둠(Doom) 1, 2 OST 모음

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.

- Doom 1 OST -

- Doom 2 OST -

Doom 1 Music

1. DOOM Title (0:07) /
At DOOM's Gate (1:44)

E1M1 "Hangar"

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"
E3M9 "Warrens"

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)

E2M3 "Refinery"

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"
E3M7 "Limbo"

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)

E3M3 "Pandemonium"

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)

E3M8 "Dis"

22. Bunny (1:03)

--------------------------------------------------------------------------------

Doom 2 Music

1. DOOM II Title (0:16) /
Running From Evil (4:00)

MAP01 "Entryway"
MAP15 "Industrial Zone"

2. The Healer Stalks (5:05)

MAP02 "Underhalls"
MAP11 "Circle of Death"
MAP17 "Tenements"

3. Countdown To Death (4:00)

MAP03 "The Gantlet"
MAP21 "Nirvana"

4. Between Levels (2:43)

MAP04 "The Focus"

5. DOOM (4:32)

MAP05 "The Waste Tunnels"
MAP13 "Downtown"

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
opinion here).

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
convention.

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
opponent.

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
_lot_.)

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"
MAP16 "Suburbs"

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)

MAP20 "Gotcha!"
MAP26 "The Abandoned Mines"

15. Bye Bye American Pie (1:49)

MAP23 "Barrels o' Fun"

16. Adrian's Asleep (2:05)

MAP25 "Bloodfalls"

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)

MAP31 "Wolfenstein"

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)

MAP32 "Grosse"

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.

'예전포스팅모음 > 자료저장' 카테고리의 다른 글

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