Worst of all, he did it behind my back whilst leading me on with a bullshit story about working together on a professional solution to the problem. The post attracted thousands of comments and news articles and severely damaged my personal and professional reputation.

Instead, days later, he published a 2500+ word “open letter” on a fan-run Reddit page that singled me out as the sole cause behind the botched OST.

Marty told me to expect the draft within hours, but it never arrived. He requested I hold off on making further public comments until we could address the public together. He offered to draft a joint statement addressing the situation and announcing plans to move forward. Marty made it clear he wanted me involved, saying he wanted a positive outcome, had no ill intentions and wanted to resolve the issue professionally. I made myself entirely available to Marty and committed to satisfying disappointed customers with a better OST. Their poor-quality release immediately drew criticism, and a worried Marty personally asked me for assistance in addressing the situation. Both he, and id Software’s Lead Audio Designer, Chad Mossholder, didn’t allow me to hear the final album and didn’t seek my approval they weren’t contractually required to do so. I didn’t approve the release: In the days leading up to April 16, Marty cut me out of the process and decided to release their alternative version instead, reducing my direct contributions to filler. Potential legal trouble they faced for taking pre-orders before it was under contract.ĭetails about their internally-produced OST: an alternative edited from my in-game score, which they’d worked on for at least six months without my knowledge or involvement. Marty withheld crucial details from me until 13 days before my deadline, such as: The deadline was April 16 (29 days later) and the contract stipulated id Software had complete creative control and would aquire access to all my source material. The delay was announced a week earlier before I was under contract. I received the contract on March 18, 2020, just 48 hours before DOOM Eternal was released. Despite my alarm and constant appeals Marty refused to do anything about the situation, leading to a nine-month delay before I could start work.Īfter seven months of inaction, I reported my concerns to Bethesda.īethesda and I negotiated the DOOM Eternal OST directly, without Marty’s involvement.

It was announced, with my name attached, and made available for pre-order before I was contracted to produce it. But id Software used the music in the game, marketing and soundtrack and still refuses to pay me for it. I created this music as part of the development process and shared it with id Software in good faith. Rejects, mockups, demos, many of which were never meant for public release. I haven’t been paid for over half of DOOM Eternal’s music: The game includes more than double the music I was contracted to produce.

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