So, as someone with an electronic music background, I wanted to clarify and detail some of the differences between digital and analog music when talking about synthesizers. Back before computers were a thing, all electronics were analog. This means that through mechanical, chemical, or magnetic methods, you could directly alter how much power is moving through a wire. Your friend mentioned really old synthesizers as an example, and was correct that they were all analog, back in their time. Basically, an analog synthesizer creates sound vibrations in a speaker by "vibrating" the amount of power in the speaker's wire. However, when people wanted to do math using computers, analog proved to be too fuzzy or prone to error, as there are always small fluctuations of power in any wire. Digital was then created, which turns groups of wires on and off in certain arrangements, where each arrangement can represent a number. This is called "binary", and the amount of power in a wire no longer matters, as digital only care if there is a lot of power, or little-to-no power. When the CPU chip was created, people could code programs, allowing for a digital computer to do basically anything, instead of just the same, single task it was constructed for. After some time, someone created a music synthesizer program, which ran on a digital computer. At this point you now have an analog synthesizer, which changes the raw power levels in a wire to create sound, and you also have a digital synthesizer on a computer, which turns groups of wires on and off to change a series of binary numbers, which are later translated into an analog sound wave by a computer's sound card. So does the difference matter? Yes, in a few important ways. A digital synthesizer allows you to save the settings of your synth, so you can recreate it exactly, whenever you want. Additionally, digital synthesizers have very little randomness, and will typically create the exact same details in a sound every time you play a melody. This predictable reliability can have its uses. Additionally, a digital computer (especially nowadays) can use its code to make extremely complex and fine adjustments to the shape of a waveform, allowing for some absolutely insane sounds that would have taken weeks to do on analog systems. Many digital synthesizers (called "VSTs") are also free, which opens up music creation to a very wide audience; power to the masses! Digital is often found in additive synthesis, which deals in creating a complex sound by stacking thousands of smaller sounds together. This isn't feasible for analog synthesizers, and could take a thousand individual analog synthesizers to approximate. Analog, meanwhile, can harness the full precision and speed of physics itself. There are no bit rates in analog, which can limit the fine details of a sound wave, and you're also not reliant on the calculation speed of a computer's CPU chip. The sound is produced exactly as fast as electricity moves. This feature in particular makes analog the king of FM synthesis, which most computers can only struggle to approximate, often losing key features and details of a sound wave in the attempt. Analog also tends to cost a LOT of money, and large modular analog systems across a pedal board involve a ton of plug wires, making the creative process extremely temporary. Between the noise in a wire's power, and the difficulty of doing the same analog thing twice, analog sound design feels more like an exploration than a science. You find these unique little moments, record them, and you know you'll never find them again. This serves well for more organic sounds, but can make music creation extremely difficult and needlessly limiting, as it forces you to give up the ability to fine-tune or perfecting a sound. Most people say that analog is better, because of the larger potential for detail in a sound, but honestly it often costs too much, limiting the ability to create for only those with money, and you often cannot hone in on the sound you want to make full use of that level of detail. Digital, on the other hand, struggles to attain that high-level of detail, but you are allowed to spend as much time as needed in perfecting the sound within your detail limitations. Often times, those detail limits don't even matter, due to the equally-limited range of human hearing. Digital synthesizers are very popular in the metal crowd, especially, because they're affordable and the detail desired in a high-end amplifier is perfectly doable for a computer. The organic details that the metal scene looks for would come from the physical guitar being played. If you're like me, and don't own a guitar, then you need to figure out some clever ways of faking the organic detail that a real guitar sound signal contains before it hits the amplifier. TDLR: Analog creation allows for incredible power and detail, but you often only get one shot to create and record a sound. Digital, however, swaps detail for complexity, and the ability to spend as much time as you want to perfect a single sound. Mick Gordon uses his skills in guitar and metal production, as well as skills in both analog and digital synthesizers to leverage the strengths of all types of sound creation, which is what separates him from those who strictly use either analog or digital.
