I had this idea during crunch time in my EE degree (you know: the last two years of it) and, even though I did not have the time to do so, I made it immediately. It was made easy by the fact that the official studio acapella of Disturbia is already public domain, but made difficult by the fact that the Scorpions record live and therefore do not stay at any one exact tempo.

Spleeted vocals of K/DA's "POP/STARS" over Yakuza's "Recieve Ye The Hyperactive." This one was intended to be a joke but ended up working very well. Near the end, both songs have a fakeout before they start the last chorus, but they're different styles and different lengths. I did my best to make both fakeouts line up and take the same amount of time.

I first attempted this mashup in Audacity shortly after Levitating was released, but couldn't get it to sound good. However, with the help of Spleeter and FL Studio, I revisited it two years later and made it sound much better.

I sang "We Don't Talk About Bruno" with Aggiepella in 2025. One day, we ended up rehearsing the same part of the song over and over to practice choreography. The bass part was already repetitive, and I knew that people needed work on choreo, not music, and so I started improvising my notes, getting farther and farther from the original bass part for the purpose of entertaining the other basses. Eventually, I found myself singing the guitar solo, and then the verses, of Santana's "Smooth". I went home and immediately made this mashup.

F.O.O.L. is kinda hit-or-miss, but Carry On was one of my favourite songs of 2019. I mashed it up against a song by electrohouse legend Astronaut, and used a remix of that Astronaut song to match Carry On's melodic drops. My favourite part of this mashup is from 2:28 to 2:40, where I layered the famous Pinball chords over each other at different pitches to create chords that matched Carry On.

(Astronaut, if you're reading this, please come back. EDM is lost, and needs your sound again.)

Since 2017, EDM has strayed from "music" to "loud noise contest". The song "This Could Be Us" is a perfect example: Virtual Riot et al. prove that they can create beautiful music with a tremendous chorus, and then waste it on the most disappointing drop since Know You Better.

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When I heard that TCBU was getting a remix contest, I was delighted. However, most of the entries were more of just the same: "here's how loud a drop i can make". Into Ash won the contest, but there were several other entries that the community liked. I made a mashup of the top 10 on Soundcloud. I hope you can share in my frustration.

Let Me Hear That is one of my favourite Haywyre songs. One day in 2025, I was listening to one of his old jam sessions and imagine my delight when I heard an unreleased version of Let Me Hear That with two *incredible* keyboard solos! I threw together this version of the song for people who wanna have the same experience.

Somebody once asked me why I was getting an engineering degree, and, out of frustration at the obvious question, I opened FL Studio, made this, and then sent it to them as an answer.

When I'm playing Guitar Hero, I usually sing along. One time, while playing Through The Fire and Flames on Hard, I caught myself singing "On a dark desert highway, in the time before the light" instead of TtFaF's opening lyric, "on a cool winter morning in the time before the light". This mashup was the result. I'm aware that DJ Cummerbund has also done a version of this. His is certainly more impressive, but I like the simplicity of this one.

This was my very first mashup: I heard both songs, knew they would work well together, and learned how to use Audacity just to make it happen. The sound quality is horrible because it's literally just two unedited audio files being played at the same time. I am proud of it nonetheless. In 2023, my brother made a remastered version that sounds much better, and it's featured as the opening song in our joint Power Mix.

This one was made as a joke: my roommates were blaring Seven Nation Army in our living room, and so I, in my bedroom, threw this together and sent it to them to show my disapproval. It backfired, they loved it, and one of them even put it up on her youtube channel.

My entry to the 2020 Monstercat Mix Contest. The rules were:

-entries must be 10-12 minutes in length
-entries must use only Monstercat music

-entries must contain at least 3 of the following:
     FWLR - Bust It Out
     Hoaprox ft. Rogue - New World
     Pixel Terror - Chroma
     REAPER - BARRICADE
     ShockOne & the Bloody Beetroots - It's All Over
     SMLE - Found a Reason

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This contest was announced shortly after Celldweller's debut Monstercat release, New Age, so I knew that I had to celebrate that. I opened with samples from the start and end of Justin OH and Xilent's Assemble, constructing a fictional interview with a fictional surveillance megacorporation announcing the "Dawn of a New Age", and then followed it immediately with Celldweller screaming "DAWN OF A NEW AGE", leading the mix into BARRICADE. I kept the iconic wobble bass of New Age going from almost the very beginning, sampling and repeating it to make the chaotic beginning more cohesive.

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​I wanted to lead into Start Again, by Muzzy, but it was in the wrong key. Since I wanted to be in an even higher key later on for New World, I took the opportunity to synthesize the first of this mix's three key changes. I started by gradually increasing the pitch of the New Age wobble to subliminally warn the listener of the key change. Then, I cut New Age right between the words "don't want a" and "normal kind", right where Hutchinson drops down a whole step in the original song. I pitched the rest of the track back into its original key, and successfully landed the mix in F# major.

