- 아바(A.V.A) BGM - 공식 배포본 2008.02.09 (2)
- 퀘이크2 OST 2007.12.16 (6)
- 둠(Doom) 1, 2 OST 모음 2007.12.11 (26)
- 콜 오브 듀티 4 OST 2007.12.01 (8)
- A.V.A (아바) OST 모음 2007.12.01 (5)
- Doom Music (고전둠 MIDI) 2007.12.01 (2)
- Counter Strike:Condition Zero Intro BGM 2007.12.01
- Wolfenstein - Enemy Territory Intro 2007.12.01 (2)
- A.V.A(아바) OST - Metal Ver. 2007.11.29 (3)
# 아 글구 제가 쓴 이전 포스트에서 언급한 작곡가 2sun 씨가 "이해성"씨입니다.
= 아바(A.V.A) OST 부연 설명 =
* ALL MUSIC COMPOSED BY ; 이해성
1) Main Title_Ochestra
: 아바(A.V.A)의 메인 타이틀 곡으로 80인조 오케스트라 교향곡.
2) Main Title_Metal
: 아바(A.V.A) 메인 타이틀 곡의 Metal ver. 으로 기타리스트 정기송씨의 세션.
: 게임룸 내에 흘러나오는 50인조의 오케스트라 곡.
: RisingDust Map에서 후반부 나오는 곡.
: 섬멸전에서 후반부에 나오는 곡.
: UI 내 상점 부분에 나오는 곡. 현재 적용된 곡.
: UI 내 상점 부분에 나오는 곡. 새로 적용 예정인 곡.
: 게임 내 크레딧 화면에 사용되는 기타 곡.
이거 찾느라고 10시간도 넘게 검색하고 다녔다는..;;
작곡가는 Sony Mayhem이라고 하는 사람입니다. 퀘이크1 음악도 담당했다고 하네요.
퀘이크3보다 음악이 더 좋네요. 아드레날린이 마구 솟구치지 않습니까? ㄲㄲ
*1번과 11번은 일부러 뺐습니다.
다운로드는 여기를 클릭하세요
둠1과 2의 모든 OST를 모은 것입니다.
둠 OST의 작곡가는 Bobby Prince 이고, 둠1은 1993년, 둠2는 1994년에 나온 트랙입니다.
음질은 160kbps 44khz Joint Stereo, 편곡되지 않은 원본 음악들입니다.
둠1 음악이 22개, 둠2는 20개 입니다.
- 01_DOOM Title - At DOOM's Gate
- 02_The Imp's Song
- 03_Dark Halls
- 04_Kitchen Ace (And Taking Names)
- 06_On The Hunt
- 07_Demons On The Prey
- 08_Sign Of Evil
- 09_Hiding The Secrets
- 11_I Sawed The Demons
- 12_The Demons From Adrian's Pen
- 13_Intermission From DOOM
- 14_They're Going To Get You
- 16_Waltz Of The Demons
- 17_Nobody Told Me About id
- 19_Donna To The Rescue
- 20_Deep Into The Code
- 21_Facing The Spider
- 01_DOOM II Title - Running From Evil
- 02_The Healer Stalks
- 03_Countdown To Death
- 04_Between Levels
- 06_In The Dark
- 07_Intermission From DOOM II
- 08_Read Me
- 09_Shawn's Got The Shotgun
- 10_The Dave D.Taylor Blues
- 11_Into Sandy's City
- 12_The Demon's Dead
- 13_Waiting For Romero To Play
- 14_Message For The Archvile
- 15_Bye Bye American Pie
- 16_Adrian's Asleep
- 17_Getting Too Tense
- 19_Evil Incarnate
- 20_The Ultimate Challenge
각 트랙의 설명을 보려면 클릭해주세요
1. DOOM Title (0:07) /
At DOOM's Gate (1:44)
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.
2. The Imp's Song (2:50)
E1M2 "Nuclear Plant"
3. Dark Halls (4:40)
E1M3 "Toxin Refinery"
4. Kitchen Ace (And Taking Names) (3:02)
E1M4 "Command Control"
5. Suspense (2:52)
E1M5 "Phobos Lab"
6. On The Hunt (1:33)
E1M6 "Central Processing"
E3M6 "Mt. Erebus"
7. Demons On The Prey (2:45)
E1M7 "Computer Station"
E2M5 "Command Center"
E3M5 "Unholy Cathedral"
8. Sign Of Evil (2:33)
E1M8 "Phobos Anomaly"
E3M4 "House of Pain"
9. Hiding The Secrets (2:26)
E1M9 "Military Base"
10. Victory (3:28)
11. I Sawed The Demons (2:42)
E2M1 "Deimos Anomaly"
12. The Demons From Adrian's Pen (2:40)
E2M2 "Containment Area"
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.
