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INTRODUCTION 4HENEXTSTAGEINTHEREMIXANDINMANYWAYSTHEMOSTCHALLENGINGWILLACTU ALLYVARYQUITEALOTDEPENDINGONWHICHGENREYOUWORKIN)FYOUAREWORK INGWITH AMOREMINIMAL SOUND THERE IS FAR LESS DETAIL TO lLL IN AT LEAST IN TERMSOFADDITIONALINSTRUMENTATION4HISSTAGEINTHEPROCESSWILLBEFARMORE CONCENTRATEDONMAKINGSURETHESOUNDSARERIGHTTHEGROOVESARERIGHTTHERE ISAGOODDEGREEOFMOVEMENTANDINTERESTCREATEDFROMTHESUBTLEORSOME TIMES NOT SO SUBTLE CHANGES IN THE SOUNDS THROUGH AUTOMATION OR PERHAPS CREATINGSOMEADDITIONALCOMPLEXITYTHROUGHEXTRAPERCUSSIVEAND&8ELEMENTS THROUGHOUT THE TRACK )F YOUWEREWORKING IN A GENRE THAT HAD AMORE COM PLEXANDLAYEREDPRODUCTIONSTYLEYOUWOULDPROBABLYSPENDMORETIMEWORK INGOUT EXTRAMUSICALPARTSBEFOREWORKINGMOREON THEDETAILSOF INDIVIDUAL SOUNDS

4HISISALSOTHESTAGEINTHEPROCESSWHENTHERESEEMSTOBEALOTOFBACKAND FORTH WORK 3OMETIMES THINGS WILL PROGRESS SMOOTHLY AND AS PLANNED IN A mURRYOFDELICIOUSCREATIVITY/THER TIMESYOUWILLHITWHATSEEMS LIKEABRICK WALLANDITWILLTAKEALOTOFWORKTOOVERCOMEIT-OSTOFTHETIMEITWILLPROB ABLY BE SOMEWHERE IN THEMIDDLE /NE THING ) HAVE LEARNED OVER THE YEARS )HAVEBEENDOINGTHISISTONOTlGHTWHATYOUFEEL)FYOUHADONEIDEAFORTHE REMIXANDTHENMIDWAYTHROUGHYOUHAVEANIDEATHATWOULDTAKEYOUINA DIFFERENTDIRECTIONITISALWAYSWORTHATLEASTexploringTHATIDEA)FYOUFEELYOU DONTHAVETHETIMETOEXPERIMENTBYALLMEANSPUSHAHEADWITHWHATYOUARE DOINGBUTIFYOUlNDYOURSELFSTUCKANDTRYINGTOMAKEYOURINITIALIDEAWORK THENBYEXPLORINGADIFFERENTDIRECTIONANDINSPITEOFTHEFACTTHATYOUMIGHT HAVETOGOBACKAFEWSTEPSYOUCANACTUALLYENDUPSAVINGTIME

4HEONLYCAVEATTOEVERYTHING)HAVEJUSTSAIDISTOCONSIDERANYBRIEFYOUMAY HAVEBEENGIVENBY THE RECORD LABELWHENYOU THINKABOUTPOSSIBLEDIFFERENT DIRECTIONSTOTAKETHEMIX INHALFWAYTHROUGH4HEREHAVEBEENMANYTIMES) HAVEHADWHAT) THOUGHTWEREgreat IDEASFORAREMIXBOTHAT THEVERYBEGIN NINGOFTHEPROCESSANDHALFWAYTHROUGHBUT)COULDNTEXPLORETHEMBECAUSE THEYRANCONTRARYTOASPECIlCBRIEF)HADBEENGIVEN

4HE MAIN THING TO THINK ABOUT IN MY OPINION AT THIS POINT IS HOW TO APPROACHlLLING IN THIS EXTRADETAIL 4HIS IS SOMETHING ) CANNOT GIVE YOU ANY HARD AND FAST RULESABOUTAS THISPARTOFYOURWORKmOWISVERYMUCHA THING THATWILLDEVELOPANDBEUNIQUETOYOU4HEBEST)CANDOISEXPLAINWHAT)DO ANDwhy)DOITINTHEHOPETHATITMIGHTHELPGUIDEYOUONTOYOUROWNPATH !NDMY PROCESS BASICALLY COMES DOWN TO TWOMAIN POINTS START AT THE high pointOFTHESONGANDWORKBACKWARDANDPUTINallYOURIDEASBECAUSEYOUCAN ALWAYSTAKETHEMOUTAGAINLATER,ETMEEXPLAINALITTLEMORE

"YhHIGHPOINTv)MEANTHEPARTOFTHEREMIXWHERETHEREISTHEMOSTGOINGON IN TERMSOFMUSICALANDPRODUCTIONSONICCOMPLEXITY4HIS ISOFTENALTHOUGH NOTALWAYSTHESECTIONOFTHEREMIXJUSTAFTERTHEMAINBREAKDOWN4HEREASON )TENDTOWORKONTHISSECTIONlRSTISSIMPLYBECAUSETHEREHAVETOBEENOUGH ELEMENTS IN THE REMIXAS AWHOLE TOlLL THIS SECTIONUP ENOUGH THAT IS RELE VANTTOYOURGENRE WHILEALSOMAKINGSURETHATTHEREISNTTOOMUCHGOINGON )WILLCOMEBACKTOTHATLASTPOINTSHORTLY"ECAUSEOFTHISITISUSUALLYTHECASE THATANYELEMENTTHATAPPEARSINTHISSECTIONOFTHETRACKWILLHAVEAPPEAREDIN ONEFORMOFVARIATIONORANOTHER ATSOMEPOINTEARLIERINTHETRACK!SARESULT ALLOFTHEMUSICALELEMENTSYOUHAVEUSEDHERECANBEREUSEDWITHVARIATIONS AND CHANGES WHERE NECESSARY EARLIER IN THE ARRANGEMENT AND CAN BE GRADU ALLYBROUGHTINANDLATERTAKENOUT ASTHECOURSEOFTHETRACKPROGRESSESULTI MATELYCULMINATINGINTHISSECTIONOFTHETRACKWEARETALKINGABOUT

)MENTIONED JUSTNOWABOUTNOTHAVING TOOMUCHGOINGON SO THAT IT ISNOT OVERCROWDEDBUTTHISINSOMEWAYSSEEMSTOGOAGAINSTMYSECONDMAINPOINT PUTINallYOURIDEAS)TREALLYDOESNTWHENYOUCONSIDERTHAT)MEANYOUHAVE TOMAKESURETHATeventuallyTHEMIXISNTTOOCROWDED)ALWAYSTRYOUTANYIDEAS )HAVE-AYBEOFTHEMNEVERGETUSEDBUT)NEVERREGRETTRYINGTHINGS9OU MIGHTCOMEUPWITHSOMETHINGTHATYOUONLYUSEFORBARSINTHEWHOLETRACK INTHISHIGHPOINTANDNOWHEREELSEBUT IT IS THEATTENTIONTODETAIL THATWILL TURNAGOODREMIXINTOAgreatREMIX!NDVARIATIONBEITSUBTLEORMOREOBVI OUS ISONEOF THEKEYS TO THISATTENTION TODETAIL )T JUST SHOWS THATYOUHAVE MADEANEFFORT TOMAKESURE THE TRACKPROGRESSESANDEVOLVESOVER THECOURSE OFITSnMINUTESRATHERTHANJUSTTHROWINGAFEWTHINGSTOGETHERWITHAhTHAT WILLDOvATTITUDE4HEDIFFERENCESMIGHTBESUBTLEBUTTHEYAREENOUGHTOKEEP AN!2EXECA$*ORARADIOLISTENERFULLYENGAGEDANDINTERESTEDUNTILTHEEND OFTHESONGANDTHATINITSELFISHALFTHEBATTLEWON

