In my case, when I first experienced Quake in 1999, I was fragging fiends and shamblers to the dulcet tones of Roland Gift and the Fine Young Cannibals’ The Raw & the Cooked. It’s best if you try this experiment with something goofy like a “Weird Al” Yankovic CD or a New Kids on the Block CD. Even works the other way around when you play Quake II‘s soundtrack in Quake! Try playing Quake II with Quake‘s soundtrack - makes Quake II a little more unsettling. The game didn’t care about what CD was in, as long as it was a CD with music tracks, it didn’t give a damn and played them anyway, sometimes leading to amazing results. The best part about the CD audio in PC games was in the days before disc protection software like SecuROM, they didn’t require the CD to run.Īs a bonus side effect, this meant you could put any music CD in and frag dudes while listening to your favorite bands in game. Install the game and rock out to the CD tunes while in game. Quake, Shadow Warrior, Blood, Half-Life and Starsiege: Tribes were among many of the examples I remember back in the day. Of course, PC games also used CD audio heavily. Shadow Warrior was one of the earlier PC games to support the Red Book audio standard, giving us Lee Jackson’s wonder music done through a Roland SC-55 without the requirement of a fancy sound card. One of the most famous is the hidden track in Castlevania: Symphony of the Night, where after being told not to play track one, it segues into a remix of the Dracula’s Castle theme, which sounds pretty awesome. Pick up any game by Digital Pictures - like Night Trap or Double Switch - and you’ll be serenaded by the production staff giving their rousing rendition of The Beatles’ “Revolution 9” – backwards. Some developers opted to put hidden tracks instead. Not everybody used the CD audio tracks for music, though. Be careful though, since Red Book audio CDs are mixed mode CDs, you need to tune to track 2 to hear the game music, unless you want to hear a lot of unlistenable static that could damage your speakers or the disc itself. The Red Book audio standard changed that to something more simple: putting in the CD in a CD-ROM drive and pressing play. Previously, if you wanted to listen to the game music, you had to hope for a soundtrack CD, or in the case of PC gaming, dig through files and play them on media players that could support MIDI or MOD Tracker files. To me, this is what made CD audio awesome: Being able to listen to the soundtrack outside of the game. In most cases, you could put the game CD in a CD player and start listening to the music without having to play the game itself. Not only could you hear the awesome music in game, you could listen to it outside of the game. It was pretty neat to listen to most of the game’s music outside of the game. Similiarly to his previous work on Doom 64, Aubrey created an entirely new atmospheric otherworldly soundtrack.I remember the PC version of Sonic CD being one of the earliest examples of this. Quake 64 features an entirely new, mostly ambient soundtrack consisting of seventeen tracks all composed by the musician Aubrey Hodges, which also composed the soundtrack for Doom 64 and the N64 version of Quake II. I had always wondered what could have been if there were less restrictions so I recently created two new remixed tracks to find out! One last note, in some cases I have purposely used distortion and sonic degradation in the tracks, no your speakers are not screwed up.I am. I really liked how it came together and the game is one of my favorite works. I used less samples in the music and reused sound effects as instrument samples at times. The challenge for me from the audio perspective was in how to deliver an aggressive and edgy sound using very low quality (small) samples. In 1998, Quake was brought to Nintendo 64 by Midway Games.
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