13. Intermission From DOOM (3:29)
14. They're Going To Get You (4:23)
E2M4 "Deimos Lab"
15. Sinister (3:12)
E2M6 "Halls of the Damned"
16. Waltz Of The Demons (1:55)
E2M7 "Spawning Vats"
17. Nobody Told Me About id (3:01)
E2M8 "Tower of Babel"
18. Untitled (1:48)
E2M9 "Fortress of Mystery"
E3M1 "Hell Keep"
19. Donna To The Rescue (2:08)
E3M2 "Slough of Despair"
20. Deep Into The Code (2:11)
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 then go out into the 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.
21. Facing The Spider (1:44)
22. Bunny (1:03)
Doom 2 Music
1. DOOM II Title (0:16) /
Running From Evil (4:00)
MAP15 "Industrial Zone"
2. The Healer Stalks (5:05)
MAP11 "Circle of Death"
3. Countdown To Death (4:00)
MAP03 "The Gantlet"
4. Between Levels (2:43)
MAP04 "The Focus"
5. DOOM (4:32)
MAP05 "The Waste Tunnels"
6. In The Dark (7:10)
MAP06 "The Crusher"
MAP12 "The Factory"
MAP24 "The Chasm"
7. Intermission From DOOM II (3:02)
8. Read Me (4:56)
9. Shawn's Got The Shotgun (4:27)
MAP07 "Dead Simple"
MAP19 "The Citadel"
MAP29 "The Living End"
The story behind this song is that in the early days of DOOM
development, _no one_ could come close to beating Romero at DOOM
deathmatches. There were several reasons for this (my subjective
First, Romero has superior coordination.
Second, Romero wrote the user interface portion of the software. He
is left handed. You will note that a person using a mouse left
handed has the thumb _and_ fingers of the right hand to press the
space bar, shift, alt, control and the arrow keys on the standard
keyboard. As an aside, don't you dislike the Win95 keyboard and the
way it put those new keys in the way of strafe and fire?! Contrast
a left handed player with a right hander. A right hander's thumb is
_useless_ and just hangs out to the right of the arrow keys. I am
not saying that Romero did this just to have an edge - it _is_ more
ergonomically correct to have the standard DOOM keyboard/mouse
setup. Also, notice the number of other games that follow this
Third, given the keyboard/mouse setup, Romero could "skate" around
other players while firing a constant barrage of munitions. By
skating, I mean that it looked just like he was on ice and he could
circle an opponent, always smoothly adjusting to face that
Fourth (and last in this case), Romero designed many of the levels
and he was intimately familiar with them. This gave him an edge.
Romero and Shawn Green were always at each other about who was the
best player. They had offices with a wall between them and the
indentions in the walls reflected the most basic type of
communications they used - beating on the wall. (They also yelled a
In the early days that Shawn worked at id, Romero made deathmatch
mince meat of him. Slowly but surely, though, Shawn shortened the
gap between his and Romero's playing skills. When I was at id to
tie in music and sound effects, I would watch both of these guys
play one another. I would go from Romero's office to Shawn's and
back to see the action from both perspectives. It seemed to me that
Shawn was at his best when he had the shotgun (especially the
double barreled one of DOOM II). I would think to myself "Uh-oh,
Shawn's got the shotgun," and that is how the song got its name.
At first, Shawn was better at the levels he had designed, but,
slowly and surely, he was able to beat Romero at any level. This
was as the levels became more or less locked down and both of them
had equal knowledge of the levels.
When American McGee hit the scene, Romero and Shawn toyed with him
in deathmatch. American became the undisputed best player at id,
though. But, that's another story.
10. The Dave D. Taylor Blues (5:11)
MAP08 "Tricks and Traps"
MAP14 "The Inmost Dens"
MAP22 "The Catacombs"
Between DOOM and DOOM II, I worked with John Carmack and Dave
Taylor at id to help port Wolfenstein to a video game platform. At
that time Dave was doing the sound code for the port and I was
designing the instrument samples and tweaking the MIDI files to
keep the number of notes to a minimum. Somewhere along the line,
Dave mentioned something about a blues song and it stuck in my
mind. When I wrote the music for DOOM II, that idea became a song
which I named in honor of Dave.