/NE lNAL THING ) WILL MENTION BEFORE MOVING ON TO THE DETAILS OF HOW )APPROACHED THIS STAGE IN THEPROCESSWITH THE REMIXON THEWEBSITE IS THAT DURINGTHISSTAGE)DONTTENDTOFUSSOROBSESSTOOMUCHABOUTTHElNE TUNING OFTHEMIXINTERMSOF%1LEVELSCOMPRESSIONANDEFFECTS/FCOURSETOSOME EXTENTYOUWORKONTHISASYOUGOALONGBUT)PREFERTOSPENDTHISTIMEBEING CREATIVERATHERTHANTECHNICALANDGOINGWITHTHEmOW

BUILDING UP THE LAYERS )HAD TAKENABREAK FROM LISTENING TO ANDWORKINGON THE REMIX FOR A LITTLE WHILEANDTHElRSTTHING)FELT)NEEDEDTOADDWASSOMERHYTHMICBUTMUSICAL

AS OPPOSED TO PURELY PERCUSSIVE INTEREST 4HE BASS LINE WAS ALREADY PROVID INGANICERHYTHMBUT) FELT ITNEEDEDANONBASSMUSICALPART THATPLAYEDOFF OF THEBASS LINE RHYTHMANDEMPHASIZEDAND SUPPORTED THEPAD SOUNDS THAT WEREALREADY THERE"ECAUSE )DIDNTWANT THISNEW LAYER )WASADDING TO TAKE UP TOOMUCH SPACE ) STARTED TO LOOK FOR AN APPROPRIATE SOUNDWITH A FAIRLY SHORTDECAY TIME7HAT )ACTUALLYWANTEDWAS SOMETHINGALONG THE LINESOFA PIZZICATOSTRINGSOUNDBUTWITHASYNTHETICTONETOIT!STHISISATYPEOFSOUND )HAVEUSEDQUITEALOTBEFORE)ALREADYHADAGOODIDEAOFHOWTOCREATEITSO )LOADEDUPTHE%3ANDSTARTEDWORKINGONTHESOUND

) WANTED SOMETHING WIDE AND FULL SOUNDING SO ) STARTED WITH ALL SAWTOOTH OSCILLATORSSLIGHTLYDETUNEDRELATIVETOEACHOTHERTOGIVESOMEFULLNESSANDSET THECUTOFFFREQUENCYABOUTTHERESONANCEATANDTHElLTERTYPETOD" OCTAVELOW PASS)SETTHEATTACKTIMEONTHEAMPLITUDEENVELOPETOMINIMUM THESUSTAINLEVELTOMAXIMUMTHEDECAYTIMETOABOUTMSANDTHERELEASE TIMETOAROUNDMS)THENSETUPSIMILARENVELOPESETTINGSONTHElLTERCUT OFFENVELOPEMADESURETHElLTERCUTOFFENVELOPECONTROLWASSETTOMAXIMUM DEPTHANDSTARTEDTOPLAYSOMECHORDSTOlNETUNETHESOUNDALITTLE4HElRST THINGS)ADJUSTEDWERETHEDECAYRELEASETIMESFORBOTHENVELOPES)FELTTHATTHE lLTER ENVELOPE TIMESNEEDED TOBE ADJUSTED A LITTLE AND ) ALSOPLAYEDAROUND WITHTHElLTERENVELOPEDEPTH4HEN)ACTUALLYCHANGEDONEOFTHEOSCILLATORSTO ASQUAREWAVEANDTUNEDITUPANOCTAVETOGIVEITALITTLEMOREBITE)NTHEEND THEOVERALLSOUNDSEEMEDNICEINTHECONTEXTOFTHEMUSICSOFAR

7HEN)STARTEDWORKINGONTHEACTUALNOTESANDCHORDS)WASGOINGTOUSEFOR THISSOUND)BEGANBYPUTTINGAFAIRFEWOFTHESESTABSINTOTHECHORUSBUTTHE MORE)PLAYEDWITHTHESOUNDTHEMORE)FELTTHATTHEYSHOULDBEQUITEAREGU LAR ALBEIT OFFBEAT PATTERN1UITE BY ACCIDENT IT HAPPENEDWHILE )WAS PLAY INGANDADJUSTINGTHESOUNDATTHESAMETIME )FOUNDTHATHAVINGAREPEATING RHYTHMOFONECHORDEVERY THREETHNOTES SEEMED TOWORKQUITEWELL4HIS HADTHEEFFECTOFMAKINGANEWRHYTHMOFSTHATRANOVERANEXISTINGLOOP)N THEEND)SETTLEDONREPEATINGTHEPATTERNEVERYTWOBARSSOTHATTHESDIDNT BECOME TOOMUCH OF A FOCUS ) PLAYED IN THIS RHYTHM FOLLOWING THE CHORD SEQUENCEOFTHECHORUSANDTHENSATBACKTOHAVEALISTEN)REALLYLIKEDWHATIT WASDOINGBUT)FELTITDElNITELYNEEDEDSOMESPATIALEFFECTSTOHELPlLLITOUT

/NSOUNDSLIKETHISTHATAREQUITESPARSEINTHEIRUSAGE)REALLYLIKETOUSESOME KINDOFDELAYPLUG IN IN,OGIC AND SETUPDELAY TIMES THATWORK TO CREATE AN ADDITIONAL RHYTHM WITH THE MAIN SOUND "ECAUSE THE PATTERN FOR THE MAIN SOUNDWASEVERYTHREETHNOTES)SETUPTHEDELAYWITHTHESAMENOTEVALUES 7ITH THIS STAB SOUND SOLOED ) ADJUSTED THE LEVELSOF THEDELAY SIGNAL ASWELL ASTHEFEEDBACKSETTINGSANDAS)NEARLYALWAYSDOWITHDELAYEFFECTSREMOVED SOMEOFTHELOWANDHIGHFREQUENCIESWITHTHECONTROLSWITHINTHEDELAYPLUG IN4HEREASON)DOTHISISBECAUSEBYREMOVINGTHOSEFREQUENCIESYOUHELPTO DIFFERENTIATE THE ECHO FROM THE SOUND ITSELF SO IT SOUNDS LIKE AN ECHO EFFECT RATHER THANAREPEATEDPLAYINGOF THESOUND0LUS ITHELPS TOSIT THEECHOFUR THERBACKINTHEMIX7HEN)THOUGHTITWASABOUTRIGHT)TOOKTHESOUNDOUT OF SOLO TO LISTEN TO IT INCONTEXTAND THENAFTERHEARINGHOWTHEDELAYEFFECT SOUNDED DECIDED TO INCREASE THE LEVELS OF THE ACTUAL DELAYS A LITTLE TOMAKE THEMASLIGHTLYMOREAUDIBLE