I wld say in this instance that the process of creating the sound was as important as the end result. Sometimes it's not about perfection but raw instinct and emotion. Session musicians are familiar with this. Both types are equally valid, digital provides accessibility reliability and permenance, and analogue provides you those instances of creativity perfect for the moment and effected by all the variables that come with being a mere human creating music. A really useful breakdown my guy. Thanks for taking the time.
Oh right , the same guy that used an old , old Russian synthesiser , a 9 string guitar , an entire choir of heavy metal singers , a lawnmower and a fucking chainsaw to make legendary music for both games. Also the same guy that made , probably the most metal music out there , despite being told not to make metal music for DOOM 2016 , what a boss.
Honestly, the Doom games have done Mick a bit of a disservice because it has overshadowed his past work so heavily. Look up the Killer Instinct soundtrack. Polemos, I'm Back, Spinal's Theme, Hinnamatoom, etc. They're all fucking amazing and he did absurd things to each song. What's more, because it's a fighting game, it actually shows how dynamic his music is at its core as each piece of a song responds to different stimulus. Characters are fighting? Queue the main riffs. Characters are standing still? Queue the idle theme that is a throwback to their original 90's theme from the original games. Both player's are dancing around and not much is happening? Queue the transitions so that things get quieter. As soon as someone hits? It explodes back into action. And the gimmicky antics, oh god they are so much worse. Take Spinal's theme: Mick assembled a band from all around Europe, completely wrote out a viking shanty that reframed Spinal as a character and gave him a completely new lore, and then, to top it off, JUST because Spinal is a skeleton, Mick incorporated a traditional African instrument made completely out of human bone. And the gimmicks go on: Polemos is sung by the Iron Galaxy dev team; Hinnamatoom was written with the help of an actual Nez Perce tribe to make it more authentic for the character Chief Thunder; I'm Back pulled in Omega Sparx and pumped out the best Rap Hip Hop track to exist in the last 20 years; Inferno had Mick bring him LittleVMillis, a guy who was primarily known for COVERING Mick's Killer instinct tracks at the time, and had him play the lead guitar in old school rock fashion. Mick really went fucking wild with this soundtrack, every track has a story to tell and it shows... Well, except for Riptor and Kan-Ra, which were lack luster because he spent too much time working on other tracks by his own admission.
Crazy things that you wouldn't expect nowadays is that the trailers for doom is actually how it feels in the game where most trailers are just pure hype in my experience
@@fuelcapgaming5753 hi again, you'll find it if you type Gladiator boss or something, i also can't stress enough how good Koma mixes are! You should check his version out! Looking forward to your reactions 👀
Woah! I was expecting a song reaction like a few weeks ago but this is a much more pleasant surprise! Really shows your interest in his work by delving a little deeper into the process behind violence incarnate
Currently playing through DOOM 2016 on my channel, and holy shit, it's cool to see people nerd out over the music like I do off camera! Love the content, and can't wait for more
"What's the tuning!?!?" What fucking tunning? Mick detuned that 9 string completely and he didn't like it so he detuned it even more lol. check out the GDC conference he did where he talks more about this
Yeah he used Soviet Synth for write hell music, i love my country and people around the whole world, because if we combain all of this facts it make fkn awesome things
The theme song you mean for the channel intro? Just a song that my friend Nick here made for me to use on this channel. If you mean right before the song talks when we are talking though at the beginning, thats the main menu song to Doom Eternal.
yeah, I've been trying to get a hang of that. My problem is that I'm typically editing with my headphones on which... Those have their own two separate volume buttons, on top of my pc's volume button, on top of the various volume sliders within Sony Vegas Pro. So I don't always get the most accurate gauge on what is too loud or quiet unfortunately cause I'm juggling so many. But I think I'm starting to get the hang of it lately with having to edit more frequently.
