It turns out that under the contract, when writing music, he is obliged to use a Soviet synthesizer, which Gordon himself considers an interesting creative task – “this is very cool.” The composer calls the Moscow team Mundfish “inventive developers”.
It is noteworthy that Gordon is not the first time to work with a Soviet synthesizer – he has already recorded some of the music for DOOM on it. For this, the Polivoks model was used.
Interestingly, id Software initially did not allow Gordon to use the guitar when writing music for DOOM, and Rip & Tear was the very first full-fledged song for a shooter – and it was rejected. Because of this, the musician postponed sending the BFG Division until the last – he was afraid that it would be rejected too.
As a result, however, there was not enough music for the last level in Hell – then the developers, after the advice of the composer, decided to insert Rip & Tear there. As a result, in general, it was Rip & Tear and the BFG Division that became the musical face of the DOOM relaunch.
What else the composer said during the interview:
- he’s working on an unannounced horror
- wants to work on the music for the new Mortal Kombat.
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