Spec Ops: The Line

April 8, 2018

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 completely 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 you never hear some tracks fully uninterrupted - as you do listening to the games files. So if you're recording the audio in-game, instead of going through the proper extracting process as we have, you'll miss out on the full audio (it also makes for a more casual listening experience).  Tracks such as "Enter the Atrium"  actually blend together during gameplay with the other files under "Leaving the Atrium", this is another example of where I blended the two tracks together because of how seamless it works in-game. There are other folders that just contain a few short cues and sound flares you hear when the game transitions between cues. In these instances, I thought it best to blend the files as you hear them in-game, rather than have 5 or 6 separate cues and sound effects that should be played together anyway.

 

As for the track titles, 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 easier to identify where the track is being played and it just looks more professional. For the most part, every track has a pretty solid official title so that make labeling them rather effortless. Of course, I did not include the licensed tracks from the game with the exception of the track "Glashow Mega Snake - Mogwai and R U Still In 2 It (Opening)" because it's not the entire track, parts are cut out of each such as the intro, outro or bridge.

 

Lastly, I found a sort of interesting Easter egg.. and that is one of the tracks when you're near the drop-in candle area during chapter 4, one of the tracks(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 a publishing producer on Spec Ops: The Line, so possibly the composer or sound designer thought of tagging a track with his name. Just something I come across while browsing the games 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. It's a kickin' soundtrack full of double-bass, power chords and acoustic guitar. Give it a listen because there are some really great tracks on here.

 

~Here is a list of the licensed songs used in Spec Ops: The Line~

 

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