Уральские горы рядом с заводом облегчают доступ (: ~~English translation of both comments to save some time~~ Polivoks is the hell tech, I always knew it) Ural mountains near the factory provide an easier access to that (:
So, as someone with an electronic music background, I wanted to clarify and detail some of the differences between digital and analog music when talking about synthesizers.
Back before computers were a thing, all electronics were analog. This means that through mechanical, chemical, or magnetic methods, you could directly alter how much power is moving through a wire. Your friend mentioned really old synthesizers as an example, and was correct that they were all analog, back in their time. Basically, an analog synthesizer creates sound vibrations in a speaker by "vibrating" the amount of power in the speaker's wire.
However, when people wanted to do math using computers, analog proved to be too fuzzy or prone to error, as there are always small fluctuations of power in any wire. Digital was then created, which turns groups of wires on and off in certain arrangements, where each arrangement can represent a number. This is called "binary", and the amount of power in a wire no longer matters, as digital only care if there is a lot of power, or little-to-no power. When the CPU chip was created, people could code programs, allowing for a digital computer to do basically anything, instead of just the same, single task it was constructed for. After some time, someone created a music synthesizer program, which ran on a digital computer.
At this point you now have an analog synthesizer, which changes the raw power levels in a wire to create sound, and you also have a digital synthesizer on a computer, which turns groups of wires on and off to change a series of binary numbers, which are later translated into an analog sound wave by a computer's sound card.
So does the difference matter? Yes, in a few important ways.
A digital synthesizer allows you to save the settings of your synth, so you can recreate it exactly, whenever you want. Additionally, digital synthesizers have very little randomness, and will typically create the exact same details in a sound every time you play a melody. This predictable reliability can have its uses. Additionally, a digital computer (especially nowadays) can use its code to make extremely complex and fine adjustments to the shape of a waveform, allowing for some absolutely insane sounds that would have taken weeks to do on analog systems. Many digital synthesizers (called "VSTs") are also free, which opens up music creation to a very wide audience; power to the masses! Digital is often found in additive synthesis, which deals in creating a complex sound by stacking thousands of smaller sounds together. This isn't feasible for analog synthesizers, and could take a thousand individual analog synthesizers to approximate.
Analog, meanwhile, can harness the full precision and speed of physics itself. There are no bit rates in analog, which can limit the fine details of a sound wave, and you're also not reliant on the calculation speed of a computer's CPU chip. The sound is produced exactly as fast as electricity moves. This feature in particular makes analog the king of FM synthesis, which most computers can only struggle to approximate, often losing key features and details of a sound wave in the attempt. Analog also tends to cost a LOT of money, and large modular analog systems across a pedal board involve a ton of plug wires, making the creative process extremely temporary. Between the noise in a wire's power, and the difficulty of doing the same analog thing twice, analog sound design feels more like an exploration than a science. You find these unique little moments, record them, and you know you'll never find them again. This serves well for more organic sounds, but can make music creation extremely difficult and needlessly limiting, as it forces you to give up the ability to fine-tune or perfecting a sound.
Most people say that analog is better, because of the larger potential for detail in a sound, but honestly it often costs too much, limiting the ability to create for only those with money, and you often cannot hone in on the sound you want to make full use of that level of detail.
Digital, on the other hand, struggles to attain that high-level of detail, but you are allowed to spend as much time as needed in perfecting the sound within your detail limitations. Often times, those detail limits don't even matter, due to the equally-limited range of human hearing. Digital synthesizers are very popular in the metal crowd, especially, because they're affordable and the detail desired in a high-end amplifier is perfectly doable for a computer. The organic details that the metal scene looks for would come from the physical guitar being played.
If you're like me, and don't own a guitar, then you need to figure out some clever ways of faking the organic detail that a real guitar sound signal contains before it hits the amplifier.
TDLR:
Analog creation allows for incredible power and detail, but you often only get one shot to create and record a sound. Digital, however, swaps detail for complexity, and the ability to spend as much time as you want to perfect a single sound.
