/Music Music An underestimated aspect of Doom, Bobby Prince's score adds an entirely new dimension to the game. Those with 16-bit soundcards cannot fully appreciate the effort that went into the creation of the Doom music; therefore, we have available for download here every Doom and Doom 2 song in .MP2 format, recorded by Michael Massay on a Roland SCC1 sound card. You think you've heard Doom music? Think again. If you do not have a .MP2/3 player, go here. People with a 16-bit sound card and at least a Pentium 66 can try out the Yamaha SYG20 Soft Synthesizer, which emulates the sound quality of a 32-bit sound card. Also, the Doom music can be purchased in CD form, with sonically enhanced tracks and additional live instrumentation, here. And if you ever happen to get tired of the original tracks (but how could you), or if you're looking for some fresh blood to feed your demons, we have a nice little Remix section for your revival pleasure. Many of the individual remixes are mirrored here. This section is maintained by Bloodshedder. Doom - Doom 2 - Remix Level Filesize Name MIDI Description E1M1 759 KB At Doom's Gate d_e1m1 The id Software development team originally wanted me to do nothing but metal songs for DOOM. I did not think that this type of music would be appropriate throughout the game, but I roughed out several original songs and also created MIDI sequences of some cover material. This was before any level design and was before most of the artwork had been created. As the game came together, the guys at id saw that this type of music was not appropriate for many of the levels in DOOM. Thinking that this would be the case, I had also roughed out a lot of ambient moody background music, much of which ended up in the game. This song was one of the first of its type that I wrote. I heard it as being on a level that went by real fast. As it turns out, John Romero (who placed all of the songs on the levels) decided it was a perfect song for the first level. E1M2 1230 KB The Imp's Song d_e1m2 E1M3 2148 KB Dark Halls d_e1m3 E1M4 1350 KB Kitchen Ace (And Taking Names) d_e1m4 E1M5 1303 KB Suspense d_e1m5 E1M6 671 KB On The Hunt d_e1m6 E1M7 1186 KB Demons On The Prey d_e1m7 E1M8 1207 KB Sign Of Evil d_e1m8 E1M9 1074 KB Hiding The Secrets d_e1m9 E2M1 1196 KB I Sawed The Demons d_e2m1 E2M2 1201 KB The Demons From Adrian's Pen d_e2m2 This song was inspired by watching Adrian Carmack, the lead artist at id Software, while he was touching up the artwork on the Spider Boss in Doom. Adrian conceived the demons in Doom. He starts out doing a pencil sketch. The sketch is then either transferred into computer art by hand or it is made into a model which is then digitized. The digitizing of the model sounds simple, but there is much that has to be done before digitized artwork can be used. A good "bit level artist" is worth his/her weight in gold when it comes to superior game art work. Starting about 1 minute and 12 seconds into the song you will hear a musical technique that helps to keep a song interesting without being obvious. What the composer does is change the feel of the downbeat. There are many ways to do this, but in this case, I started playing the bass drum/snare drum parts an 8th note later than it had been played up to that time. This makes the music feel like it is pushing ahead while seeming to rotate or turn around. It's almost the same thing as causing a car to start spinning out of control. At 1 minute 36 seconds, the "car" all of a sudden jerks back out of the spin. E2M3 1585 KB Intermission From DOOM d_e2m3 Also the Doom intermission music. E2M4 1994 KB They're Going To Get You d_e2m4 E2M6 1391 KB Sinister d_e2m6 E2M7 830 KB Waltz of the Demons d_e2m7 E2M8 1393 KB Nobody Told Me About id d_e2m8 E3M1 762 KB Untitled d_e3m1 E3M2 933 KB Donna To The Rescue d_e3m2 E3M3 974 KB Deep Into The Code d_e3m3 If everyone at id Software worked as long and hard as John Carmack, id Software would be absolutely untouchable by any competition. Everyone else at id Software would answer this by saying that they have a life outside of developing games! John would answer that he does too, but he'd rather be programming all of the time :) The reason I bring this up is that while I was at id during the development of DOOM, I stayed in the office many, many hours myself (after all, that's where all of my transplanted music toys were located). As a result of long hours at the office, John and I were often there at the same wee hours of the night. John would only leave his office to nab a coke or run to the mens' room -- that is except when he had something special programmed and wanted someone to see it. Those kinds of things happen a lot around John, too. He is always coming up with some cool addition to his engines. Many times in those wee hours, I would come to a point where I couldn't make positive progress toward completing a song or a sound effect. I would go out into the then main room where a pool table sat and just roll the balls around the table. I could look into John's office and he would be sitting there in a world of his own, oblivious to anything else going on. When I worked on this song, I took a break at the pool table and saw John working away. That's when the name of this song hit me. E3M8 771 KB Facing The Spider d_e3m8 Endgame Music 505 KB d_bunny Title Music 65 KB d_intro Victory Music 1524 KB d_victor