7/1/2023 0 Comments Mick gordon doom eternalTrack after track was full of real, obvious technical faults, mistakes, and errors resulting from careless editing.”Īfter coming up with a plan to release a joint statement about the OST and a plan to fix the album, Stratton released the 2500+ open letter that signaled Gordon as the reason behind the botched OST. He adds: “I was stunned at the ineptitude and couldn’t believe what I was hearing. “They exhibited the same thoughtless disregard for basic music fundamentals that plagued the preliminary edits id Software showed me a week earlier.” He told me to hand over my tracks, and Chad would assemble the final OST.”Īfter hearing the final soundtrack after it was released, Gordon’s heart sank. “Alongside my direct contributions were an additional 47 tracks made by poorly editing together bits and pieces taken from my in-game score,” he says. “He said they would release Chad’s version instead. Gordon crunched 18-20 hour days to finish the tracks on time, but Stratton decided to use different songs instead with five hours left on the deadline. “I shot back that their rapidly crunching schedule and imminent deadline meant it was too late for a change in direction and that I’d prefer to use the little time remaining to work on the music rather than entertain his sudden last-minute interest in the OST,” Gordon says. He felt that what he was sent “fell short of expectations. Gordon then learned that ID’s lead audio designer was working on the OST for six months without his knowledge. Gordon said that he took this as a threat that he would be legally liable for any loss suffered by ID Software if the OST was late. “The fact that this critical piece of information had been withheld from me until after I’d signed the contract made the whole thing feel like a setup to shift liability caused by selling the OST without a contract in the first place,” he claimed. Stratton emailed Gordon 13 days before the deadline saying that the April 16 date was now a necessity because of “consumer protection laws in some territories meant anyone who purchased the Collector’s Edition was entitled to a full refund if they didn’t receive the OST by April 20.” There was a deadline of April 16 but Gordon claims that Bethesda told him that the deadline was flexible, with a bonus if he met the date. When it was time to work on the OST, Gordon agreed to produce 12 songs for it. Gordon says that they used 4 hours and 46 minutes of his music, but was only paid for 2 hours 22 minutes, leaving 2 hours 24 minutes upaid. ![]() After the game’s release, Gordon found that all of the “rejected tracks, mockups, demos, ideas, and sketches” he gave ended up being used in the game after falling under the impression that they weren’t going to be used. Mick Gordon claims that he wasn’t paid until eight months into the project and then wasn’t paid again for another 11 months. ![]() ![]() “Refusing to accept the reality of the situation, he threw the proposal back in my face and proceeded to tear me down for having the audacity to raise the issue in the first place.” ![]() Gordon proposed a different schedule but Stratton allegedly criticized Gordon’s ability to produce the music. “He rejected my belief that the current schedule was flawed and suggested my act of trying to do something about it was a sign of incompetence,” Gordon alleges. The ongoing development led to numerous rewrites and the need to continually scrap submitted music. According to Gordon, ID wanted two levels worth of music per month, despite most of the game not existing yet. In Mick Gordon’s post, he talks about how Doom Eternal was “a difficult project” to work on due to the amount of music ID wanted per month.
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