.EXTUPWASREVERB)DIDNTWANTTHISSOUNDTOBEtooDISTANTBUT)DIDWANTALIT TLEAMBIENCETOITSO)USEDTHE0LATINUM6ERBIN,OGICANDUSEDTHEh"RIGHT,ONG 6ERBv PRESET AS A STARTING POINT AND ADJUSTED THE SETTINGS UNTIL ) THOUGHT THEY WEREFAIRLYCLOSE4HEREVERBSIGNALENDEDUPBEINGQUITELOUDBUT)WASPLANNING TOUSESIDECHAINCOMPRESSIONONTHESTABSANDAS)WILLDISCUSSSHORTLYIFYOUUSE SIDECHAINCOMPRESSIONONASOUNDWITHQUITEALOTOFREVERBTHECOMPRESSORACTU ALLYpumpsTHEREVERBSIGNALASWELLWHICHCANBEAGREATEFFECT)NTHEENDTHEDRY SIGNALWASSET TOANDTHEWET TO/NCEAGAIN )WASNTASSUMINGTHAT THISISTHELEVELITWOULDSTAYATBUTITWASCERTAINLYlNEFORNOW

!TTHISPOINT)SHOULDEXPLAINWHY)GOAGAINSTWHAT IS THEGENERALLYACCEPTED APPROACH OF USING REVERB AND DELAY EFFECTS AS send effects RATHER THAN inserts 5SINGJUSTAFEWDIFFERENTREVERBUNITSHARDWAREORSOFTWARE ANDTHENSENDING DIFFERENT SOUNDS THROUGH THEMUSINGANAUXILIARYSEND TENDS TOMAKESOUNDS FEEL AS THOUGH THEY ARE IN THE SAME ACOUSTIC SPACE )F YOU THINK ABOUT IT FOR hLIVEvBANDTYPEMUSICTHISMAKESALOTOFSENSEASSUBCONSCIOUSLYATLEASTWE WOULDEXPECTTOHEARALLTHEMEMBERSOFTHEBANDPLAYINGINTHESAMEPHYSICAL SPACEAT THESAMETIME%LECTRONIC BASEDDANCEMUSICHOWEVER ISNOTSUBJECT TO THOSE SAME SUBLIMINALPRECONCEPTIONS )N ADDITIONMANY THEPEOPLEWHO MAKETHISKINDOFMUSICHAVENOT LEARNEDTHEIR TRADEWORKINGINATRADITIONAL

STUDIO ENVIRONMENT SO DONT NECESSARILY SUBSCRIBE TO THESE hRULESv !S SUCH WHENLISTENINGTOELECTRONICMUSICOUREARSANDTHEREFOREOURSUBCONSCIOUS AREUSEDTOHEARINGTHINGSEXISTINGINDIFFERENThVIRTUALSPACESvATTHESAMETIME

/NEOF THEOTHER REASONSWHY THESE TRADITIONAL TECHNIQUESEVOLVED IN THElRST PLACEASIDEFROMTHERECREATIONOFAMOREREALISTICSOUNDINGRECORDINGWASTHE VERY LIMITED RESOURCES AVAILABLE IN OLDER RECORDING STUDIOS !S STUDIOS ALWAYS USEDTORELYONHARDWAREREVERBPROCESSORSTHEREWERE TYPICALLYONLYAFEWOF THESEAVAILABLEATANYONE TIME SO RATHER THANUSE THEMAS INSERTEFFECTSONA PARTICULARTRACKTHEYUSEDTHEMASSENDEFFECTSSOTHEYCOULDBEUSEDONANUM BEROFINSTRUMENTSTRACKSATTHESAMETIME.OWTHATTHETECHNOLOGYISAVAILABLE TO USE A VIRTUALLY UNLIMITEDNUMBER OF SOFTWARE REVERBS THIS LIMITATION IS NO LONGERRELEVANT/FCOURSEMANYSTUDIOSSTILLUSEHARDWAREREVERBSBUTTHEYWILL MOSTLIKELYHAVETHEOPTIONTOUSEADDITIONALSOFTWAREREVERBSIFTHEYCHOOSETO !NDBECAUSEWEHAVETHEOPTIONTOEXPERIMENTMORENOWBECAUSEOFTHETECH NOLOGYWEHAVEWELLITWOULDBERUDENOTTO

4HEREWILLALWAYSBEPEOPLEWHOPREFERTHEOLDERhPROPERvWAYANDTHEYWILL OFTENBEVERYVOCALABOUTTHINGSBEINGDONEhTHERIGHTWAYvANDTHEREWILLBE THOSEWHOWANTTOPUSHTHINGSFORWARD7HAT)DOREALLYDEPENDSONHOWMY MOOD TAKESMEBUTMOSTOFTEN )WILLUSEA COMBINATIONOF INSERT EFFECTSON TRACKS)WANTTOSEPARATEOUTFROMTHEMIXANDSENDEFFECTSFORTRACKS)WANTTO PLACEINTHESAMEVIRTUALSPACE4HISCOMBINATIONGIVESASENSEOFREALISMCOM BINEDWITHSOMEINTERESTINGSPATIALEFFECTSFORCERTAINSOUNDS

) MENTIONED JUST NOW THE IDEA OF USING REVERBS AS INSERT EFFECTS RATHER THAN SENDEFFECTSTOGETANINTERESTINGEFFECTWITHSIDECHAINCOMPRESSION)FYOUHAVE A SOUND YOU WANT TO USE THE SIDECHAIN COMPRESSION EFFECT ON AND YOU PUT QUITEALARGEANDOBVIOUSREVERBEFFECTONASANINSERTEFFECTANDTHENHAVETHE SIDECHAIN COMPRESSOR following THE REVERB THEN THE COMPRESSOR HAS THE EFFECT OF PUMPING THE REVERB SIGNAL AND THE ORIGINAL SOUND )N SOMEWAYS THIS CAN MAKE THE SIDECHAIN COMPRESSION EFFECT EVEN STRONGER BECAUSE IT GOES TOTALLY AGAINSTWHATWEAREUSEDTOHEARING2EVERBINONEFORMORANOTHERISAROUND USPRETTYMUCHHOURSADAY-OSTOFTHETIMEITWILLBEVERYSMALLACOUSTIC SPACES THATWEDONT ACTUALLYPERCEIVEAS hREVERBvAS SUCHBUT IT IS STILL THERE 3TILLMOSTOFUS AT SOMEPOINTOR ANOTHERHAVEBEEN INA CHURCHOR CONCERT HALLOREVENALONGTUNNELANDHAVEHEARDTHESELARGERREVERBEFFECTS

"ECAUSEOF THIS OUR EARS AREUSED TOHEARING REVERB )N FACT IF YOUHAVE EVER BEEN INTO AN ANECHOIC CHAMBER A SPECIALLY DESIGNED ROOMWITH ABSOLUTELY no REVERBATALL YOUWILLKNOWHOWSTRANGE IT IS TOHEAR SOUNDSWITHOUTANY REVERB ON THEM"UTWHAT OUR EARS AREnot EXPECTING IS TO HEAR THAT ACOUSTIC SPACE RHYTHMICALLY PUMPED BY A SIDECHAIN COMPRESSOR )T IS A VERY STRANGE EFFECTFARMOREIMPRESSIVETHANSIDECHAINCOMPRESSINGADRYSOUNDBECAUSEIT REALLYDOESMAKEYOUFEELLIKETHESPACEYOUAREINISBEINGCOMPRESSED)TSAN EFFECTTHATISCERTAINLYNOTAPPROPRIATEOREVENUSABLE INEVERYSITUATIONBUT YOUOWEITTOYOURSELFTOGIVEITATRY4HEEFFECTITHASISAWESOME3OAFTERTHE SHORTDIGRESSIONBACKTOTHEREMIX

