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Original Decision
Artist Name: Zanezooked
Howdy judges! Here’s a resubmission of my Marathon 2 and Marathon Infinity remix.
I put my original mix up on Youtube at the same time I submitted it here. It was well-received in the Marathon community. Hamish Sinclair even featured it on the Marathon’s Story site! That was surreal as I’ve been reading that site since my first forays onto the internet as a teen in the 90s.
Your feedback here was largely positive about the arrangement but negative about the production and mixdown, especially the balance of sounds and general muddiness.
I tried posting this revision to the workshop for feedback but got no replies. :( So I did my best on my own. I do think it sounds much crisper than the original.
Changes I made in response your feedback:
Re-mixed pretty much everything, and changed a lot of the EQs.
Added more sidechain compression on the kick (there was some originally, but not enough)
Took treble off the bass, especially when the guitar is present.
Added a de-resonance step on the master chain
Swapped the bass in the opening sequence for cello and bass strings. Prophetik found the synth bass there out of place, but I still wanted something in the low end to provide variety from the wall of pads and environmental sound. I really like the result!
Changed some of the drum rhythms
Fixed the wrong note pointed out by Prophetik
Other changes:
Shortened the song by cutting out the reprise of the M2 theme after the middle string section. It now ramps into the guitar rendition of the M∞ theme.
Restored a high cosmic echo trail effect after the guitar parts which was supposed to be in the original mix but got lost when the plugin’s license reset
I should mention that the goal of this remix is to capture a certain Marathon “feel.” It’s not meant to improve on or sound like the source Marathon songs, which are amazing as-is. It’s intended to take those themes and give them another showing, in a setting that’s different but still evokes what Marathon feels like as a whole — which for me includes not just the original Power of Seven (Psykosonik) music but also Craig Mullins concept art and the philosophical rantings of a rampant artificial intelligence intent on escaping the closure of the universe. I’m not going for a pristine sound, but a dense sound awash in spaciousness, layers, and grittiness that evokes cosmic vastness, ancient mystery, and aggression. Judging by the reception of my original version in the Marathon community, I think I did manage to capture the vibes! So I tried to retain that in this revision, while working to remove muddiness and improve balance. I hope this new version is up to OCRemix’s standards!
Source Breakdown:
The title of this remix is Lh’owon, after the planet on which most of the action in Marathon 2 and Marathon Infinity takes place. It’s ancient homeworld of the S’pht, though it’s currently populated by a garrison of the Pfhor, who enslaved the S’pht a millennium ago. Its extensive ruins hide clues to the fate of a tribe of S’pht lost thousands of years before the Pfhor arrived. Oh, and the planet’s sun currently imprisons a Lovecraftian elder god of chaos which will devour the universe if freed.
The first minute of the remix is about soaking in the ambience on this unspeakably ancient, largely ruinous planet. It starts with some literal ambience recorded directly from the game (and drenched in reverb, as if heard from within one of the rock-like structures you run around in). Pads and strings play the theme that the background synths play at 0:30 in the Marathon 2 source song. The strings fade away with an irregular loss of signal.
Into this planet’s system comes the rampant and only possibly insane artificial intelligence Durandal in a captured Pfhor dreadnought; he sets about bombarding the Pfhor garrison from orbit and teleporting his pet cyborg security officer (the player) around, flooding an outpost with lava over here, saving enslaved humans over there, and then going on an extended archeological dig into the ancient S’pht ruins in search of a weapon that can give Durandal the dominance and universe-outliving immortality he hungers for. At :55 we start to hear the encroaching orbital bombardment, and at 1:25 the security officer arrives and starts kicking alien appendages. A synth grinds out the guitar progression from the beginning of the Marathon 2 title music, then a recessed guitar takes up the melody. After this, a synth bass plays the bass from :30 in the source song, before the cycle repeats.
At 2:39 the strings return to provide a pause in the Total Carnage, playing the theme from Marathon Infinity. The security officer is discovering the oldest remnants of the S’pht civilization, far older than humankind—and some of it is still sentient. Though he doesn’t yet know it, the fate of the cosmos is at stake.
At 3:45 carnage returns as the guitar plunges into the Marathon Infinity theme, while high strings and a buried choir provide a sense of spaciousness and age.
Games & Sources
Marathon 2: Durandal
Marathon Infinity
| # | Наименование новости | Тональность | Информативность | Дата публикации |
|---|---|---|---|---|
| 1 | Компактный детектор нейтрино помог проследить за "отскоками" нейтрино от атомов | 0 | 0 | 30-07-2025 |