Dave has since left id Software to go with his own company, Crack
Dot Com. That is the company that developed Abuse which is now
distributed by Origin.
This song follows the "classical" blues chord progression, which is
12 bars long. The chord progression is as follows (a slash
separates each measure and each measure has four beats):
I / I / I / I /
IV / IV / I / I /
V7 / IV / I / I /
In the key of E, the I would be an E, the IV would be an A and the
V7 would be B7.
Listen for the echo on the rhythm guitar. This is one of the first
songs where I experimented with doing a MIDI echo. The idea is to
play a note and hold it. Then you play the same note over and over
again, reducing the volume of each succeeding note. The results are
an echo that is almost as good as those played through digital
reverberation/echo units. It sounds like some of the original
analog tape echo units of the 60's.
The lead for this song gets pretty wierd starting at about 3
minutes 37 seconds, but I love the dissonance it causes. It is the
same dissonance I felt the first time I played DOOM - a feeling of
almost standing up straight while almost falling on one's butt at
the same time.
11. Into Sandy's City (4:48)
MAP09 "The Pit"
When I was composing the songs for DOOM, I did not get to see any
finished levels. In the case of DOOM II, there were some levels
that changed very little from the very early days of development.
One of these was what I called "Sandy's City" because it was a
level designed by Sandy Peterson. Everyone loved playing that level
and I decided that I had to write a song that sounded sorta "city-
like." This song was the result. Originally I had a piano playing
the part that the harpsichord is playing but no one at id liked the
idea of a piano in any of the music. As a joke, I changed the patch
to the harpsichord. I expected everyone to voice opposition, but
everyone seemed to like it - so, I left it in!
Sandy's city level made it into DOOM II, but there were several
changes (made to raise the frame rate, I think). To me, the changes
made the level less fun to play (but it's still a great level,
especially for deathmatch).
12. The Demon's Dead (4:36)
MAP10 "Refueling Base"
13. Waiting For Romero To Play (5:17)
MAP18 "The Courtyard"
MAP27 "Monster Condo"
This song was easily named. You wouldn't believe how people in the
id Software offices used to line up to watch John Romero play DOOM.
Long before the sound effects were in the game, John would provide
his own, and he was good at making a lot of sound effects with his
mouth. But, the reason that people lined up to watch him play was
that he put everything he had into playing the game. If it was a
deathmatch, look out! John threw a constant barrage of taunts,
screams and other sounds at the opposing players. One day I noticed
how quiet things got while people were gathering to watch and I
decided to do some pensive music to go with such times. Thus, the
song became "Waiting For Romero To Play."
John has now left id Software to form his own company, Ion Storm.
There have been better players at id, but none of them will ever
have people lining up in anticipation of watching them play as John
did. I know that id Software will sorely miss the manic energy that
John Romero provided.
14. Message For The Archvile (4:48)
MAP26 "The Abandoned Mines"
15. Bye Bye American Pie (1:49)
MAP23 "Barrels o' Fun"
16. Adrian's Asleep (2:05)
17. Getting Too Tense (4:54)
MAP28 "The Spirit World"
18. Opening To Hell (4:48)
MAP30 "Icon of Sin"
19. Evil Incarnate (1:18)
This song was originally written for Wolfenstein which only
supported FM synthesizers. In order to get into the mood for it, I
rented a movie about the infamous "Doctor of Auschwitz" and watched
it until I was totally infuriated. This song was the result of the
feeling of evil that came over me thinking about the terrible
things the Nazis did.
During the development of DOOM II, a decision was made (by John
Romero, I think) to include at least one Wolfenstein level. This
song had been one of John Carmack's favorites in Wolfenstein, so I
translated the FM file to a general MIDI file. The FM version had
an instrument that sounded like footsteps (for soldiers marching),
and I had to try to find a similar sound among the 128 standard
instruments that make up the general MIDI standard. It turned out
that the gunshot patch (general MIDI instruments include several
sound effects) would work if I played a very low octave note for a
relatively short time. One would call this "using an instrument
patch by abusing it." The problem with doing this is that not all
sound cards have the same effect when you abuse individual
instruments. Such is the case here. On some wavetable synths, these
"footsteps" last long enough that you begin to hear the richochet
part of the gunshot. On the Roland Sound Canvas and the Yamaha
MU-80, it does sound like many soldiers marching. Such
incompatibilities and quirks are the price one pays for trying to
make something do what it was not really intended to do.
