Portal 2 soundtrack: Difference between revisions

Shorter versions of particular songs, or sound effects from the game, are available as ringtones from the website above. The soundtrack was released in three volumes: The first, titled ''Volume 1'', was released on May 25, 2011; ''Volume 2'' on July 1, 2011, ''Volume 3'' on Sept. 30, 2011, and as a 4-disk ''Collectors Edition'' on October 30, 2012. Volumes 1, 2, and 3 were composed by Mike Morasky (credited as Aperture Science Psychoacoustic Laboratories) and volume 4, the soundtrack of the first Portal game, was composed by both Morasky and Kelly Bailey.

Played during the Portal 2 TV Spot and other trailers.

Plays during [[Story|The Courtesy Call]], in Test Chambers [[Portal 2 Chapter 1 Test Chamber 2|2]], [[Portal 2 Chapter 1 Test Chambers 3 & 4|3, 4]], [[Portal 2 Chapter 1 Test Chambers 7 & 8|7 & 8]]

Plays when waking [[GLADOS]] and walking through the [[Incinerator]]. The song contains notes from Turret Redemption Line, and is remixed in Bombs For Throwing at You.

A chaotic electronic track that plays when being propelled through the air via a [[Faith plate]]. It doesn't play in Chapter 2 in [[Portal 2 Chapter 2 Test Chamber 6|Test Chamber 6]] or Chapter 3 in [[Portal 2 Chapter 3 Test Chamber 10|Test Chamber 10]].

Plays in Chapter 2 Test Chamber 7. When near the [[Companion Cube]], the melody from Cara Mia Addio, the [[Turret Opera]], can be faintly heard.

An electric, buzzing, and distorted synth track, played when on a [[Hard Light Bridge]]. The song can be heard louder when crouching. The melody from Cara Mia Addio can be heard.

A melancholic, lamenting track played in Chapter 3 Test Chamber 13. The high, wailing synth melody plays when a turret is knocked over. An excerpt from this track can be heard in An Accent Beyond.

A simple, bubbly and nostalgic track, consisting only of layered sine waves, that plays in Chapter 3 Test Chamber 14. The track builds on itself, as a new layer is added each time a laser relay is activated.

Plays when entering the Ratman den in Chapter 3 Test Chamber 16, in which the player can see four turrets, nicknamed the "Turret Quartet," singing for the Turret Wife, also known as the Prima Donna Turret or the Fat Turret.

A melodic, nostalgic track consisting of layered synths that plays in Chapter 4 Test Chamber 18. The song builds on itself as laser relays are activated.

An echoing, industrial-sounding track consisting of mechanical noises and booming clangs that plays in Chapter 4 Test Chamber 19. The song has no melody, and is more of an atmospheric track; The reverberating, hollowness of the song mirrors the spaciousness of the chamber.

An electronic track consisting of layered synths that plays in Chapter 4 Test Chamber 20. The song builds on itself, with a new layer added each time one of the three laser receptacles is activated. When the test chamber is complete, the song's layers are all playing in unison.

== ''Portal 2: Songs to Test By - Volume 2'' (Collectors Edition Disk #2) ==

Plays in the first half of Valve's TV Spot trailer for Portal 2 and in custom test chambers made in [[Puzzle Creator]]. All [[#Robot Waiting Room|Robot Waiting Room]] tracks except 1 and 6 are remixes of it.

Plays on the main menu after GLaDOS is awoken. The first part is a haunting flute and harp melody with rippling synths. The second part is a remix of Die Cut Laser Dance.

Plays during the escape in Test Chamber 21. The melody of I'm Different can be heard when knocking over turrets in one of GLaDOS's traps.

* It is worth noting that the descending synth riff plays twice in the soundtrack version, once at the very beginning and again when GLaDOS opens up panels to reveal the final test chamber, with a Hard Light Bridge leading to it. However, in the game version, the riff is only heard when GLaDOS reveals the chamber, and '''not''' at the beginning of the song.

Plays when entering the Turret Production center, as the player traverses static conveyors while listening to Wheatley's [https://i1.theportalwiki.net/img/1/15/Wheatley_sphere_flashlight_tour57.wav haunting tale].

An upbeat, salsa/tango style track riddled with mechanical cutting sounds. This track plays as the protagonist dodges the laser-cutting robot arms in Turret Manufacturing. This song is remixed in the second part of Bots Build Bots.

Plays when entering the turret redemption line. Contains notes from the second half of You Know Her?

The track starts with ambient synths and distant water-drop-like sounds, slowly becoming more electronic as the player cuts the [[Neurotoxin|Neurotoxin Generator]]'s tubes. The second part of the song is a heavy, fast-paced electronic track. This plays as the generator collapses and Wheatley urges the protagonist to enter the control room and ride the exposed tube to the [[Central AI Chamber]]. The song ends with a suction sound, as Wheatley and the player are sucked into the tube. The beginning can be heard briefly at the start of Don't Do It, as well as the and of Caroline Deleted and the beginning of Cara Mia Addio.