Mick Gordon uses his skills in guitar and metal production, as well as skills in both analog and digital synthesizers to leverage the strengths of all types of sound creation, which is what separates him from those who strictly use either analog or digital.
Wow, this is actually some really cool information to share. Thank you for that, its cool to see it explained more like this
@@fuelcapgaming5753 You're very welcome! Love the videos, and also love your friend's music too! Just found both of your channels about a week ago.
@@jasonyesmarc309 oh wow, thank you! it's deeply appreciated and im gonna pass the kind words onto my friend as well! Many deep thanks!
Awesome part about this - Daisy chaining analogue stuff together is as easy as getting an extra cable! Loads of fun to play with.
I wld say in this instance that the process of creating the sound was as important as the end result. Sometimes it's not about perfection but raw instinct and emotion. Session musicians are familiar with this.
Both types are equally valid, digital provides accessibility reliability and permenance, and analogue provides you those instances of creativity perfect for the moment and effected by all the variables that come with being a mere human creating music.
A really useful breakdown my guy. Thanks for taking the time.
Oh right , the same guy that used an old , old Russian synthesiser , a 9 string guitar , an entire choir of heavy metal singers , a lawnmower and a fucking chainsaw to make legendary music for both games. Also the same guy that made , probably the most metal music out there , despite being told not to make metal music for DOOM 2016 , what a boss.
he's literally a fucking legend
Honestly, the Doom games have done Mick a bit of a disservice because it has overshadowed his past work so heavily.
Look up the Killer Instinct soundtrack. Polemos, I'm Back, Spinal's Theme, Hinnamatoom, etc.
They're all fucking amazing and he did absurd things to each song.
What's more, because it's a fighting game, it actually shows how dynamic his music is at its core as each piece of a song responds to different stimulus. Characters are fighting? Queue the main riffs. Characters are standing still? Queue the idle theme that is a throwback to their original 90's theme from the original games. Both player's are dancing around and not much is happening? Queue the transitions so that things get quieter. As soon as someone hits? It explodes back into action.
And the gimmicky antics, oh god they are so much worse.
Take Spinal's theme: Mick assembled a band from all around Europe, completely wrote out a viking shanty that reframed Spinal as a character and gave him a completely new lore, and then, to top it off, JUST because Spinal is a skeleton, Mick incorporated a traditional African instrument made completely out of human bone.
And the gimmicks go on: Polemos is sung by the Iron Galaxy dev team; Hinnamatoom was written with the help of an actual Nez Perce tribe to make it more authentic for the character Chief Thunder; I'm Back pulled in Omega Sparx and pumped out the best Rap Hip Hop track to exist in the last 20 years; Inferno had Mick bring him LittleVMillis, a guy who was primarily known for COVERING Mick's Killer instinct tracks at the time, and had him play the lead guitar in old school rock fashion.
Mick really went fucking wild with this soundtrack, every track has a story to tell and it shows... Well, except for Riptor and Kan-Ra, which were lack luster because he spent too much time working on other tracks by his own admission.
@@Impalingthorn he used that same human bone instrument on the doom eternal ost
Since you guys liked this you should check out the gdc video where he talks more in depth about the making of the music
If you like this then you should watch the gdc video of him coming up with the soundtrack. It's so much more in depth!
I'll add it to our list! Im sure Nick will be intrigued to hear more about the process and such, thank you!
It's also about 30 min lol
My bad. An hour.
@@fuelcapgaming5753 lol this is the one I meant :) ! its awesome
Crazy things that you wouldn't expect nowadays is that the trailers for doom is actually how it feels in the game where most trailers are just pure hype in my experience
Yeah, some of the trailers are even slower than the game
yeah the hell on earth first teaser was epic
i think you should hear kar en tuk because is the choir audio almost raw
I think I remember which song that is, I'm adding it to the list either way!