4HE NEW SOUND ) HAD PUT INTO THE TRACK WAS WORKING WELL AND WAS SOME THING ) THOUGHT )WOULDWANT TOUSE IN THEVERSESOF THESONGASWELLBUTCER TAINLYINAMOREBACKGROUNDROLE)COPIEDTHE-)$)PARTOVERTOTHEVERSEAND SETABOUTCHANGINGTHENOTESTOMATCHTHECHORDMOVEMENTINTHEVERSE/NCE )HADDONETHIS)STARTEDTHINKINGABOUTHOW)WOULDFURTHERCHANGETHISPARTTO WORKINTHEVERSE)STILLWANTEDTOKEEPTHEFEELINGOFTHEPATTERNWORKINGINS ANDCROSSINGOVERTHEBARASITDIDSOMETIMESBUT)DIDWANTTOVARYITALITTLE

!T lRST ) TRIED VARYING THE PATTERN OF THE PART BUT NO MATTER WHAT ) TRIED )DIDNTLIKETHECHANGEOFmOWFROMVERSETOCHORUS3OTHENEXTSTEPWASTOTRY CHANGINGTHESOUNDALITTLEBETWEENVERSEANDCHORUS4ODOTHIS)TRIEDOPEN INGUP THElLTERA LITTLEON THESOUND IN THECHORUSAND THISCERTAINLYGAVEA BITOFALIFTWHICHWASWHAT)HADBEENLOOKINGFOR"UTITSTILLDIDNTDOEVERY THING)WANTEDSO)CHOSETODOWHAT)OFTENDOWHICHISTOLOOKATLAYERING SOUNDS7HAT)WASLOOKINGFORWASSOMETHINGTHATWOULDCREATEANADDITIONAL LIFT GOING INTO THE CHORUSWITHOUTNECESSARILY CHANGING THEWHOLE FEELOF THE SOUND)NFACT)KNEWEXACTLYTHESOUNDTHATWOULDDOTHISBUTTHEREWASONE SMALLPROBLEM4HESOUND)WANTEDWASONE)HADPROGRAMMEDONTHE+ORG ,EGACY#ELLANDGIVENTHAT)WANTEDTOCREATETHISENTIREREMIXUSINGONLY,OGIC PLUG INS)HADALITTLEWORKTODO&ORTUNATELYTHE,EGACY#ELLWORKSONWHATIS ATHEARTASTANDARDANALOGSYNTH TYPEARCHITECTURE SO ITWAS FAIRLYEASY TOSET UPASOUNDTHATWASVERYSIMILARINTHE%3!FTERABITOFTWEAKINGTOTHEBASIC SOUNDANDTHENWORKINGONTHEEFFECTS )HADSOMETHINGTHATWASFAIRLYCLOSE TOTHEORIGINAL,EGACY#ELLSOUND)TWASNTTHESAMEBECAUSETHEOSCIL LATORWAVEFORMSALTHOUGHINTHEORYTHESAME WOULDBEALITTLEDIFFERENTAND THESOUNDOFTHElLTERSANDEVENTHEEFFECTOFTHEENVELOPESWOULDALLHAVEA BEARINGONTHESOUND!LLINALLTHOUGHITWASCLOSEENOUGHEVENINISOLATION ANDWHEN)COMPAREDTHETWOSIDE BY SIDEINTHECONTEXTOFTHEWHOLETRACK) THOUGHTITWASJUSTABOUTRIGHT

) COPIED THE-)$) PART FOR THE ORIGINAL SOUND IN THE CHORUS ON TO THIS NEW SOUNDANDHADALISTEN7HENTHETRACKREACHEDTHECHORUSTHEREWASADElNITE INCREASE IN THE SENSEOF ENERGY!T THEMOMENT THE CHANGE FELT A LITTLEHARSH BUT ) COULD lX THAT BY lLTERING IN THE NEW SOUND RATHER THAN JUST HAVING IT COMING INOUTOFNOWHERE ) JUSTWANTED TO TRYONE THINGBEFOREMOVINGON "ECAUSEOFTHEKEYOFTHETRACKANDTHECHORDS)CHOSETHEORIGINALSTABSWERE QUITELOWINFREQUENCYANDASARESULTHADQUITEADARKSOUNDTOTHEMWHICH EVENOPENINGUPTHElLTERSCOULDNTREMOVECOMPLETELY)DECIDEDTOTRYTRANS POSINGTHENEWSOUNDUPONEOCTAVESOINADDITIONTOTHENEWSOUNDCOMING INWHICHWASINCIDENTALLYNOTRADICALLYDIFFERENTFROMTHElRSTBUTJUSTDIFFER ENTENOUGH THEREWASANADDITIONALHIGHEROCTAVEMUSICALPARTTHATDElNITELY ADDEDANICESENSEOFBRIGHTNESSTOTHECHORUS

4HE NEXT THING THAT WOULD BE OBVIOUS TO PUT INTO THE VERSE IS THE PAD SOUND!LTHOUGH THIS SOUNDWASMEANT TOBE IN THEBACKGROUND )WASA LIT TLE RELUCTANT TO USE THE SOUND IN THE VERSE AND THE CHORUS SIMPLY BECAUSE IT WOULDMEAN LESS OF A DYNAMIC BUILD INTO THE CHORUS "UT AT THE SAME TIME

)GENERALLYPREFERMYSONGSANDREMIXESTOBESMOOTHINNATUREAND)AMNOT AHUGEFANOFSOUNDS JUSTCOMINGOUTOFNOWHERE3O)COPIEDTHE-)$)PART FORTHEPADSOUNDOVERTOTHESECONDHALFOFTHEVERSECHANGEDTHECHORDSTO MATCHTHEVERSEBASSLINEANDTHENADDEDALOW PASSlLTERTOTHEPADCHANNEL STRIPANDDREWINSOMEAUTOMATIONTHATRAISEDTHECUTOFFFREQUENCYFROM TO FULLY OPEN OVER THE COURSE OF BARS BUTWITH A QUICKER BUILD UP TOWARD THEENDOFTHEPATTERN)FYOULOOKATTHECUTOFFFREQUENCYAUTOMATIONFORTHIS SOUNDYOUWILLSEETHATTHEINCREASEINFREQUENCYISNT LINEARINOTHERWORDS NOTASTRAIGHTLINE BUTMOREOFANUPWARDCURVE)DIDITTHISWAYTOMAKEIT FEELLIKEAQUICKERBUILD UPLEADINGINTOTHECHORUS)TMIGHTSEEMLIKEASUBTLE ANDSMALLDETAILBUTMUCH LIKE THE SMALL CHANGE TO THEVERSEPATTERNON THE STABSOUNDALLOFTHESESMALLCHANGESMIGHTBEINSIGNIlCANTONTHEIROWNBUT GIVETHEWHOLElNISHEDTRACKAVERYGENTLESENSEOFEVOLUTIONWITHOUTNEEDING TOBEREALLYOBVIOUSCHANGESTHATcouldPOTENTIALLYALMOSTCATCHPEOPLESATTEN TIONtooMUCH

,ISTENINGBACKATTHISSTAGE)WASNTACTUALLYSUREIFTHISGAVETHEEFFECT)WANTED 4HEREWASAGENTLELEAD INTOTHECHORUSPADSOUNDNOWBUTATTHESAMETIME ITMADETHISSOUNDFEELLESSIMPORTANT0ERHAPSABIGPARTOFTHISWASTHATTHE SOUNDITSELFWASVERYQUIETANDINTHEBACKGROUND)WANTEDTOMAKEITMORE OFA FEATUREWITHOUT ITBEINGDOMINANT7HATCANBEUSEFUL INSITUATIONS LIKE THIS IS TOBRING INANOTHER LAYEROF SOUNDTOMAKE THESOUNDFEELMOREOPEN