20. The Ultimate Challenge (1:27)
한가지 흥미로운 것은, Bobby Prince가 커뮤니티에서 표절 의혹을 받은 적이 있더랍니다.
둠의 음악들이 어떤 특정한 곡들과 너무 많이 일치해서 일어난 일이죠.
이것과 관련하여 예전에 어떤 분이 블로그에 포스팅을 한 적이 있습니다.
위키피디아에 더 자세한 이야기가 나와 있는데, 법적으로는 문제가 없는 모양입니다.
다운로드를 원하시면 여기를 눌러주세요
Doom 1 OST
9개의 파일을 모두 받은 다음 exe파일을 실행하세요
Doom 2 OST
11개의 파일을 모두 받은 다음 exe파일을 실행하세요
P.S. 포스팅 한개 때문에 이렇게 삽질해본 적은 처음이네요..;;
게다가 이 글 하나의 첨부파일 용량이 다 합해서 340Mb에 달하는..
갑자기 Doom 1 의 첫번째 스테이지 배경음악이 생각나서 갑자기 검색했는데-
이곳까지 오게 되었습니다. 거두절미하고 진정한 매니아라고 감히 평가하겠습니다-
높은 퀄리티와 수고로움을 마다하지 않으신 점 정말 고맙습니다-
Welcome to HELL- NightMare↘
ROKMC 김종수 2010.08.21 17:36 신고
와! 정말 좋은 자료네요! 찾기도 힘들고 구하기도 무척 힘들 자료인데 이렇게 시원하게 한방에
모두 올려주시다니 정말 감사하네요. 멋져요!
예전에 HaeMoSu님이 디씨 FPS갤러리에 올리셨던 자료입니다.
모두 6개의 곡이 있습니다.
문제 있을시엔 삭제토록 하겠습니다.
곡의 다운로드를 원하시면 아래 링크를 눌려주세요
02. War Pig
03. Cobra Down
04. Shockwave And Aftermath
05. Zakhaev's Exchange
06. We'll be dead in ten
아바는 게임성도 좋지만 음악이 정말 뛰어난 것 같네요.
작곡가는 2sun이고, 스페이스A 등의 음악을 작곡하던 분이라고 합니다.
80인조의 오케스트라 연주로 되어 있습니다.
첫번째 곡은 인트로 음악으로 아바의 주제가 라고 할 수 있겠네요.
이 곡은 메탈버전으로도 만들어져 있는데, 제 블로그에 포스팅해 두었습니다.
두번째인 Music 02는 인벤토리/상점 에서 나오는 BGM입니다.
세번째로 Music 03은 대기방에서 나오는 BGM입니다.
세 곡 모두 완성도와 분위기가 뛰어난 곡들이네요.
곡의 다운로드를 원하시면 아래 링크를 눌러주세요.
A.V.A BGM 01 (메인테마)
A.V.A BGM 02 (인벤토리/상점)
A.V.A BGM 03 (대기방)
Craig 2007.12.22 23:49 신고
AVA를 하고있지만 OST가 이렇게 멋있는줄은 몰랐네요. 대중성은 떨어지는것같지만 (아바라는 게임자체가 그렇기도 하지만) 작품성은 하이엔드급>_<! 피아노부분에서 전율이! 포스팅 감사합니다.
둠1, 둠2 뿐만 아니라 헤러틱, 헥센, 울펜슈타인3D 등등의 BGM도 포함되어 있습니다.
카스 컨디션제로를 실행하면 들을 수 있는 BGM입니다.
카스 시리즈에 존재하는 유일한 인트로 BGM이죠.
꽤 간단한 곡인데 의외로 분위기가 좋고 게임에 잘 맞는듯 합니다.
울펜슈타인 에너미 테리토리 인트로 BGM
아바 메인 OST의 메탈버전입니다.
실제 게임상에는 등장하지 않는 곡이죠.
작곡은 2sun, 기타리스트가 정기송 씨 입니다.
음악 보내주신 plapina님께 감사드립니다.