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
Mixing Q&A
How much liberty do you feel like you have to make us that it calls in it like what's your experience with that? Some artists like I don't want you to touch it and some are just like do whatever where do you fall in? Yeah the the it depends you know I mean, sometimes I'll do a mix for usually when I do a remix for a record label oh, if it's a vocal track I try my best to make a vocal remakes and then when I'm done with that vocal remakes I'll make a new version of it that does something completely out there with the vocals like dick the vocals sample on the battery and make delay things out of them or stretch them out or just you know, chop them up and do you know so it's it really I feel like I have a pretty wide liberties with the vocals but it always starts with like one vocal version that they can have like a vocal version um there was one that remix that I did for home a few years ago it was a call that tune and um I didn't use the vocals at all I actually changed her words around...
so that like the entire theme of the song was completely different from what she initially was singing and I thought that was kind of a neat way of doing it um I really didn't use a whole lot from the original version, other than that, like, it was like a seventh sound that I used in their asses well, but, um, I do feel like when you're doing a remix of, uh, of of a of a tune you you want to try and drawing is much of it as possible while doing something completely different, you know? So you can recognize those original samples from the tune that you're remixing because I just find it kind of a disappointment when you're doing a remix of somebody like this sounds completely like it doesn't even sound it a thing like the original version, I mean, like, you know, it's kind of a copout have you ever gotten, like, negative response from an artist on the remix that just that just the vocals? Oh, no, actually, not not on the vocal parts. No, I, um I've had labels I've done remixes for record labels where they're like it sounds okay, but can you do something completely different? Maybe, like, ok, back to the drawing board? Yes, you know, but that happens with every every, every remix that I do, every project I do for for a record label there's always like my initial like I submitted to them, they say then it zones are right but maybe you could do a little bit of something or maybe could change it or another slowed or you know just chop this out and I usually take those with a grain of salt I bring it back to the studio and then give him a new version which always sounds way better in the first one I sent them in the first place so I'm always happy to take another stab at it for a record label yeah you know how many it orations do you do where do you like put a cap but they keep asking for oh music business question but how do you know yeah um I try I tried it it's it's kind of strange but I mean if I'm getting only enough money to pay for the week that I'm doing it then if I'm going past that week and it's bleeding into my project time for the next guys remix I start getting kind of like antsy about it and so then it's a matter of like well if I'm to upside down on my time on the project then it gets to the point where like it's kind of take it or leave it you know it's very rare that I've run into an issue where I'm like look I can't work on this anymore I'm really really sorry if you don't want to release it that's totally fine um but you know, there's just I can't work on this anymore and I never think of it as a total loss if a project just goes straight to the gutter, which I've had projects I've had maybe one or two projects actually go to the gutter because what I do have is all this work that I did I can very easily just pull their sounds out of it and now a sudden I have my own original piece of music so have it yeah yeah while we're sort of on this topic, we did have a question a lot earlier about like the legal aspects sort of using other people's material with or without permission it sounds like most people send you stuff so you obviously have permission to use it of course, but a lot of people are like bootlegging vocals and you know, to make their own remixes at least starting out right? Maybe you could speak to that the I read upon this actually recently and because I've heard people say, well, if your sample you know, two seconds of audio that it's legally ok to use and it's actually not true even if it's ah just a little split second of just a half of a second it's you know, nelly is saying, hey, you know, if they recognize that, then you're going to you know you could get sued for it but um I can't remember with the with the with the name of the law is but basically it says that if no one can recognize it, go right ahead so you have to alter it you have to do something to it that makes it so that's not recognizable if you're going to do something recognizable and you're going to use it without permission, you're sort of playing with fire a little bit, you know? Then it comes down to well, you know how popular is the tomb that she did and do they have enough money to hire a lawyer to sue you for this? Because obviously, like, you know, it's not free to file a legal claim against you for this, they actually have to pay someone to go around and do it and in order to sue you for it, they're going to need to know that they're going to get enough money to pay for that and then some, you know what I mean? So then you're it's like I said, you're playing with fire following up with that, is there a difference? Doesn't matter if you're, you know, releasing that thing on soundcloud for the mass is just as like a free thing or if if you're hypothetically like throwing it through a label a different label on making money off of it does that sort of dictate whether or not somebody will go after your at all think matter if you're making money I think I think that sometimes e I mean there's no rule against it like I mean yeah, I mean, if you're if you're going to sample someone's someone also work on dh it's unless it's like, you know, covered on, um, you know, creative commons license, which I believe means that you can, like, sample and use it for your own your own purpose and, like, play it for people, but you can't use it for for, you know, monetary game um but if it's not covered on that, then you know there's, you know, you just you just simply don't have the right to do it doesn't mean you can't do it just means you don't have the right to do it. Yeah, yeah, I mean, soundcloud has gotten pretty good at recognizing samples, not actually it's, not the greatest at it, but it's starting to do that like I've seen some people get like what they'll upload a song and it recognized, you know, a sample in or the and sometimes it totally gets it wrong, and so you can't upload your own music, but yeah, yeah, um yeah, I've had soundcloud actually not allow me to upload one of my own songs because it was published by the record label that released it. So I wasn't able to actually put that song on my own. Sounds odd page, because it was protected by the label. That really stood. So, which then, you know, later on, they allowed you to, like, actually link it into your soundcloud page from that record label. So they hosted it. And it was on myself.
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Electronic Music Production