@@fuelcapgaming5753 hi again, you'll find it if you type Gladiator boss or something, i also can't stress enough how good Koma mixes are! You should check his version out! Looking forward to your reactions 👀
@@StonyOnRUclips yeah, I've notice everyone recommends the Koma versions above all else so we'll probably stick to those mixes whenever possible
Woah!
I was expecting a song reaction like a few weeks ago but this is a much more pleasant surprise! Really shows your interest in his work by delving a little deeper into the process behind violence incarnate
Like everyone else here, I'll implore you to check out that gdc video of him behind the music. It shows just how much of a mad genius he really is!
Really? Im gonna have to check that out then, I'm curious to hear more and I'm sure Nick will appreciate it
Fun fact: Mick suggested to shift the pitch of minigun's sound so it would be in tune with the music.
Currently playing through DOOM 2016 on my channel, and holy shit, it's cool to see people nerd out over the music like I do off camera! Love the content, and can't wait for more
The perspective of music artist helped me understand doom music better.Thanks
"What's the tuning!?!?"
What fucking tunning? Mick detuned that 9 string completely and he didn't like it so he detuned it even more lol. check out the GDC conference he did where he talks more about this
Yeah, ive added that to the list, its been pretty highly recommended and i think it'd be awesome to hear more breakdowns of how everything was made.
Pls do "meathook" next
Im waiting
Love u
Im going through a doom soundtrack reaction rabbit hole
And um enjoying it
Welcome to the DOOM club, we've got jackets here.
I know im a month late but thanks
Guys. Skullhacker. That shit hits hard.
3:34 I'm pretty sure that it's just EAEADGBE, telling from BFG Division's description
Yeah he used Soviet Synth for write hell music, i love my country and people around the whole world, because if we combain all of this facts it make fkn awesome things
Bruh, stopped the Heavy Metal Choir video just before the "In Memoriam: Nature Ganganbaigal" 😔
Kar en tuk!
another fun fact: Mick Gordon also used a real human bone for a track on the Doom Eternal OST
im a simple man, i hear kar en tuk, i chant
Oh!! I know how to make him really react!
Eternal Horizons!!!!
React to uac atlantica ost its so heavy but fast
My man really just called Mick Gordon "Nick"
I think he did it in another recording too actually. I wasn't sure if I had heard him correctly when he said that, glad it wasn't just me lol.
@@fuelcapgaming5753 actually I'm talking about the card in top right lol
@@Eduardo-vq1kr OH, that's my friends name there lol, Nick Tate. Was linking his music video there for one of his songs
@@fuelcapgaming5753 OH I'm so dumb
@@Eduardo-vq1kr nah, its easy to seem like that was a screw up on my part, their names are only one letter off after all lol. You're all good
Great video, guys. Plss react to the Metal Hell Choir track, its awesome.
Need more subscribers cuz this channel is awesome
Try rip n tear it is great
What the music on background in intro?
The theme song you mean for the channel intro? Just a song that my friend Nick here made for me to use on this channel.
If you mean right before the song talks when we are talking though at the beginning, thats the main menu song to Doom Eternal.
666 Subscribers Nice!
Could you react to gladiator
The video voluem is so low. Cant hear anything
yeah, I've been trying to get a hang of that. My problem is that I'm typically editing with my headphones on which... Those have their own two separate volume buttons, on top of my pc's volume button, on top of the various volume sliders within Sony Vegas Pro. So I don't always get the most accurate gauge on what is too loud or quiet unfortunately cause I'm juggling so many. But I think I'm starting to get the hang of it lately with having to edit more frequently.
Поливокс техника ада я всегда знал)
Уральские горы рядом с заводом облегчают доступ (:
~~English translation of both comments to save some time~~
Polivoks is the hell tech, I always knew it)
Ural mountains near the factory provide an easier access to that (:
He's british??!!!
Mick is actually an Australian!
@@fuelcapgaming5753 dope
Ok web is better now
Dear god your sound fucked up my ears speack low on the mic