Spec Ops: The Line was released in June of 2012 for the Xbox 360, PlayStation 3, Window, OS X and Linux. It was created by Yager Development and published by 2K games. The composer for Spec Ops: The Line is Elia Cmíral, who's only other game composition is for The Last Express in 1997 but has also written numerous film and television scores. I am almost 100% satisfied with the way this turned out. It's worth it to take our time with these projects because when you search online, there are a fair amount of tracks omitted from others uploads. Where we can say for sure that we've included every track you hear in-game; with the exception of a few cutscenes with unremovable sound effects.
At first, I wasn't sure if I was going to keep the short cues separate and loop them or try and blend them with others as the way they sound in-game. I decided that since certain tracks do blend with one another in-game, I would to do the same with my editing process. During the game, tracks such as "Death Scene(M1_bank46)" have fade-in and fade-out in the middle of the track as the cutscene transitions to gameplay. So, if you're recording the audio in-game, instead of going through the extracting process as we have, you'll miss out on the full audio. Extracting this way, allows you to hear the tracks fully uninterrupted(it also makes for a more casual listening experience). Tracks such as "Enter the Atrium" naturally blend together during gameplay with the other files under "Leaving the Atrium", this is an example of where I blended the two tracks together because of how seamless it works in-game—but once again, sounds much better than simply recording the audio. There are other folders that just contain a few short cues and stingers you hear when the game transitions between them. In these instances, I also thought it best to blend the files as you hear them in-game, rather than have four or five separate cues in certain areas.
As for naming the track titles; for some of the tracks I used the current mission description instead of the official title in the txt export files, for instance "Take Out The Snipers" in place of "Ambient15" because it's not only easier to identify where the track is being played but it looks more professional. For the most part, every track contains a solid official title—which made labeling them rather effortless. I did not include the licensed tracks from the game(those can be purchased elsewhere) with the exception of the track "Glashow Mega Snake - Mogwai" and "R U Still In 2 It (Opening)" because they're partially modified tracks and shorter than the originals. Portions are cut-out, such as: intro, outro or bridge.
Lastly, I discovered an interesting Easter egg.. and that is when you're near the drop-in candle area during chapter 4, the track that plays at that moment(M2_bank42) is title KASAVIN. Curious, so I looked it up and Greg Kasavin is creative director of Supergiant games and developer of Bastion, Transistor and Pyre. He was publishing producer on Spec Ops: The Line, so possibly Elia Cmíral or the sound department thought of tagging a track with his name. Just something I came across while browsing the game files and worth a mention.
Spec Ops: The Line Soundtrack is uploaded in both MP3 and FLAC. You'll find it here in the archives by clicking the link. It really is a rockin' soundtrack. Chock-full of double-bass, power chords and acoustic guitars. Give it a listen because there are some great tracks on there. Enjoy!