#Doom uac report file full#
#Doom uac report file software#

A smooth, flowing dynamic soundtrack was created to support the flow of the gameplay.

#Doom uac report file software#

While the synths were initially setup to avoid a heavy metal feel, fearing it would be perceived as 'too corny,' feedback in the wake of the QuakeCon 2015 presentation led Mick to layer in more guitars for a heavier sound, as fans believed this was necessary to reflect the game's roots.Īs a fan of listenable '90s game soundtracks, Gordon was motivated to bring the music 'front and center,' using it as reward and motivation, with the tempo of music matched closely to gameplay footage sent to him by id Software during development. He stated that it was important to put the legacy of Doom on a pedestal, leading to the numerous allusions to the original soundtracks in his work, but without a 'laser focus' that would hamper the development of a unique identity.

States the ageless nature of the Doom Slayer and his ever-growing power.ĭescribes the imprisonment of the Doom Slayer in the Kadingir Sanctum.Ĭomposer Mick Gordon described the design process of the soundtrack as beginning with 'discarding the name 'DOOM'' in order to first define and focus on the elements that underlay its themes of Mars, Hell and demons, futuristic science fiction, and isolation in an alien environment. Additionally, all of the titles begin with the letter 'D'.ĭescribes the Doom Slayer's singular qualities as a champion against Hell. The tracks are an homage to ’70s and ’80s concept albums that tell the story of a protagonist. The interludes between each chapter and the final track feature narrations by the Lord of Hell of excerpts from the Doom Slayer's Testament. Contains a hidden sample saying, 'Jesus loves you', probably as a parody of backmasking controversies. The closing note is the opening note of 'Facing the Spider' played backwards.įinal Doom Slayer's Testament. The ending features a choral arrangement of 'Sign of Evil'.Īn early version of this song as used during the E3 demo, unofficially named 'Welcome to Hell' at the time.Ĭontains a Easter egg in its spectrogram of John Romero's head.Ĭontains renditions of 'E3M1 - Untitled' at 1:10 and 'Into Sandy's City' at 7:08.Ĭredited as a new track made with Chris Hite.Ĭontains several themes reprised from other tracks, including 'Rust, Dust & Guts', 'Flesh & Metal', 'BFG Division' and 'VEGA Core'. The first segment contains a drone-like ambience similar to 'They're Going To Get You'. Credited to Chad Mossholder.Ĭontains a short arrangement of 'Kitchen Ace (And Taking Names)' at 1:33.Ĭontains Easter eggs in its spectrogram, including the Number of the Beast, Satanic pentagrams, and the Doom guy's face right at the end. Ĭontains themes derived from the 'Doom 3 Theme' and 'E3M1 - Untitled'.įeatures an unused alternate version of Olivia's announcement before unleashing the Hell Wave. Seems to have been based on Seizure of Power by Marilyn Manson for the Resident Evil film score. Uses the ambient intro from 'The Imp's Song'.Ĭontains a short arrangement of 'Waltz of the Demons' and a brief sample of the classic BFG at the very end. When the audio is transposed up by 36 semitones, Olivia can be heard to say her final line of dialogue from the Foundry, 'You could not have saved them anyway.' Contains an Easter egg in its spectrogram showing the number 36.

#Doom uac report file full#

The main riff is played using synthesized chainsaw sounds.Ī full rendition of 'Suspense'. The soundtrack is rife with allusions to the previous games of the Doom series, including material adapted from Bobby Prince's original Doom and Doom II soundtracks, and the main theme from Doom 3.Īn extended arrangement of the original 'At Doom's Gate'.Ĭontains arranged themes from 'The Imp's song'Ĭontains arranged themes from 'Sign of Evil' and 'DOOM (Doom 2)'. Dark ambience punctuates the rock, used in particular as backing to the narration sequences. The soundtrack is primarily composed of digitally synthesized progressive metal processed extensively with analog effects, variously described as falling within the sub-genres of post-industrial, dark synth-rock, glitch music, and djent. Additional sound design was created by Richard Devine. Aside from arrangements of the original in-game music as it was composed by Mick Gordon, one track is remixed by Doom's audio designer Chad Mossholder, and one new track composed by Chris Hite, Doom's audio director. It features 31 tracks with a total play time of 128 minutes, and consists of three distinct chapters and a final track. An official soundtrack publication for Doom (2016), entitled Doom (Original Game Soundtrack), was released by Bethesda on September 28, 2016.