THANJUSTAlLTERCUTOFFCHANGECANDO)COULDHAVEPERHAPSCHANGEDTHELOW PASSlLTERSETTINGONTHE%1TOALLOWMOREOFTHEHIGHFREQUENCIESOFTHESOUND ITSELFTOCOMETHROUGHBUTTOBEHONEST)LIKEDTHECHARACTEROFTHISSOUNDAS ITWASANDDIDNTWANTTOCHANGEIT"ECAUSE)REALLYDIDNTWANTTOMAKETHIS COMBINEDSOUNDTOOFULLORDOMINANT)THOUGHTTHATTHEBESTAPPROACHWOULD BE TOlND OR CREATE A SOUND THATWAS ABITMOREBRIGHT AND EDGY THAN THE SOUNDWEALREADYHAD

4HElRSTTHING)TRIEDWASABELL LIKESOUND.OTABELLINTHESENSEOFACHURCH BELL BUT VERY MUCH A CLASSIC $ TYPE SYNTHETIC BELL ) TRIED A FEW SOUNDS LIKETHATBUTINTHEENDTHEYALLSOUNDEDALITTLEtooSPARKLYTOBEAMAINFEA TURE ) KEPTMY FAVORITEONE IN THERE IN CASE ) DECIDED TOUSE IT LATER ON-Y NEXT IDEA WAS TO TRY SOMETHING COMPLETELY DIFFERENT &OR THOSE OF YOU WHO KNOW h#ALIFORNIA 'URLSv BY +ATY 0ERRY THERE IS A SOUND NEAR THE BEGINNING OF THE TRACK THATPLAYS SOMECHORDS )T ALMOST SOUNDS LIKE THEKINDOF SOUND YOU WOULD EXPECT FROM AN OLD S COMPUTER GAME THINK #OMMODORE 3)$#HIP SOUNDS AND ) HAD CREATED FOR ANOTHER PROJECT A SOUND LIKE THAT )THASQUITEANICEEDGINESS TO IT SO)WONDEREDHOWTHATSOUNDWOULDWORK OUT AS A SUSTAINING PAD SOUND RATHER THAN A SHORTER MORE STABBY SOUND ) LOADED UP THE %3 PRESET AND CHANGED A FEWOF THE ENVELOPE SETTINGS AND THEN COPIED THE -)$) PART OVER FOR THE CHORUS CHORDS )T SOUNDED GOOD ) COPIEDOVER THE REVERB SETTINGS )USED FOR THEMAINPADASWELL ADJUSTED THE

WETDRY BALANCE TO BEMORE DRY AND THENPLAYEDWITH THE LEVEL A LITTLE TO GET THEBALANCEBETWEEN THE TWO SOUNDS RIGHT "UT )WAS LEFTWITH SOMETHING THAT HADADECIDEDLYRETROFEELANDWASTHINENOUGHTOBEABACKGROUNDSOUNDBUT WASNT HARSH OR TINNY IN ANYWAY *UST FOR FUN ) ALSO UNMUTED THE BELL SOUND ) HAD CREATED AND EVEN THIS WORKED WELL WITH THE TWO OTHER SOUNDS ) STILL WASNT SURE IF ) WANTED TO USE IT THOUGH NOT BECAUSE ) DIDNT LIKE THE SOUND )REALLYDIDBUTBECAUSEITFELTLIKEITMIGHTGETTOODOMINANTATTHATPOINT"UT ITWASNICE TOHAVE ITASANOPTION )T COULD FOREXAMPLEBESOMETHING )ONLY BROUGHT INDURINGTHElNALCHORUSOF THETRACKTOGIVE ITONElNALPUSHBEFORE THEENDING7ITHPADSSOUNDINGGOOD)SAVEDTHElLEANDTOOKAQUICKBREAKTO REFRESHMYEARSBEFOREHAVINGANOTHERLISTENTOWHAT)HADSOFAR

4HERE WAS STILL SOMETHING ) FELT WAS MISSING FROM THE OVERALL SOUND BUT COULDNTQUITElGUREITOUT)DIDNTWANTTOGETCAUGHTUPTRYINGTOlGUREITOUT ESPECIALLYAS)HADALREADYDECIDEDWHAT)WANTEDTODONEXTANDWASKEENTO MOVEFORWARDANDNOTLOSETRACKOFMYIDEA)NSOMEWAYSTHATCANBEAHARD PARTOFREMIXINGORMUSICPRODUCTIONINGENERAL3OMETIMESYOUGETAREALmOW OF IDEAS AND IT CANBE FRUSTRATINGWHEN IT TAKES LONGER THANYOUWANT TOlN ISHWHATYOUAREWORKINGONATTHEMOMENT)HAVEONQUITEAFEWOCCASIONS STOPPEDWORKINGONPROGRAMMINGA SOUND FORONEPARTICULARMUSICALPART TO JUSTQUICKLYPLAYINANIDEAFORANOTHERONEBEFORE)FORGOTTHERHYTHMORMEL ODYTHATWASINMYHEAD)TISEASILYDONEBECAUSEYOUARETHINKINGABOUTONE RHYTHMORMELODYWHILEPROBABLYLISTENINGTOATOTALLYDIFFERENTMUSICALPART) KNOWMANYPEOPLEWHOACTUALLYKEEPA$ICTAPHONETYPEVOICERECORDERHANDY FOR RECORDING IDEAS WHEN THEY ARE AWAY FROM THEIR COMPUTER AS FORMANYˆ MYSELFINCLUDEDˆSOMEOFTHEIRBESTIDEASCOMEATTOTALLYAWKWARDTIMESSUCH ASLYINGINBEDJUSTABOUTTODRIFTOFFTOSLEEP4HESERECORDERSCANBEHADRELA TIVELYCHEAPLYTHESEDAYSEVENTHEDIGITALONES ANDIFYOURBUDGETALLOWS)DO RECOMMENDONEASITWILLINALLPROBABILITYCOMEINVERYHANDY

4HEIDEA)HADWANTEDTOMOVEONTOWASASIMPLEMELODICIDEATHATWORKED ALONGWITHTHESTABSOUNDS)HADALREADYCREATED)WANTEDTHISPARTTOBETHE SAMERHYTHMAS THESTABSBUT INSTEADOFBEINGFULLCHORDS TO JUSTBEASINGLE CHANGING NOTE THAT CREATED A MELODY )T WOULD HAVE BEEN POSSIBLE TO ADD ADDITIONAL HIGHER NOTES TO THE CHORDS THATWERE ALREADY THEREBUT )WANTED THE SOUND TOBEDISTINCT FROM THE SOUNDOF THE STABS!LTHOUGH THEMIXWAS AHOUSEMIXTHESOUND)HADINMINDWASVERYMUCHATRANCESOUND4HEREIS VERYLITTLETHATISgenuinelyNEWINANYKINDOFMUSICBUTTHEREAREMANYCOM BINATIONSOFGENRESTHATHAVENTYETBEEXPLOREDINANYGREATDEPTHSOBECAUSE )HAVEANUMBEROFVARIEDINmUENCES)OFTENLIKETOCOMBINEELEMENTSINTHIS CASESOUNDS FROMONEGENREINTOANOTHER!DDTOTHATTHEFACTTHATATTHEPRES ENT TIME ANYWAY THERE IS ADElNITEMOVEMENT TOWARD ABLENDOFHOUSE AND TRANCEANDITSEEMEDLIKEAGOODIDEA

