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Sonic Triple Trouble 16-Bit OST - Atomic Destroyer Zone Act 2

The theme for Atomic Destroyer Zone from Sonic Triple Trouble 16-Bit, compatible with the Sega Genesis / Sega Mega Drive console. DOWNLOAD (MP3, VGZ & DMF): https://drive.google.com/file/d/1kQQX... Feel free to use it for your videos or fangames. NOTE: You need a VGM player to open the VGZ file, and the DMF is only for DefleMask. SEE NOAH'S REACTION!!    • Revealing Dv2's Awesome Remix and Knu...  &t=392s PLAY THE GAME: https://gamejolt.com/games/sonictripl... - - - - - - - - - - - - - - - - Technical info ·Tempo: 150 & 180 BPM (NTSC, speed 03/03 & 02/03) ·FM instruments loaded: 25 ·PSG volume macros loaded: 4 ·PSG channel 4: Free range white noise ·PCM samples loaded: 10 ·Time in development: 1 month ·Music program: DefleMask Tracker v0.12.0 ·Channel audio visualizer: Corrscope 0.7.0 ·Stereo audio visualizer: Spectralizer plugin for OBS - - - - - - - - - - - - - - - - About the song: My magnum opus right here. I learned a lot while making it, and I did my best to make it as energetic and immersive as I could, which meant a lot of referencing other songs and also some trial and error. Imagine how different things would be now if I had picked Sunset Park Act 2. I picked Atomic Destroyer specifically because of my Sonic Forces remixes. Both Noah and I knew that I could borrow from those to make something very hi-tech sounding, but I couldn't just improvise something on the go, as I learned from my Meta Junglira remix. To better plan out what to do, I started saving each idea as a separate Deflemask file. One of the earliest ideas I had was to foreshadow Metal Sonic, so I made a chaotic, distorted version of the melody to resemble Triple Trouble's Metal Sonic's theme to connect to the rest of the song later. Then I started experimenting to find that climactic edge I thought a last level should have. I imagined it like you were getting into the Sonic OVA underground techno base. I tried changing the melody by moving it two half steps lower, since I could think of no other way of changing it without messing with the harmonic progression, and after that it would change key to include the chaotic section I made earlier. The pre-chorus part would be more electronic and the chorus would be more rock-focused, that way I could highlight the dark-but-energetic mood I was going for. Then I just started doing whatever came to mind, no ideas were discarded until proven incompatible. I came up with a sort of ending section that was originally meant to be a transition to a key change, but in the end I used it for the intro. After coming up with enough ideas, I put some of them together into a prototype and showed it to Noah. He then basically reverted a lot of my changes, but most importantly he helped me with the harmony, which was giving me a lot of trouble. Turns out the harmony wasn't that difficult if I kept the original melody. However, I had NO idea how to wrap it all up, so I kept experimenting with the rock angle and making new sections. At some point I realized rock didn't work as well as EDM, so I changed focus, but I have no recollection of what changes I did since I started working on top of the new prototype instead of making new files. However, the version I sent Noah ended at the start of the "piano" section, which was the most important part for what came next. Somehow I realized there was a correlation between good harmonic movement and thinking of everything as moveable pieces, and that gave me tons of new ideas. This is were everything really started taking form. The part after the piano section was meant to be where Metal Sonic is foreshadowed, but since I could never find a way to connect to it, I discarded it and started experimenting with changing modes. The new change made it sound like a Sonic Advance 2 boss theme, which is exactly the mood I wanted, but it didn't connect very well with the rest of the song. I was also now about to hit the length limit, so I had to wrap things up. And that's when I had the brilliant idea of changing modes back and forth each bar (or measure?) instead of for the whole section, and that's how I finally found a way to loop it. I referenced Sonic Forces and Sonic CD heavily for this. The section at 0:37 is straight up a copy of Palmtree Panic Bad Future's bass with everything else built around it. I even sampled its record scratch before finding a public domain replacement. The go voice is the clip of Noah's voice he recorded for Versus Mode but pitched down and harmonized in Audacity. The square wave alarms were inspired by Chemical Plant Act 2. The piano section's melody borrows a little from Aquarium Park from Colors. Oh right, and my ear "busted" as I was working on this :) NEVER use earbuds and headphones at the same time! And never clean your ears with cotton swabs! Let them clean themselves.