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For the first drop, I led up to "Stronger", by Anjulie, Slaydit, and TheFatRat, and then switched up into Slips and Slurs' "Divided" by utilizing its own fantastic use of the the iconic "damn son where'd you find this" sample. I love the concept of this drop, but I wish I could've made the low end sound a little bit less muddy.

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While brainstorming ideas for this mashup, I realized that RIOT's "Overkill" and Botnek & I See Monstas' "Deeper Love" had the same chord progression. Including them, then, was a no-brainer for me, as Overkill, with its inclusion in Beat Saber, had recently become Monstercat's most popular song, and the stems for Deeper Love were still floating around the Old Internet from a remix contest in 2015. I knew that the familiarity and energy of Overkill would make for an engaging second drop, so I went straight into these two songs after Divided.

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I knew that I wanted to put samples from Bust It Out into the drop of Overkill, and I figured that a great way to warn the listener of that would be to play the "quit running you mouth" soundbyte during the fakeout at 3:31. However, Overkill, ever true to its name, has FOUR fakeouts before the drop, and as such, I needed three more songs to mirror Bust It Out.

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Deeper Love was the obvious first choice. A Monstercat classic called 20K was next. Last was the monkey sound from Excision and Pegboard Nerds' "Bring the Madness". This song had a remix that dropped *fantastically* with the Overkill/Bust It Out mashup.

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One guitar-solo-hidden key change later, I had come to the end of Overkill--an abrupt tonal shift into elevator music. I used the opportunity to silence everything but the vocals of Found a Reason, hopefully catching the judges by surprise. However, I couldn't stop myself from putting the vocals over the chords of a different song - Hyper Potions' debut track, "Anime Bae".

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Anime Bae was the first song in the mix released before 2015, and I wanted, as always, to show the judges that I was familiar with Monstercat's early discography as well. I had been working on a painstaking project: manually adding swing to Tut Tut Child's "Hummingbird" to mash it against Direct's Free My World. I put it in the mix, hoping the judges would appreciate the effort.

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I had one more mashup planned, and I had intentionally saved it for the end so that my mix could end on an emotional high note. New World, one of the required songs, had the same chords as Protostar's "Where I Belong", which had just released that very week. I did lots of EQing for the final mashup, and thought of what I was doing as "basically turning New World into a Protostar song."

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I'm very proud of this mix and I hope that you enjoy listening to it as much as I enjoyed making it.

My second entry to the Monstercat Mix contest, made in conjunction with Stayman. This and You Should Have Just Killed Me were my last two major projects done in Audacity before I bought FL Studio, and they well represent my skill with the software.

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The rules were:

-entries must be between 11 and 13 minutes long

-entries must use only Monstercat music

-entries must contain at least 3 of the following:

     Tokyo Machine - PLAY

     Snavs - Us

     Pixel Terror - Maxima
     Vicetone ft. Daisy Guttridge - Waiting

     CloudNone - From Here

​     Slushii - LUV U NEED U

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Stayman and I were overachievers and agreed that to better display our mastery of music, we would include all 6 required songs instead of just 3.

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The into of this mashup was Stayman's idea. He called it "Superstar on Mushrooms". Krewella had just recently returned to Monstercat after a 7-year hiatus, and psytrance legends Infected Mushroom had just released on the label for the first time. One of their songs, Bliss on Mushrooms, had a great intro, and Stayman decided that putting the vocals of Superstar over that intro would catch the "eye" (ear?) of the judges. Bliss on Mushrooms is in 6/8 and Superstar is in 4/4, so I didn't expect this intro to work, but I'm delighted by the result. I did, however, have to make cuts almost every four measures to cut Bliss on Mushrooms down to a manageable length.

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Then: the immediately-recognizable breakdown of PLAY. Tokyo Machine had recently taken Monstercat by storm with his mystery identity, and it had only just been recently confirmed that behind the mask, Tokyo Machine was Xilent. As such, I mashed PLAY up against Xilent's "Code: Blood" for the breakdown.

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Dirtyphonics and Sullivan King's joint project "Vantablack" is featured in this mix in its entirety. (Stayman and I had planned on similarly full-featuring Pegboard Nerd's Pink Cloud EP, but we ran out of time.) While brainstorming this project, I had listened to "Hammer" (track 6/6 on Vantablack) and had the idea of pairing its powerful on-beat hits with the powerful off-beat stabs of RIOT's "The Mob". I As I worked on that drop, I found myself gradually adding samples from more songs. The finished first drop features, in order, Vantablack, Hammer, The Mob, Code: Blood, Navigator, Roam, and Us, one of the required tracks.