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CASESHAVEGONEINTOTHE%83 ONTHEORIGINALTRACKANDSIMPLYREPITCHED THESAMPLESTOBEINTHERIGHTKEYFORTHISTRACK"MINOR

7HEN)LISTENEDTOTHESESOUNDSINTHENEWREMIX)QUITELIKEDWHATAFEWOF THEMWEREDOINGANDTHOUGHTTHATAFEWWERENTWORKINGTOOWELL!S)DIDNT WANT TOADDAGREATDEALˆJUSTA FEWSOUNDSHEREAND THERE THAT ) COULDVARY A LITTLE TO KEEP THINGS INTERESTINGˆITMIGHT JUST BE ENOUGH )WANTED TO CRE ATEADEGREEOFPLANNEDRANDOMNESSSO)STARTEDMOVINGTHEDIFFERENTSOUNDS AROUNDTOSEEWHERETHEYMIGHTlT4OBEHONESTTHEREWASNOREALLOGICBEHIND WHAT )WAS DOINGHERE )WAS SIMPLYMOVING THE SOUNDS AROUND A LITTLE AND CUTTINGTHEMUPUNTIL)HADAFEWVARIATIONSTOUSE/NCEAGAINTHISWASAVERY SMALLCHANGEBUTDOYOUREMEMBERWHAT)SAIDEARLIERABOUTSUBTLECHANGES %NOUGHOFTHESESUBTLECHANGESENDEDUPLEADINGTOATRACKREMIXTHATFELTLIKE ITevolvedASITWENTALONGANDTHATWASEXACTLYWHAT)WASAIMINGFORHERE4HE NEWPERCUSSIONSOUNDSHADNTMADEAMASSIVEDIFFERENCETOTHEOVERALL TRACK BUTITWASYETANOTHERLITTLETHING)COULDUSEINVARIATIONSTHROUGHOUTTHETRACK WHEN)STARTEDWORKINGONTHElNALDETAILSSOONCEAGAINITWOULDDOFORNOW )COULDALWAYSPROGRAMADDITIONALVARIATIONSIF)NEEDEDTHEMAFTERALL

4HENEXTANDFORTODAYlNALTHINGONMYLISTWASTOWORKONTHEARRANGEMENT OF THE REMIX AND THAT INCLUDEDWORKINGOUTWHAT )WAS GOING TODO FOR THE BREAKDOWNSECTIONOF THE TRACK"EFOREWORKINGONTHAT )NEEDEDTOMAPOUT WHAT)HADOVERTHEFULLLENGTHOFTHERADIOEDITBECAUSEATTHEMOMENT)HAD JUSTASINGLEVERSEANDCHORUSWORKEDONAND)WASGETTINGTOTHEPOINTWHERE )NEEDEDTOSTARTCONSIDERINGTHEflowOFTHEREMIXASAWHOLE4HElRSTTHING) DOWHEN)AMMAPPINGOUTTHEARRANGEMENTISTOTAKETHEVERSEBRIDGEABSENT INTHISCASE CHORUSSECTIONTHAT)HAVEBEENUSINGTOBUILDUPTHEGROOVEAND SOUNDS AND SIMPLY COPY THATWHOLE hBLOCKvOVER THE FOLLOWING VERSEBRIDGE CHORUSINTHEVOCAL3OMETIMESTHESECONDVERSEISSHORTERORLONGERINWHICH CASE )WILL OBVIOUSLY ADAPT THE SECTIONS AS NECESSARY )N THIS CASE THE SECOND VERSE IS ONLY HALF THE LENGTH OF THE lRST SO SOME ADAPTATION WAS REQUIRED WHICH)WILLCOMETOINJUSTAMOMENT/FCOURSEIFWESIMPLYKEPTBOTHVERSE BRIDGECHORUSSECTIONSOFTHEREMIXTHESAMEITWOULDNTBEPARTICULARLYINTER ESTINGSOTHEREWOULDOBVIOUSLYBEDIFFERENCESBETWEENTHETWO

3OMETIMES )WILL START THElRST VERSEON AMINIMAL LEVELWITH A LOT OF THINGS MUTEDOUTINWHICHCASETHESECONDVERSEWOULDHAVESOMEMOREELEMENTSIN !LTERNATIVELYIFTHElRSTVERSEHASPRETTYMUCHTHEFULLCOMPLEMENTOFSOUNDS) HAVEWORKEDONFORTHATSECTION)MIGHTTAKEAFEWOFTHEMOUTFORTHESECOND VERSEORPERHAPS SIMPLY LOW PASSlLTER THEMUSIC IN THElRSTPARTOF THE SEC ONDVERSEINSTEAD7HICHEVEROFTHESETWOORANYOTHER OPTIONSYOUCHOOSE THE END TARGET IS THE SAME TO HAVE FAMILIARITY AS IN NOT COMPLETELY DIFFER ENT INSTRUMENTATION TO THElRST VERSE BUT AT THE SAME TIME VARIATION2IGHT NOWANDBECAUSEOF THE IDEA )HAD INPLACE IN THEVERSEALREADYOFDROPPING TO THE hROOMYv KICK DRUM AT THE BEGINNING OF THE VERSE SECTION )WAS LEAN ING TOWARD THE IDEA OF KEEPING THE lRST VERSE REALLY STRIPPED BACK LIKE ) HAD ITANDTHENHAVINGTHESECONDVERSEHAVEABITMOREPOWERTHANTHElRST&OR

NOWALL ) DIDWASMUTE THE ROOMYKICKDURING THE SECOND VERSE AND REPLACE ITWITHTHE FULLKICKSOUNDANDTHENSTRIP THEMUSICALPARTSDOWNTO JUST THE MAINBASS LINE KEEPING THE h(0&"ASSvMUTEDNOWASWELL AND THENBRING INTHESTABSDURINGTHESECONDVERSE )DIDTHISBYADDINGAN!UTOlLTER TOTHE STABS SUBMIX BUS STARTING THE SECOND VERSE WITH THAT lLTER CUTOFF AT ABOUT ANDOPENINGITUPFULLYBYTHEENDOFTHENOWSHORTER BARVERSE4HE TRANSITIONFROMTHEENDOFTHECHORUSTOTHEBEGINNINGOFTHEVERSEDIDNTFEEL COMFORTABLEWITHMEBECAUSEOFTHESUDDENDROPINTHElLTERCUTOFFON THE STABS SUBMIX BUS BUT ) WOULD WORK MORE ON THE lNER POINTS OF THE ARRANGEMENTTOMORROWSONOWITWASONTOTHECHORUS

4HE CHORUS IN THIS SONG IS A LITTLE UNUSUAL IN THAT IT IS BARS LONG RATHER THANTHEMOREUSUALORBARSBUTTHATISNTTOOMUCHOFAPROBLEM7HAT )DECIDEDTO TRY FORNOWWAS TOCUTBACK THE LENGTHOF THElRSTCHORUS TO JUST THEBARSWHERE THE VOCALWASPRESENT AND THEN FOR THE SECOND CHORUS TO ADDANOTHERBARS TOWHATWASALREADY THERE TOMAKE IN TOTAL VOCAL ANDTHENANOTHEROFJUSTINSTRUMENTAL TOALLOWALITTLEBITOFBREATHINGSPACE BEFORETHEBREAKDOWN)WASNTSUREHOWITWOULDALLmOWONCEEVERYTHINGWAS INPLACEBUTITWOULDBEEASYTOCUTTHATBACKTOJUSTOREVENIFNEEDBE SO)LEFTITATTHAT

