Cammy

After chipping at it over the night, there are a couple sections of map 20 that are proving kind of troublesome. Might need to rearrange or make some cuts here and there, I'll let it stew a bit while I decide what to do with it. For now I'll focus on map 32, which is itself I'd say a little more than halfway done. Sorry about that.

Oh, I'm excited to see what becomes of this one. Excellent foundation from Doomkid, and Lippeth built on it in a superb way. I'm tempted to give it a tweak or two myself – I have a couple ideas to give the drumline in particular a little more oomph. Talking about a map slot for it, I think it's tough enough to hang with map 29. I'm also nearly done with Map 20's theme, just need to iron out a few of its bridges and put it in MIDI form. It's a chunky 6-minute slab of a song, but Gotcha always takes me forever to remember how to navigate anyway. Should be up tomorrow.

Say no more. Full ver will be around 3-4 minutes most likely

this is Harold Nutrients, he is a skeleton who is very self conscious about how his legs are just shotguns that shoot sausage links edit: i forgot dopefish at first like some sort of absolute psychopath

I'm right there with you! It becomes difficult after a while working on a riff to feel like it can sustain a piece on its own in the way Prince often makes it – even aside from that I catch myself trying to busy my tracks up just out of force of habit. I think what ends up making projects like these interesting, though, is seeing the ways in which an existing style can play off one's own. Interaction is often better than strict imitation.

Alright, feedback time: I notice this one got its tempo increased from its MP3 days. I kind of miss the old, slower tempo - the sense of drive and focus was very clean. Notes happen so quickly in the faster tempo that the song feels like it's in a hurry to get done. The panning is a good addition, but I think the intensity of it should be dialed back. The Saw Wave is panned so hard that it only comes out of your left ear, which once you notice it becomes hard to unhear - especially since it's driving the riff you hear through the whole song, and because the piano from the right ear rarely shows up to fill in the sound gap. I'd recommend changing the saw wave pan to around 40 and the piano pan to around 80. For future reference I'd recommend panning minor instruments more strongly than major ones, and trying to balance panning such that neither ear is neglected for long. I do really enjoy what you have here though. The riff is simple but sticks in your head and keeps you going, and the fact it's played with a saw wave makes it stick out from the guitar crowd. The low voice oohs in the background are the unspoken heroes here and were a fantastic choice. They make the sound so much deeper and more resonant, it's wonderful. These are pretty clean so far, just need some extra time in the oven as Doomkid said. For midtwid, I'd recommend expanding more on the solo section on the end than the riff in the beginning; I think you could take the little guitar pattern from bars 19-20, give it some twists and pulls, and make a pretty solid second riff out of it to build on for the rest of the song. The upbeat energy of the first riff is invigorating but could get exhausting to listen to if it was repeated as often as Bobby Prince likes to repeat riffs. I also think this one could benefit from a slight, maybe 5-10 BPM boost to tempo? For midtwid2 I would recommend a low, steady bass pedal that adheres to the root note of the key. The riff there is catchy, but I think it'd be brought out more by having a proper bassline that is not itself playing the riff. This is superb - I love that when the organ and bassline combo first kick in you think you're just getting a remix of DOOM, only for the song to go in its own direction. The variety of instruments and chords and the way they're mixed and matched so cleanly makes this one rich, deep, and fun to listen to. Fantastic stuff. About all I can think to adjust is the descending polysynth notes in bar 100, which feel stilted and uncomfortable to me - maybe they could be triplet quarter notes instead? I'd also personally either use the whistle slightly more or not at all, the fact it only ever shows up for one little fill makes it feel a little extraneous. Excellent stuff all around though, thanks to all for contributing! I'm making good progress with map 20 and 32, they should be done before too long.

