad bit.
Really had fun putting this one together, I felt like I was working on a film-score or something!
Anyways, I hope you all enjoy my recreation of PSX DOOM's grand and awesome intermission theme! We've got two more tracks left in this PSX DOOM mini-marathon, so I hope you all look forward to them too. ~DAR
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Originally, I thought about trying to "metal up" this one, like I had done for "The Broken Ones". However, doing so didn't quite feel right, and I was also feeling in the mood for getting all ambient and atmospheric.
Got to have fun layering my synths in this one. My wonderful "Sine Spooky Deep" synth patch steps in once more to handle the low end. I also threw in some big reverb/delay combos, and even filtered and distorted their aux tracks.
My old and original "Biggus Kickus" (now Kickus the Lesser?) fills in for bass drum duties.
After getting everything all laid out and layered up, I still really wanted to try and include the guitar somehow. I decided on a clean (maybe slightly overdriven) tone for my Ibanez. I then proceeded to go with the flow and played something very quietly alongside the cover. Rather subtle overall, but I really liked what it added to this track!
Once all that was done, I messed with volume and panning automation. I had the "low synth bus" fade out and back in at times, and various other elements moving from left to right.
Anyways, hope you all enjoy my rendition of this ambient tune! ~DAR
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Dat brass though, man. Shoutout and thanks goes out to both Sraigius and Sylvain-Sly Casavant, for suggesting that I do a cover of this theme!
So this was pretty fun to put together, especially since I've never had a good opportunity to play around with brass (aside from the occasional french horns here and there in other covers).
Since I already had the opportunity to rock out to this theme in my Doom 64 cover, I wanted to try and recreate the grand, epic, and orchestral feel of the PSX version.
I waited until about 1:50 before I went full into the 20th anniversary version of the song. I really wanted to build up to it, so I decided to start things out close to the original version.
I've done some small subtle changes here and there, most of which I actually can't remember as I type this. Something new that I added was the inclusion of some big 'ol orchestral drums. Adds a bit of (literal) dramatic impact! One small change that I can think of is the panning of the guitars.
It was quite a lot of work mapping/transcribing all the notes out, as well as the layers upon layers of strings and brass that I had to put down. I basically took all my favorite samples and collections, and mixed them all together.
I'm actually pretty happy with how the synth in the beginning turned out too. Originally, I was going to try and get it as close as I could. However, part of the way through, I quite liked what I had put together for the synth.
Anyways, I hope you all enjoy my recreation of this awesome theme! ~DAR
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Facebook: facebook.com/Davester2296 Twitter: twitter.com/Davester2296 Backup Channel: youtube.com/user/Davester2296DOOM (PSX) - The Broken Ones [Metal Cover By DAR] - MAP02: PlantDavester22962022-07-09 | So, this one's an old one for me, but new for all of you. Shoutout and thanks goes out to DeXiaZ for asking if I could do a metal remix of this track back then!
Well, things seemed to sort of go on hiatus. After 3 years since laying down the tracks for this, I figured its been long enough. I especially wanted to include this one in my brief little foray into the PSX Doom tracks, since I've always loved how this cover turned out.
With it being a few years later, I've gone back and fiddled with my mixing a little bit, and also gave this a remaster. My old mix sounded quieter and almost kind of congested compared to the track we have here now.
I also tweaked the snare a little bit, slightly lowering the velocities in the beginning, as well as bringing back in more of the low-mids that I had originally lowered. With that done, the snare was a bit fatter-sounding. I threw on another reverb on an aux/send channel for the snare as well. I brought the volume-fader up for it when the guitars kicked in. Added a little more oomph to the snare, in my opinion.
Revisiting this track inspired me to start fiddling around with my bass signal-chain again too. The bass really got along well with the rhythm guitars here. Speaking of which, I don't know what I did back then, but I really loved the tone I got on the rhythm guitars. I still use the same exact settings, so the only thing I can think of is maybe my strings were newer back then. If I remember correctly, I think I've been using the same set since then, or maybe it was 2018... yes, yes, I know I should change my strings more often!
I routed both string-section layers over to a reverb send track, and blended in a subtle amount of reverb. I also dropped in my usual plugins for the signal-chain for the Drum Bus. Felt rather interesting, as it was like combining bits of pieces of how I did things 3 years ago, with what I currently do now. I think it turned out sounding pretty nice!