4HEREWOULD PROBABLY BE A FEWBARS OF INTRO BEFORE THE lRST VERSE SO TAKING THAT INTO ACCOUNTBY THE TIME ) GOT TO THE ENDOF THIS SLIGHTLY LONGER SECOND CHORUSTHETOTALRUNNINGTIMEUPTOTHISPOINTWASAROUNDMINUTESSECONDS WHICHISEXACTLYWHAT)WASHOPINGFOR-OSTRADIOEDITSSEEMTOBEAROUNDTHE MINUTEMARK THESEDAYS SO THATGAVEME JUSTSHORTOFAMINUTEORAROUND BARSATBPM TOUSEFORTHEBREAKDOWNANDTHElNALCHORUS!SAGENERAL RULE)LIKETHElNALCHORUSTOEITHERBEADOUBLECHORUSORATTHEVERYLEASTAN EXTENDEDVERSIONOF THE CHORUS4HE REASON FOR THIS IS SIMPLY THAT THE CHORUS ISATLEASTITISSUPPOSEDTOBE THEHIGHPOINTOFTHESONGANDTHEPARTWITH THEMOSTENERGYSOITISALWAYSNICETOHAVETHATLASTINGJUSTALITTLELONGERTHAN PEOPLEEXPECTATTHEVERYENDOFTHESONG'IVENTHATTHECHORUSASITSTANDSIS BARSLONGADOUBLECHORUSWOULDBEBARSWHICHLEFTMEBARSFORTHE BREAKDOWNWHICHAS ITHAPPENS ISANICE LENGTH FORA RADIOEDITBREAKDOWN )NTHISCASE THEREWASASLIGHTCOMPLICATIONBECAUSETHEBREAKDOWNORMORE APPROPRIATELYINTHISCASETHEhMIDDLEv OFTHEORIGINALSONGWASNTACTUALLY BARSLONGBUTRANTOBARSINSTEAD#LEARLYSOMEADDITIONALTHOUGHTWOULD HAVETOGOINTOTHISBUTINORDERTOlNISHMAPPINGOUTTHEBASICARRANGEMENT )LEFTAGAPOFBARSBEFORECOPYINGOVERTHElRSTCHORUSTHE BARVERSION PARTSANDTHENSIMPLYREPEATINGTHEWHOLEBLOCKTOGIVETHAT BARLASTCHORUS !TTHISPOINTITWASTIMETOWORKONTHEBREAKDOWN

4HERE IS A GOOD REASONWHY )WORK ON THIS SECTION OF A REMIX LAST AND THAT IS THAT WHEN LISTENING BACK TO THE lNISHED REMIX THE BREAKDOWN HAS TO DROP OUT OF THE MAIN TRACK TYPICALLY A CHORUS SECTION AND THEN DO WHAT EVER IT DOES BEFORE BUILDING BACK UP BUILDING TENSION ANDULTIMATELY DROP PING BACK INTO THE TRACK AGAIN USUALLY A CHORUS SECTION 4OMYMIND IF )

HAVENT PRETTY MUCH lNISHED WORKING ON THE CHORUS SECTION ) DONT REALLY HAVE A CLEAR IDEA OFWHAT ) AM DROPPING OUT OF AND BACK INTO SO IT CAN BE HARD TO JUDGE THE DYNAMICS PROPERLY ! GOOD BREAKDOWNWILL BUILD UP AND RAISE TENSION TO ALMOST FEVER PITCHBEFORE IT DROPS )F YOUMISJUDGE THIS YOU CAN ALMOST MAKE THE END OF THE BREAKDOWN too BIG SO THAT WHEN THE FULL TRACK STARTS AGAIN IT FEELS LIKE AN ANTICLIMAX 3OMETIMES YOU CAN HAVE A HUGE BUILD UP AND THEN DROP BACK INTO JUST A KICK DRUM AND A BASS LINE TO DEVASTATING EFFECT BUT THIS IS CLEARLY A DELIBERATE DECISION )F YOU DROP BACK INTO A MUSICALLY BUSY SECTION AND IT SOUNDS TOO SMALL IN COMPARISON PEO PLE WILL PERHAPS QUITE RIGHTLY FEEL THAT YOU TOTALLY MISJUDGED THE DYNAM ICS OF THE TRACK )T IS UNLIKELY THAT THEYWILL ACTUALLY THINK THOSE EXACTWORDS IN THEIR HEADS BUT IT JUST WONT FEEL RIGHT TO THEM 3O WE NEED TO MAKE SURE THAT THE BUILD UP AND RELEASE BACK INTO THE NEXT SECTION IS DYNAMI CALLY RIGHT HENCE MY DESIRE TO GET THE CHORUS SECTION OR WHATEVER COMES AFTER THE BREAKDOWN TO THE POINT OF BEING ESSENTIALLY COMPLETE BEFORE )WORKONTHEBREAKDOWN

"ECAUSE THIS WAS THE RADIO EDIT THE BREAKDOWN DIDNT NEED TO BE TOO LONG OR EPIC OR INDEED ACTUALLYDROP DYNAMICALLY TOO FAR BUTHAVING SAID THAT ) WANTED IT TO AT LEAST BE REMINISCENT OF WHAT ) WAS PLANNING FOR THEMAIN BREAKDOWN IN THE CLUB MIX %ARLIER IN THE BOOK WE DISCUSSED MANY OF THE hSTANDARDvARRANGEMENTTECHNIQUESFORCLUBTRACKSINGENERALANDASYOUMAY RECALL )SAIDTHAT THEREWEREREALLYONLYTHREEDIFFERENTKINDSOFBREAKDOWNA QUICKDROPANDASLOWBUILDASLOWDROPANDAQUICKBUILDORMORERARELYA SLOWDROPandASLOWBUILD7HATEACHDIFFERENTTRACKORREMIXNEEDSDOESVARY BUT INGENERAL )PREFER THEQUICKERDROPAND THE LONGERBUILDBECAUSE IT CRE ATESIFDONECORRECTLY AGREATERSENSEOFTENSIONANDANTICIPATIONFOLLOWEDBY RELEASEWHENTHETRACKKICKSBACKIN