Speaking of pissed, it took me something like an hour to find out how Sekaiju handles drums. I still don't know the answer but it works now so thank heaven for small favors. This is no doubt going to be a rather silly map, and it starts on a beach from the sound of it, so I wanted to go with something snappy and high-energy. Here's what I've got (albeit make a firm note to yourself that listening to this for hours straight like I was forced to is HIGHLY inadvisable). Pain-and-Paper.zip Also went with one of the map's potential names which I thought was too gold to leave unused. Now we just need someone to come by and expand on this.

Clearly the only answer here is to have a handful of musicians write an original song in chunks, just like how the map was drawn. Give me like, 6-8 hours or so? I'll write 16 to 32 bars and let someone else pick up where I left off. Get some rest and take care of yourself, Rince.

Alright, Map 14 is done. I'll admit I ended up using Bobby Prince's style as more of a springboard than a guideline, though, so hopefully that isn't a big deal. Hopefully it's compositionally sound as a compensation for the certainty that at least something is mechanically busted about the file. I originally wrote this in my native Garageband for convenience's sake; saving each track as an Apple loop allowed me to get MIDI data which I then pieced back together in Sekaiju, which I've never used before. I've worked with less agreeable software, but it's still been an uphill battle. Sorry if anything went wrong with it. Five Iron.zip

I'm feeling energetic. Mind if I try my hand at maps 14, 20, and 32? @Dark Pulse Keyboards have always struck me as a particular tool for a particular kind of musician. They're great for improv because you can just play what comes to you without needing to meticulously sequence it all, but personally, I've never had to use one a single time and I don't even know how long I've been making music.

This seems like fun, and Schidler's style is killer! Mind if I try my hand at Hub 4's Sewer Pit?

@Gez Thank you for bringing those to my attention! I'll keep this on the down low until those two come to pass – I'm thinking I might even sign up to participate in them as a primer. I really appreciate the support from the rest of you too! My original plan was to fill this out on my own, but I'd be happy to open the doors to collaboration – in that case I'd cede leadership of the project to someone of a more significant standing in the community.

This is my first post here and I understand it's at least somewhat audacious to come out of the woodwork swinging for a giant solo project like this, but I really need something to do and I think this could be fun. So hi, I'm Cammy. I've been diddling and doodling with computer music for the better part of 10 years now. I've never really considered myself a potential career musician, but it's still something I enjoy a lot, and if I've spent 10 years doing this stuff I figure I might as well apply myself and put out a concrete enough work to make it feel like that time has been worth something. Excuse me for the cliche, but check out my SoundCloud for examples of my original work. It wasn't that long ago that I found out about the Plutonia MIDI Pack project, which replaced Plutonia's recycled soundtrack with an awesome original one. I've been clicking away in my spare time at vaguely Doom-style songs and I'm thinking I might try to give Final Doom's other half a similar treatment. Of course, unlike Plutonia, TNT already has a decent number of original soundtracks to its name, and I don't want to mess with those. Instead, this would be me writing original songs for the 18 TNT maps that reuse music either from Doom II or from earlier in the WAD, those being maps 3, 9, 12, 13, 15, 17, 18, 19, 21, 23 through 30, and 32. There are a couple hang-ups though, chiefly in that A) I am a complete moron when it comes to anything that involves code so once this is done I wouldn't have a clue how to get it working as a downloadable mod, and B) I don't have experience working with sequencers that can actually export as MIDIs because Apple sucks. The latter of those I could fix pretty easily though. I have access to a PC and I could download a sequencer on it; I've theorycrafted a method to convert songs from their native GarageBand (yes, I am just the right blend of stubborn, lazy, and broke to have actually used GarageBand for a decade) into a form a better sequencer could read and export as MIDI. Said method would be absurdly protracted and frustrating but I've done more tedious things in the past. I checked around wikis and the forum and as far as I can tell, this surprisingly may not be something anyone's tried to do before. I still have a certain suspicion I'm not the first person to throw my hat into this ring though, so please let me know if this is old news and I'll drop it. Assuming it isn't, is this something that people would be interested in?