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That drop ends when The Mob hits its bridge: a "system failure" warning followed by a four-chord orchestral segment. As a mashup maker, I get excited when I hear the four chords (E minor, C major, G major, and D major, in that order), because lots of songs share them. Amusingly enough, however, *none* of the three songs Stayman and I decided to mash together over this orchestral segment actually used those four chords. They were simply in a similar enough key that we were able to EQ out the bottom notes of the song, change the order of the "Hero" backing vocals, and change the chords completely. Honestly, I think I like our versions of Kneel Before Me and Maxima *better* than the originals.

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The drop of Maxima is loud and screechy with little rhythm. As such, I looked for a song that was its exact opposite to mash up against: a song with cold, pleasant sound design and lots of rhythm. I found it in Hush's "Tentakel". That drop is pretty much the high frequencies of Maxima and the low frequencies of Tentakel, with drum fills that alternate between the original unmodified songs at full audio. I feel that the combination of these drops that I created is better than either original.

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The last track off of Vantablack to be featured in this mix is the fan-favourite, "Sight of Your Soul". Stayman and I put it here, but waited to put in the iconic chorus until the end of the mix. Instead, we raised the tempo temporarily and transitioned into Puppet and Murtagh's masterpiece "Killing Giants", using that to transition in turn into Waiting, our fourth required track.

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We had a lot of ideas of what to do with Waiting. However, due to time constraints, we had to cut it down to two: Hands Down and Superhuman. The Hands Down mix is fun because while Hands Down is not actually in the same key as Waiting, its plunky percussive nature makes the mix still work. The Superhuman mix is fun because both of the vocalists singing are actually Eric Leva, but one is pitched up and one is pitched down. (This is doubly funny because Leva has said in the past that people repitching his voice annoys him.)

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Of the six required tracks, From Here was by far the quietest. This was about the quietest moment we'd have in the mix, so Stayman and I transitioned into From Here. To bring the energy up to match the rest of the mix, we added a high piano part: Dubstep Killed Rock and Roll, the very first song released on Monstercat.

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Anevo's "Universe" had come out fairly recently and was at the time my favourite song. I love how the breakdown has Laura Brehm singing "Can you feel it, can you feel it?" followed by the distant echo of "dancing, dancing..." only for the line to return in the chorus as "Can you feel you're dancing with the universe?" From Here has a similar call-and-response segment and is seemingly missing its response, so I shifted the vocals of Universe one measure forward to fill in the space. It was actually very difficult to edit Universe in such a way that the vocals felt natural and the instrumental (offset by one measure) didn't interfere too much with From Here.

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Stayman and I were both in our highschool a cappella group, and Hellberg's "the Girl" is one of his favourite songs. Since the mix was quiet, he and I decided to do something we had never done before and add our own vocals! We wrote some harmonies to make The Girl lead into our outro: an over-the-top cute mix of Pink Cloud, LUV U NEED U, and Marshmello's "Alone". We spent a day recording it on my computer and I went home the day before the contest deadline to put it into the mix. Hours after we finished, my mother (who did not approve of us listening to non-religious music) deleted it. What is actually in the mix from 10:05-10:42 is what Stayman and I were able to throw together the morning of the deadline. It doesn't hold up to the quality of the rest of the mix, and I'm frustrated about it to this day.

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Neither of us liked the last required song, LUV U NEED U, but Stayman recognized its similarity to his beloved Pink Cloud EP and decided to do a megamix about it. The version of Emoji featured is Rogue's remix featuring his own vocals. We did this so that listeners can choose to either focus on the high melody of LUV U NEED U or the low melody of Emoji and still enjoy the experience. Right in the middle of this finale, we finally added the chorus to Sight of Your Soul. Getting that bit to work was actually really interesting: we ran noise reduction algorithms on both LUV U NEED U and Sight of Your Soul before putting them together. If you listened to either of the individual tracks in the Audacity project, something felt very off, but the combination of the two (plus some repitched stabs from the original Emoji) made for a fantastic finale.

My very first entry to the Monstercat Mix Contest, make in conjunction with my highschool friend Stayman. This is very much the work of two men with less than a combined year of music production experience. The rules were:

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-entries must be between 14.5 and 15.5 minutes long

-entries must contain only Monstercat music

-entries must contain the following:

     Gammer - THE DROP

     Stonebank - What's Going Down

     Apriskah - Push It

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Stayman and I were overjoyed at the return of The Mix Contest after its one-year hiatus. Unfortunately, we disliked all three of the required songs. We viewed this as a challenge: how could we use these songs in a transformative way to make their listening experience more enjoyable?