I never did type up my thoughts on this cover back then, but I'm fairly certain that E1M8 was an inspiration for the leads on this one. Doing all those bends, I think I wanted to capture a bit of Sign of Evil. The leads should sound a little familiar, since I did briefly use these notes over in the "Watch Your Rock" cover. Its funny actually, for the longest time, I never realized that this, and Blood Red Shadows are the same melody. I suspected that they sounded similar to one another, but never looked into it any further than that!
Anyways, the 3 other PSX tracks up next will be way more faithful in their instrumentation (lots of strings and brass!). I hope you all enjoy the cover ~DAR
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Facebook: facebook.com/Davester2296 Twitter: twitter.com/Davester2296 Backup Channel: youtube.com/user/Davester2296Alt In The Halls - SAVAGE [Cover By DAR]Davester22962022-07-06 | So this one was a bit of a novel request. Never had someone ask me to cover a song that they themselves had composed! So shoutout and thanks goes out to Icon, over at the Den of DAR!
While listening to the original MIDI, I really liked the feel of it. It almost reminds me a little bit of something from the Plutonia MIDI Pack.
I was originally going to try and follow the original MIDI instrumentation as close as possible. However, at some point along the way, I felt like throwing in some synths and electronic stuff.
I wound up changing the rhythm guitar part and doing my own little thing at 1:03. Also really enjoyed noodling around and creating the guitar solo towards the end! I actually got stuck for a little bit and debated whether or not to noodle further. Fortunately I broke through that brief block rather quickly!
Thinking about it now, I did also change the rhythm guitar part to play an octave lower. I still kept the original part underneath all that though. The original rhythm can be more clearly heard on the left side during 0:49.
I was also quite happy to use "Biggus Kickus" once again (most notably during the 0:49 section).
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Facebook: facebook.com/Davester2296 Twitter: twitter.com/Davester2296 Backup Channel: youtube.com/user/Davester2296DOOM 64 - Stats Screen [Cover By DAR] - 20th Anniversary VersionDavester22962022-07-03 | Now this, THIS is my true send-off for the D64D2 Marathon! We had the nostalgic and feel-good sendoff with "First Departure", then with this, we wrap things up in a epic and heavy fashion \m/.
Shoutout and thanks goes out to Sraigius for suggesting that I also do this version of the Stats Screen!
I'm really, really happy with how this one turned out! The only thing I really left out were some of the synths from the original. I had wanted to do them, but as I was putting this together, I really wanted to go for this kind of atmosphere. Its got that electronic feel with the drums, however, it doesn't sound too overly electronic. This was also my reasoning for mixing in some of my usual kit sounds, like the cymbals and some of the snares and hi-hats. I tried to find a nice balance between the kit and the good 'ol 909 drum samples (some hats, and that elec. snare).
I also made sure to use the same sounds and layers that I used for the normal version of this track. However, I didn't want it to be completely the same, so I had set up the mixer tracks and channels without looking back at the the other version for reference.
In here, I decided to make up my own choir part. The addition that I had made before had wound up in here again, but the part at 0:38 had me hearing a certain choir sound in my head. Speaking of which, this time around, I didn't delay this part like I had done in the other version. Anyhow, threw down some MIDI notes, bounced the choir tracks, and then ran them through some reverb.
Most other elements of the other version wound up returning in this rendition of this awesome theme. The snare was cut, since it had only appeared in the very beginning in the original. In here, I wanted the drums to hold back at the beginning before hitting.
On the topic of drums, I think I've found myself a contender for the title of "Biggus Kickus". This is usually a title reserved for certain orchestral bass drums, or even just a good dry kick drum. However, after discovering the oomph this kick had during the "First Departure" cover, I just had to use it here for that powerful kick and beat that the original had!
Something else that was also cut was the "synth-harp" that I had used before. The original version also had left it out, most likely due to now needing room for another guitar over on the right. I really loved having the variation between these two guitars. I also managed to worm in some of my own leads and bits. I kept my noodling to a minimum, and only added them to the parts that felt right. Basically my brain going into "studio guitarist"-mode and being reserved.
At times, it almost feels like these new leads kind of impart this RED PLANET sort of vibe to the track. I ESPECIALLY LOVE the part that I did at 5:01. This part in particular had me really thinking "wow, Doom 64 + RED PLANET? This sounds really badass!".
Also, the "DAR Scream" sample continues to get more audio mileage here. I fiddled with it to make it more crisp, and then ran it through some big delay and reverb (while also messing with panning and volume automation, to make it swell a bit!).
