Lessons
Class Introduction
07:14 2Analyzing the Song and Preparing the Stems
27:43 3Constraining Scale: Kontakt and Massive Inside Patch
23:36 4Setting up the Bassline
12:21 5Creating Different Bassline Options
26:23 6Creating a Sub Bassline & Using Dump Score Log
12:31 7Adding Vocal Stems
26:09 8Routing & Using a Peak Controller
28:52Lesson Info
Class Introduction
I've been doing this for twenty years and this this class in particular um doing remixes is something that I do pretty often I produce about eight, eight, seven or eight remixes a year um it amounts for you know, a good you know, twenty twenty percent of my income I do this s o I do it I do it pretty pretty often I think I've done since I've started maybe in one hundred fifty remixes or something um so um I mean I'm supposed to just talk a little bit about remixes because it's become such a lake you know, remix culture has become so popular in music these days and but what a remixes khun b you know there could be many different things I mean in dub music a remix is really just taking the stems and and uh and remixing down the the final audio recording um you know, like a dub reggae and but in um you know, for something, for some artists it could be just re editing a final, you know, to track master into another piece of music. What I do is I take a mme songs that people have written, t...
hey break up all the stems for me and then they send me all these parts and then I kind of create my own piece of music and integrate these parts so it comes out sounding like sort of the same but also it's very different and you know I mean like why would a label want to do this? You know, um it could help for it could help expose the single to various you know, new new scenes you know for instance it's a hip hop sing goal and they want to hire a house artist to do a remix than they can draw in the fan base of this other house artist to help sell the uh the track for the original hip hop artists for instance um so you could be a promotional tool um so this this particular this particular class I mean I know it says that this is making remixes nfl studio uh this is just really an example of one remix that I did for this particular project it wouldn't necessarily be how you know you always do it and I approach it differently almost every single time um so this would be more like making a remix in ethel studio for creative life e I think that's the cool thing is we get to actually see your work because you're going to take us through instead of just teaching us the technical aspects right? You're gonna actually show us how you do it exactly and that's what's unique about this class and why I'm really excited exactly exactly so like when I when I first signed up for this class um I think this project didn't even exist were like we didn't do and so I reached out tio I've worked with home records aa lot and in the past and I reached out to him was a can do in this class and would you be interested in, you know, sending me a song that I could do for remix for this class? And they gave me a bunch of tunes that I could pick from to do and the one that I picked from was this thiss group called the tone of arc this guy derek boyd from san francisco he has been pretty pretty hot for last couple of years and the track that I'm remixing it's called um it's called waiting room and it's office architects and, uh and waves l p it was released last october and so also, if you if you sign up for the class, you can download all the stems for this so you can like, follow along on dh then also you also get like a hole. A package of sound effects that I had made previously is what was like a gig worth of, like sort of atmospheric crescendo types of sound effects that you can you can you so basically I'm going to walk you through every step that I took when I produced this remix, right? So I've got I basically when it when I was working on it every time I did, I hit like some kind of minor milestone and saved it so that I can refer to back to it when I'm teaching you guys this stuff, um we're going to go through some of the basic and rick sing the inner workings of f l studio, this is ethel studio eleven twelve's going to be out here within the next year and it's going to be totally different, but, um, there's going to be some basic song arrangement concepts for house music? Um and we're going to going over, uh, some tricks and not a ton of tricks, but we're going to be using efforts, native instruments, battery contact, guitar rig uh, there's some stuff is going to be used in reactor we're gonna be using, um ensemble called monarch inside reactor it's like a mini movie type of plug in um, we're going to also try constraining scales so that you, when you plan your piano, you can play no wrong note on dh work within the scale of the song that we're remixing as well. So, yeah, we maybe bouncing around a little bit because I might find that I've you skipped something and need to go back so bear with me if I need to do that also, I'm going to show you maybe a couple of things that it didn't end up getting used in the remix and that's just because that's that was my process. You know, I know in the process of coming up with stuff I come up with pieces that don't aren't completely irrelevant, kind of deleting them later. So, you know, um, so, yeah, let's, we got a lot to cover, so let's, get started here, I'm gonna actually open up the song. We're gonna listen to the song, the worry, their remakes first, so I'm going to return of arc remix on dh, all right, here's, the song that we are remixing.
Class Materials
bonus material with purchase
Ratings and Reviews
Student Work
Related Classes
Electronic Music Production