Liontamer Posted July 25, 2023 Share Posted July 25, 2023 Contact Information Artist name: Lashmush Real name: Rasmus Sorber E-mail: Sites: soundcloud.com/lashmush , mixcloud.com/lashmush , lashmush.newgrounds.com , lashmush.bandcamp.com , youtube.com/lashmush Userno: 20246 Submission Information Lotus 3: The Ultimate Challenge Twin Millennium (Nitrous Remix) Lotus III: The Ultimate Challenge Amiga port, originally composed and arranged by Patrick Phelan. Original track here I originally made a synthwave version of this more close to the original tempo. I did not upload it as it was simply way too samey as the original so more of a cover, not a remix up to standards. However, I worked very hard recently on my first live performance (big success, btw) and I figured I could do a sort of experimental psytrance approach in 160 bpm instead. Sooo, I started ripping out old synths and slapping in newer mix techniques I've learned, I added a synth harmony to the VST guitar, I did all sorts of junk for this one. The original even has a bunch of AI isolated samplings of voice lines from Hot Fuzz, the Edgar Wright movie. Removed for OCR ofc. In any case, I suppose total time put into this is like 35-40 hours maybe, 6-7 of them being this remix of my old remix version. Drive carefully with this one, folks. You're liable to arrive much faster at your destinations, if you catch my drift here? DROPBOX BACKUP LINK (44khz 16 bit WAV): Link to comment Share on other sites More sharing options...
MindWanderer Posted August 21, 2023 Share Posted August 21, 2023 Dang, that source track sounds great for Amiga. It's a really fun, energetic arrangement as well, but production needs some work. The lead that kicks in at 0:33 is notably quiet compared to the drums and car engine noises. It's better when it returns at 1:10 because the car noise is gone, but it's still sitting too far in the back. 1:39 has the same problem: even though it's a quieter section overall, the lead doesn't cut through very well and the bass and kicks are knocking the clarity out of it. The third lead (which starts at 0:47) is better, but listen at 0:57 for an example of where you can't hear it very well at all. I'm a bit borderline about this overall, but the fact that the most unclear part is where the main melody starts really take the wind of of the remix's sails. I really love the arrangement and the energy, and I'm enjoying listening to it overall, but I think it needs that little tweak to the leads to get over the bar. NO (resubmit) Link to comment Share on other sites More sharing options...
prophetik music Posted August 31, 2023 Share Posted August 31, 2023 neat idea shifting the engine purr into the initial synth line. the track really starts around 0:33 and features some (super hot) engine sfx throughout the first ten seconds at least. i don't hear the issue with the lead being hard to hear at 0:33 at all, same at 1:10. the faster tempo really works for this melodic material too since it's so fitting for the theme of the game. there's a 'break' at 1:39, and certainly what source material is being represented here is quieter, and doesn't speak much at the beginning. the energy kicks at 2:05 and it goes pretty good to the end when we get more engine sfx. this has a ton of energy! i don't think that the quieter leads at 1:39 are enough to sink it. it sounds great overall and i especially liked the synth guitar lead. nice work. YES Link to comment Share on other sites More sharing options...
Liontamer Posted September 1, 2023 Author Share Posted September 1, 2023 The bassline of the source is very quietly referenced from :20-:29. Melody kicks in at :33 and this is definitely loud. The soundscape's not sizzling, but the kicks are so much louder than the synths. Kind of an odd mixing result where there's shrillness to the synths, but there's no sharpness to the overall soundscape; it makes it sound like we got a low bitrate MP3 encoding rather than the WAV. Some faux electric guitar added into the back at 1:10; it's actually good that it's not upfront, because it sounds too mechanical, so it just adds some texture without exposing the sample. Dropoff at 1:40 was a good idea to vary up the intensity of the track until restoring it with totally different instrumentation at 2:05. The lead synth line from 1:40-1:52 shouldn't have been so quiet compared to the synth warbles, but it's more prominent at 1:54. Love the brief groove at 1:54-2:04 as well. Shrill stuff at 2:05 and then particularly at 2:18 when the synths joined in, which hurt the final flourish section before the signoff with the car SFX. The arrangement's creative and interpretive enough that I can get past the non-ideal mixing. Strong usage of these sounds, lots of textural variation, and fun, driving (no pun intended) intensity throughout. I do wish the mixing didn't make it a closer call than it needed to be though, but I'd prefer not to make the perfect the enemy of the good. YES Link to comment Share on other sites More sharing options...
Chimpazilla Posted December 3, 2023 Share Posted December 3, 2023 I hear what Larry is talking about with the synth mixing being a bit odd, they are definitely high-mid heavy, causing it to feel "shrill yet lacking sharpness." But I'm not having a problem with that. Everything in the mix is super clear and clean. All the sounds go together perfectly. Master is loud but not overcompressed. The kicks sound good to me and they cut through well. Sidechaining on everything is just right. I love the engine-sound intro, setting the mood immediately. So many fun sounds and sfx in this arrangement! It is super fun to listen to. I wish it were longer, a nice drumless breakdown followed by another busy section would be really nice, but what's here is too good to pass up. YES Link to comment Share on other sites More sharing options...
DarkSim Posted December 6, 2023 Share Posted December 6, 2023 Great use of SFX in the intro, warping into the synth pad. Good use of engine revs as a riser at 0:35 as well, although it's a little loud in the mix. The use of distortion on the lead synth at 0:33 and 1:11 fits with the growling sounds of an engine as well, leaning into the car theme. Real punchy kick in this one, although it does drop out for a beat or two, and has some fills, so it's not on autopilot, and the rest of the percussion isn't too overcomplicated for such a high BPM track. Nice switchup at 1:54 with the hats on the off-beat. Some lovely synth interplay in the chorus around 1:23 - definitely my favourite section there. The SFX make a return at the end, and it's a small thing, but I think it would have made a better ending if there was some sort of doppler-shift applied to the final effect, as if the car is zooming towards us and then passes us, zooming off into the distance. As it is, the sound rises and rises, then stops, feeling somewhat unresolved. This one packs a huge punch, and drags a great source tune kicking and screaming to the finish line. YES Link to comment Share on other sites More sharing options...
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