Aside from all that, the french horns are actually slightly different in this version, and I also wound up adding a few subtle harmony notes too. That, and I also wound up stretching and pitching down those glissando strings samples that I used in the other version.
Anyways, as I said before, I really loved how this one turned out. I hope you all also enjoyed jamming out to my take on the 20th anniversary version of this theme! We'll be having a slight detour with some PSX Doom tunes up next, since I had promised I would do them after I had completed D64D2. Besides, what better time to cover more of Aubrey Hodges' awesome tunes, than now? ~DAR
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Quick trivia on the "Time" stats: So, of course we've got the length of this cover, and then underneath that is the total playtime of this marathon.
Now, for sound. With this one, I wanted to try and get things as close as I could. I played and covered this one really straight. The ambience is different of course, and I added more cymbal/piatti crashes, for dramatic effect. Also, for the first time ever, I used one of those "orch. hit" sounds (those like dramatic orchestral stabs/hits). Layered them under those crash cymbals to further add to the dramatic sound.
In theme of the whole epic orchestral/movie feel of this track, I just HAD to also throw in some choirs to give a little extra oomph alongside those heroic-sounding french horns.
I couldn't quite tell what the quiet "synth-harp" was doing over on the right, but I still tried to re-create it as best as I could.
I wound up layering quite a few things here, in particular there were lots of string layers. Speaking of strings, the spooky ambience bit was made from a free sample of some glissando strings. Ran that sucker through some effects and thought it sounded pretty cool. I also layered some very gentle and quiet synths underneath these strings. Used some EQ to roll off everything above 2khz or 3khz for those synths, and then ran it through some reverb to sit it further back in the mix.
A couple of other things that I can think of that I did differently: One thing being the snare drum. The original had a bit more going for it, but I couldn't quite replicate it. I wasn't all too happy with my usual choices for a snare sound, so I wound up eventually settling on what I used here. Now, not being able to quite replicate the rhythm of the original snare, I actually wound up just drumming it out on my keyboard... no not that keyboard, my computer keyboard. I hit the record button to start recording MIDI, and drummed things out like that.
The other thing that I did (which is really subtle), is I actually delayed a part by little bit. Its the part that hits at 0:42. In the original, that part begins a bit sooner, but I really wanted to dwell slightly longer on those sustaining strings.
Originally, I was going to double-track the guitars, however, I had to exercise a bit of restraint. In order to make room for elements occupying the right side of the stereo field, I only had the guitar on the left side (same as the original too).
Anyways, hope you all enjoy the cover! If you like this one, you'll also probably power-nod along to my rendition of the 20th anniversary version too. ~DAR
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Facebook: facebook.com/Davester2296 Twitter: twitter.com/Davester2296 Backup Channel: youtube.com/user/Davester2296DOOM | D64D2 - First Departure [Cover By DAR] - Intermission | {MUSIC PACK IN DESCRIPTION}Davester22962022-07-03 | At long last, and once more, it is the end of an era for the channel. Just as I had done for the end of TNT, let's fondly look back on the entirety of the D64D2 Marathon!
I also tried to cram as many comments as I could into this one. Starting from the very first mention and suggestion to cover D64D2, and going all the way to the end! (well, minus the stat-screen, but that's releasing alongside this upload!)
This is arguably the prettiest song out of the whole soundtrack, and was why I decided to reserve this for the final song. Felt like this one was a great choice to be this marathon's "Legion of the Lost".
The original is an absolutely beautiful ballad, comprising of strings, piano, and bass. I tried to be as faithful to it as I could. I only changed a couple of notes, as well as added a few (for dramatic effect). As recording went on, I had gotten really into it, and things transformed into a nice rock ballad of sorts.
With my brain in "80's rock ballad"-mode, I decided to pursue this sound further. Originally, I intended to have more realistic strings, but then I decided to layer stuff together (with effects too) and created some synth strings.
I was also excited about recording the bass, however, when the time finally came, I decided to go with a synth bass to stick with the sound that I was going for.
Its been a long while since I last had sat down to record a song on the piano. I think its been a year ago already, back when I did Distant Worlds. Had to capture that human element and feel, something that's hard to do if you're just placing down MIDI notes.
Absolutely loved playing every bit of this song. Even the acoustic, which I had shed a LOT of sweat to record. No fans or AC while recording the audio for that (recording the video was thankfully a different story).
I'm also still totally on my whammy-bar kick, and given the circumstances and vibe of this track, I just HAD to open the solo with a harmonic dive.
