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.

Level	Size	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	None
E1M3	2148 KB	Dark Halls	d_e1m3	None
E1M4	1350 KB	Kitchen Ace (And Taking Names)	d_e1m4	None
E1M5	1303 KB	Suspense	d_e1m5	None
E1M6	671 KB	On The Hunt	d_e1m6	None
E1M7	1186 KB	Demons On The Prey	d_e1m7	None
E1M8	1207 KB	Sign Of Evil	d_e1m8	None
E1M9	1074 KB	Hiding The Secrets	d_e1m9	None
E2M1	1196 KB	I Sawed The Demons	d_e2m1	None
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	None
E2M6	1391 KB	Sinister	d_e2m6	None
E2M7	830 KB	Waltz Of The Demons	d_e2m7	None
E2M8	1393 KB	Nobody Told Me About id	d_e2m8	None
E3M1	762 KB	Untitled	d_e3m1	None
E3M2	933 KB	Donna To The Rescue	d_e3m2	None
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	None
Map01	1818 KB	Running From Evil	d_runnin	None
Map02	2306 KB	The Healer Stalks	d_stalks	None
Map03	1815 KB	Countdown To Death	d_countd	None
Map04	1272 KB	Between Levels	d_betwee	None
Map05	2053 KB	DOOM	d_doom	None
Map06	3297 KB	In The Dark	d_the_da	None
Map07	2039 KB	Shawn's Got The Shotgun	d_shawn	None
Map08	2374 KB	The Dave D. Taylor Blues	d_ddtblu	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.
Map09	2214 KB	Into Sandy's City	d_in_cit	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).
Map10	2083 KB	The Demon's Dead	d_dead	None
Map18	2420 KB	Waiting For Romero To Play	d_romero	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. There are 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.
Map20	2206 KB	Message For The Archvile	d_messag	None
Map23	788 KB	Bye Bye American Pie	d_ampie	None
Map25	916 KB	Adrian's Asleep	d_adrian	None
Map28	2234 KB	Getting Too Tense	d_tense	None
Map30	2205 KB	Opening To Hell	d_openin	None
Map31	1177 KB	Evil Incarnate	d_evil	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.
Map32	642 KB	The Ultimate Challenge/The Ultimate Conquest	d_ultima	None
Doom Title Music	65 KB	?	d_intro	None
Doom Victory Music	1524 KB	?	d_victor	None
Doom Endgame	505 KB	?	d_bunny	None
Doom 2 Title Music	135 KB	?	d_dm2ttl	None
Doom 2 Intermission Music	1399 KB	?	d_dm2int	None
Doom 2 Endgame	2276 KB	?	d_read_m	None
E1M8	2718 KB	E1M8 Recreation	Jeremiah Sypult of G0D5G1F7	None