Plays when Chell enters GLaDOS' chamber for a second time and is required to press the Stalemate Resolution Button. This song is remixed in The Part Where He Kills You, Bombs For Throwing at You, and Your Precious Moon. The first part of Almost At Fifty Percent can be heard briefly at the beginning.

The beginning of the song is an uneasy electronic melody with alarm-like synths that plays when the core transfer is happening. The second part, an upbeat, more heavily electronic track, plays while Wheatley is marveling over his size and newfound abilities after being transferred into GLaDOS's mainframe. The third part is an increasingly dramatic orchestral piece that plays when Wheatley betrays the protagonist, delivers his villainous monologue, puts GLaDOS into a potato battery, and the player learns of Wheatley's true purpose. The song is left hanging on a single note as the player and PotatOS plummet down the elevator shaft.

A mighty horn track filled with dread that plays in Tartaros 9. When the player advances in the level to one of the catwalks overlooking the condemned site, the song switches to its more electronic second half.

Plays during the first [[Repulsion Gel]] [[Portal 2 Chapter 6 Enrichment Sphere 1|test]]. The broken chord arpeggios play when bouncing on the gel. Some of the notes in this song are featured in Robot Waiting Room 1.

A more electronic remix of the second half of “You Are Not Part of the Control Group” which plays during later Repulsion Gel tests. The broken chord arpeggios play when bouncing on the gel.

Plays during the Propulsion Gel tests after reuniting with PotatOS. This track is an extremely electronic, distorted remix of You Are Not Part of the Control Group. Unlike Forwarding The Cause of Science, this remix maintains the tempo of You Are Not Part of the Control Group, as it is not sped up in any way. The stuttering synth arpeggios play when speeding on the Propulsion Gel.  

Plays when entering Pump Station Gamma and during Cave Johnson's lemon rant. It is a heavier, more electronic remix of the second part of Music of the Spheres, with distorted, buzzing synths.

== ''Portal 2: Songs to Test By - Volume 3'' (Collectors Edition Disk #3) ==

Plays during the Portal 2 official teaser trailer. The percussion loop from this song can be heard in Caroline Deleted.

Plays during some of Wheatley's tests in Chapter 8. This song is remixed in The Part Where He Kills You, which, in turn, is remixed in Bombs For Throwing At You.

A rendition of Johann Sebastian Bach's "Little Prelude in C minor, BWV 934," but transposed from the key of C minor to F minor. The first half is played on a harpsichord. The second half, which is the same melody but very electronic-sounding and played on synthesizers, only plays when the player is being launched by a Faith Plate or flinging themself with the use of an Excursion Funnel.

* In the game, when the player is performing one of the aforementioned actions, the second half briefly takes the place of whichever part of the first half would be playing at the time. This is one of the many examples of how composer Mike Morasky uses procedurally generated music, or music that is generated in real time based on the player's actions.

Plays in Chapter 8 when the player is inside an Excursion Funnel. This is remixed in the first part of The Part Where He Kills You.

The first part of this song is a remix of Excursion Funnel with added percussion. This is broken by a startling synth arpeggio when the player is hurtled towards Wheatley and his "mash-y spike plates". The rest of the song is a fast-paced, electronic remix of Wheatley Science and Don't Do It. Part of this song also plays on the menu screen during Chapter 9.

A highly climactic track that plays during the final battle between Wheatley and the protagonist. The main melody, a remix of The Part Where He Kills You, I AM NOT A MORON!, and the second half of You Know Her, plays as Wheatley attacks the player with bombs and the player attempts to redirect them back at Wheatley. The percussive interludes play when Wheatley is stunned and the player attaches the corrupted Cores to his mainframe.

Plays after all 3 corrupted cores have been attached to Wheatley. The first part, a dramatic remix of Don't Do It, plays as PotatOS urges the player to press the Stalemate Resolution Button, which turns out to be booby-trapped by Wheatley. This is broken by a comedic chime when the player shoots a portal onto the moon. The second part, an even more dramatic orchestral piece, plays as the protagonist, Wheatley, and the corrupted cores are sucked out into the vacuum of space, and GLaDOS, back in control, knocks Wheatley out of the player's hand and saves them, pulling them back through the portal with a robotic arm.

Plays in GLaDOS' final talk with Chell, and the elevator ride up to the [[Turret Opera]]. The first part is a rendition of You Are Not Part of the Control Group, which is interrupted by a beep as GLaDOS supposedly deletes Caroline from her system. The second part is a rendition of Don't Do It, and the third part is a rendition of Reconstructing More Science. The song ends with the first three notes of Cara Mia Addio.

* During the third part of the song, the percussion loop from Reconstructing More Science doesn't match up with the melody. It is unknown whether this was intentional or a mistake.

* The first three notes of this song are the last three notes of the previous song, Caroline Deleted. However, there are two auditory differences. First, the notes of Cara Mia Addio are much clearer and crisper than those of Caroline Deleted. Second, the turret sound effects are not present in the previous song.

Ambient ringing and space sounds. Plays during Wheatley's apology speech.

Please note that the Trivia section consists purely or mainly of recurring melodies.