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.

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