I also changed things up for the drums quite a bit. The biggest thing being that big and beefy kick drum! Really wanted to have a nice solid thump (something I don't get to do too often since a lot of the times there's lots of double-kick shenanigans going on in a song).
Also want to give thanks and a shoutout to Niko, since I had wound up accidentally coming across his comment again over on my Endgame cover from DOOM 2. After re-reading that comment, I was inspired to throw in the bit at the end!
Anyways, I hope you all enjoyed the cover! Welp, see you all again for this in another 4 years for Plutonia... Just kidding! ~DAR
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Facebook: facebook.com/Davester2296 Twitter: twitter.com/Davester2296 Backup Channel: youtube.com/user/Davester2296DOOM | D64D2 - Dream, Dream Eternal [Cover By DAR] | MAP31Davester22962022-06-22 | Back around 4 years ago, I remember setting this song aside for the end of the marathon. Its certainly been a long time coming. Finally, the last of the level themes for the soundtrack! (2 more to go after this one!)
As I listened to this and worked on it, I started imagining this playing while some credits roll. So I figured I'd do something like that for the video here. All 33 map layouts (courtesy of Doom Wiki), and credits for the project.
I kept true to the original MIDI, just bumping it up a semi-tone in pitch, and also adding in a DAR-style solo/outro for the end. I've gotta say, I really enjoyed recording leads on this one, especially that original solo at the end. I'd almost say it's been worth the 4 year wait! I feel that with the experience I've gained over time as a producer/musician has really helped me go into this one with full confidence. Quite surprised that I wasn't nervous for once! Compared to the end of the previous Doom Marathons, I used to always get really nervous/stressed when it came to the last handful of songs.
I'm also really glad still that I've gotten back into using my whammy/wang bar during my playing. I love playing with my wang... no wait, that came out wrong!
Joking aside, I really am happy to be incorporating the tremolo into my leads and solos. I had actually stopped using it for quite a while, mainly because I couldn't get it to sit in the right position anymore after a few years of use. That, and I worried about going out of tune and stuff like that. A while back, I decided to throw in a tremolo-arm spring that I had for my Strat, and those wound up doing the trick. To my surprise also, my beloved Ibanez still manages to hold its tuning even with all the whammy action going on.
While the solo at the end probably isn't the most technical or fast & flashy, it was such a joy to play (my favorite style of playing after all!). Felt really good to make the guitar sing and cry there for the solo at the end!
The whammy bar also got some use on the rhythm guitars as well! Mainly dipping down in pitch at the end of the chorus sections.
Anyways, I hope you all enjoy the cover! Hope you all look forward to the intermission and stat screens up next! It might take me a little bit longer, since I also need to double-check everything to make sure everything's good to go for the music pack/WAD! ~DAR
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More spooky noises, but this time we've got some strings and synth strings to give a bit more musicality to things.
For a bit, I thought about whether I wanted to use all normal strings or not. After listening to the original, I decided to keep the low-strings normal. However, for the higher-strings, I decided to go more electronic/synth strings.
I had fun messing around with filters and reverbs again. For the high-strings in particular, I wound up also routing them to an aux channel that I then heavily saturated and reverberated. I also did a lot of volume automation on my layers again. Swelling all those strings for dramatic effect!
Speaking of messing around with a bunch of effects... I realized at one point that I needed to try adding something in the background. Some kind of ambience to fill the space underneath the track.
Had myself a really dumb idea, but I had a good feeling that it would probably work. So, I got my microphone set up, got me a beer, then I hit the record button. Got me 2 minutes of myself drinking, burping, and remarking to myself how dumb this idea was. Saved and then loaded the audio into the project. Reversed it, and pitched it down an octave, threw some effects and reverb on there... and it actually worked out!
Some highlights being at 1:11, what sounds like a reverbed monster roar/rumble was actually the best burp of the recording. 2:21 was me commenting on the first couple of weak burps. Then around 2:40 is the sound of me cracking open the beer.
That's the beauty of sound design and ambience shenanigans, man. You can take the dumbest, and weirdest things, and... it'll just work out in the end. No one would ever know either. Only those of us privy to this silly trivia here in the description will be able to have a chuckle at the fact that we've got spooky beer burps for ambience.
Anyways, hope you all enjoy our last of the spooky/ambient songs in the soundtrack. Up next, we're kicking things into high gear! Can't wait to start working on MAP31's "Dream, Dream Eternal". ~DAR
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