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Opening with Bossfight's "Sovereign" and closing with Razihel's "Bad Boy" were both Stayman's ideas, and each one ended up turning into the use of a required song. My problem with "Push It" was that it was slow and boring. I sped it up, mashed it up against Bad Boy, and created a beautiful cacophony of screechy noise. Wanting to try every opportunity to use a required track, I threw THE DROP over Sovereign just to see if it would work, and was astonished by the quality of the result. THE DROP sucks because it's boring and unimaginative, and Sovereign's biggest weakness is that it's hard to tell where the downbeat is. The combination of THE DROP and Sovereign is not only better than both initial songs, it's arguably the best part of this mix.

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As it was a favourite song of Stayman, myself, and the 2017 Monstercat community, the inclusion of Pegboard Nerds' "Hero" was a foregone conclusion. It was just a question of where. Stayman and I agreed that we wanted to go into my mashup of Openwater's "No Regrets" with Protostar's "No Fire", and Hero, with its ending transition from hardstyle into orchestral, proved to be the perfect link between THE DROP and that mashup. That mashup, by the way, was made by me in 2016. Stayman has since encouraged me to remaster it with my newfound experience. It's on my "I'll get to it eventually" list.

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I spent several days alternating between listening to What's Going Down and other Monstercat songs in an attempt to find something that it would go well against. I finally found it in F.O.O.L.'s "Fairytaler", a slow, dramatic piece with deep power chords. Suddenly "What's Going Down" had an interesting chord progression, which made it significantly more enjoyable.

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Stayman had the idea of transitioning out of Fairytaler using stabs from Astronaut's "Champions", which he found in their unedited studio state on Astronaut's soundcloud. It's always a delight when you get to work with a studio a cappella. In Astronaut's case, however, maybe the a cappella could've used some editing. It was in a very raw form. Stayman and I tried to make it sound better, but we were both highschoolers and neither of us had ever heard of words like "sidechain" or "compression".

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The audio quality of this mix is not great, but the musical ideas are sound. I'm proud of this mix, as it shows how I play to my strengths and use complicated musical ideas instead of attempting to match other contestants through raw sound design.

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That said, I really do want to eventually learn how to actually make music sound good.

One of my two entries to my own mix contest, Mechamorphosis, which challenged people to mash other songs against the music of Mr. Bill's "Mechanomorphic". This entry is just a compilation of all 18 songs on the album, in the order they appear.

The second of my two entries to my own "Mechamorphosis" contest.

My entry to a contest I held requiring contestants to mash songs up against "Rolls Royce" by Tisoki and Grabbitz. Eliminate's "Playing With Fire" came out during the week of the contest and I (and two other contestants) decided that it was the perfect song for the job.

Slips and Slurs has been an incredible artist since he kicked in the door with his debut track "Divided". The song is incredible, but is not really in any particular key. I had wanted to use that fact to make a mashup out of it for a while. "The Storm" just presented itself (as I was reading about a storm in Brandon Sanderson's "Words of Radiance"!).

I and many of my friends practically worship the work of George Watsky. One of my friends said "dude, Watsky should rap over a DnB track" and so I made this.

My roommate in 2022 adored AJR. I made him this mashup.

My roommate in 2022 adored AJR. I made him this mashup.

My entry to Crankdat's 2023 Power Mix Contest, made alongside Commander Delta. There were no rules, aside from "mixes should be 19-21 minutes long".

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The start of this mix is a remaster of my very first mashup that Delta made. It's excellent. Other highlights of the mix include Plunder Junkies and Lasers And Shit, both Delta's original work. My mashup of Carry On and Pinball is also in there.

I made this for my second-in-command at USU IT, Erik Petersen. Erik and I are great friends, and while he's better at music production than I am, he was impressed with my mashups, and asked me to "make a mashup with a Sewerslvt song". I made him this.

I made this for my second-in-command at USU IT, Erik Petersen. Erik and I are great friends, and while he's better at music production than I am, he was impressed with my mashups, and asked me to "make a mashup with a Sewerslvt song". I made him this.

Get On Up got very popular when it came out, and so I made this mostly to point out its similarity to a classic.

I made this out of excitement for the Pendulum x JVB collab. The collab ended up not living up to the hype.

My very first entry to the Monstercat Mix Contest, make in conjunction with my highschool friend Stayman. This is very much the work of two men with less than a combined year of music experience. The rules were:

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-entries must be between 14.5 and 15.5 minutes long

-entries must contain only Monstercat music

-entries must contain the following:

     Gammer - THE DROP

     Stonebank - What's Going Down

     Apriskah - Push It

My very first entry to the Monstercat Mix Contest, make in conjunction with my highschool friend Stayman. This is very much the work of two men with less than a combined year of music experience. The rules were:

​

-entries must be between 14.5 and 15.5 minutes long

-entries must contain only Monstercat music

-entries must contain the following:

     Gammer - THE DROP

     Stonebank - What's Going Down

     Apriskah - Push It