7HAT)HADINMYHEADFORTHEBREAKDOWNINTHEMAINCLUBMIXWASTOHAVE ATOTALDROPAFTERTHESECONDCHORUSTONOTHINGBUTASUSTAININGBASShDRONEv ORPERHAPS A VERY LOWNOTEON APAD SOUND ANDHAVE THE LASTWORDOF THE VOCAL FROM THE CHORUS ECHOING OFF INTO THE DISTANCE /VER THE TOP OF THIS )WOULDSLOWLYSTARTlLTERINGUPTHESTABSOUNDSBUTONLYUSINGASINGLECHORD RATHERTHANTHEFULLPATTERN)WOULDALSOlLTERUPONEOFTHEPADSOUNDSPLAY ING THE SAMECHORDAS THEBASSNOTE ) ANTICIPATED THAT THISWOULD LAST ABOUT BARS!T THEVERYENDOF THATlRSTBARSOF THEBREAKDOWN )WOULDHAVE SOMEKINDOF riser EFFECTANDMAYBE SWEEP THElLTERUPON THE STABSAND THE PADSOUNDFROMABOUTTOFULLYOPENOVERTHELASTCOUPLEOFBEATS&ROM THERE)WOULDBRINGACOUPLEOFTHEPERCUSSIONELEMENTSBACKINBUTDElNITELY NOTTHEKICKANDIDEALLYNOTTHESNARECLAP ANDADDINAHIGH PASSlLTEREDVER SIONOFTHEBASS LINETHATWOULDlLTERDOWNOVERTHECOURSEOF THERESTOF THE BASS LINE BUT ONLY GOINGMAYBE THREE QUARTERS OF THEWAYBACKDOWNBEFORE THE TRACK CAMEBACK IN )WOULD ALSO USE THE FULL CHORUS CHORDPATTERNHERE 4HEN MAYBE SOME ADDITIONAL MORE EFFECTED VOCALS OVER THE COURSE OF THE NEXTBARSANDHAVEAMUCHLONGERRISEREFFECTANDPOSSIBLYEVENSOMEKIND OFSNAREDRUMROLL4HElNALTHINGWOULDBETOHAVEAHIGH PASSlLTERONTHE

WHOLEh)NSTRUMENTALvBUSWHICHWOULDSWEEPUPOVERTHELASTBARSTOTHIN THE TRACKOUT A LITTLEBEFORE THEWHOLE TRACK CAME CRASHINGBACK IN WITH THE h)NSTRUMENTALvBUSHIGH PASSlLTEROBVIOUSLYBYPASSEDATTHISPOINT

3OWITHTHATINMIND)lGURED)WOULDUSEANADAPTEDVERSIONOFTHISPLANFOR THERADIOEDIT(OWEVERTHEVERYlRSTTHING)HADTODOWASGOBACKANDLISTEN TOTHEORIGINALVERSIONOFTHETRACKWHICH)HADNTDONESINCETHEVERYBEGIN NINGOFTHEREMIX TOTAKEALISTENTOTHISMIDDLESECTIONANDWORKOUTEXACTLY WHAT WAS GOING ONMUSICALLY !ND SURE ENOUGH THEREWERE TWO SECTIONS OF BARSEACH)AMCERTAINLYNOTGOINGTOCRITICIZEANYBODYFORDOINGTHINGSTHAT ARE SOMEWHATUNCOMMONIN TERMSOFMUSICALCREATIVITY LIKEUSINGBAR SEC TIONS INSTEADOFBARSONTHECONTRARY)ADMIRESUCHTENACITY(OWEVERASA REMIXER IT CANMAKE YOUR LIFE DIFlCULT BECAUSE ALMOST ALL DANCEMUSIC TRACKS WORKONSECTIONSOFORBARS SO )HADACHOICE TOMAKEHEREDO ) STICK WITH THE ORIGINAL BAR LAYOUT OR DO ) SOMEHOW TRY TO MANIPULATE THINGS SO THAT THERE ARE ONLY OR POSSIBLY BARS HERE )N THE CLUBMIX BREAKDOWN IT WOULDNT BE ASMUCH OF AN ISSUE BECAUSE ) COULD EASILY INSERT SOMESPACEBETWEENTHEDIFFERENTLINESTOMAKEITlTTOTHEMOREUSUAL BAR SECTIONBUTWITH THERADIOEDIT ) FELT THATBARS FOR THISBREAKDOWNSECTION WOULDBEALITTLETOOMUCH)TWASTIMETOTRYAFEWOPTIONS

&IRST AND FOREMOST AND AFTER LISTENING TO THE ORIGINAL MIDDLE ) FELT THAT MYORIGINAL IDEAOFHAVINGAHELDBASSORPAD NOTEANDTHENGOINGBACKTO THEORIGINALCHORDSEQUENCEMIGHTNOTWORKSOWELL4HECHORDSEQUENCEINTHE ORIGINAL BARPATTERNGOESASFOLLOWS

B minor, A, G, E minor, F# minor, G, A, B minor, F# minor, E minor, F# Minor, G, A

3O ALL OF THE CHORDS MATCHED UP TO THOSE ) WAS ALREADY USING IN MY MAIN CHORUS CHORD PATTERN (OWEVER THE SEQUENCE WAS VERY DIFFERENT BECAUSE OF THE BARNATUREOFEACHHALFOFTHEhMIDDLEv)F)PLAYEDMYCHORUSCHORDS OVER THElRSTBARSOF THEMIDDLE ) THOUGHT THAT ITWORKEDOKAYBUT THEN )HADTHATEXTRABARTODEALWITH)ACTUALLYTRIEDCUTTINGTHEVOCALATTHE BAR POINTINTHE-IDDLEANDTHENMOVINGTHATABAREARLIERSOTHESECTIONSOVER LAPPEDBUT THAT JUST SOUNDEDMESSYBECAUSE YOU COULDNTMAKEOUT THE LAST LINE OF THE lRST SECTION OR THE lRST LINE OF THE SECOND SECTION )N THE END ) TRIED SOMETHING ) DIDNT THINKWOULDWORK BUT ACTUALLY ENDED UP SOUNDING SURPRISINGLYGOOD

)KEPTTHEMAJORITYOFTHEVOCALRUNNINGASITSHOULDEVENTHOUGHTHISMEANT THEVOCALMELODYDIDNTLINEUPWITHTHECHORDSASITSHOULDDO7HAT)MEAN BYTHISISTHATTHElRSTLINEOFTHESECONDHALFOFTHE-IDDLEshouldFALLONTHE lRSTCHORDINASEQUENCEBUTWITHWHAT)HADDONEHEREITACTUALLYFELLONTHE SECONDCHORDANDTHERESTOFTHELINESWERECONSEQUENTLY BARLATE(OWEVER GIVENTHEWAYTHEVOCALFELLOVERTHECHORDSEQUENCE)WASUSING) THOUGHTIT WOULDWORKOKAY)HADTODOSOMEMOREWORKONTHEVOCALSTOMORROWANY WAYSO)BELIEVEDTHAT)WOULDBEABLETOSORTOUTANYMINORPROBLEMSATTHAT

STAGE4HISSTILLLEFTMEWITHTHEPROBLEMOFTHEBARSTHOUGH)FYOULISTENTO THEORIGINALVERSIONYOUWILLHEARTHATTHELASTBAROFTHE BARhMIDDLEvIS ACTUALLYSILENCEWHICHMEANS)COULDPOSSIBLYGETTHISDOWNTOBARSh(OW AREBARSBETTERTHANv)HEARYOUASK7ELLSOMETIMESYOUCANGETAWAY WITHANEXTRABARATTHEENDOFABREAKDOWNIFYOUUSETHEhGAPvINTHEMUSIC TOJUSTHEIGHTENTHETENSION)NFACTTHEREHAVEBEENMANYTIMESWHEN)HAVE DONE JUST THAT EVEN THOUGH )DIDNTNEED TOBECAUSEOF THE VOCALS 4HEONLY REALDIFFERENCEHEREISTHAT)WOULDNORMALLYUSEADELAYEDVOCALTOCARRYOVER THATGAPANDHERE)HADANACTUALLINEOFVOCALTHELASTOFTHEMIDDLE TOUSE TOlLLTHATGAPVOCALLY

7ITHTHATlGUREDOUT)COULDSTARTWORKONCHOOSINGWHICHMUSICALELEMENTS TOINCLUDEINTHERADIOEDITBREAKDOWN)HADADRUMLOOP)PICKEDOUTEARLIER SPECIlCALLYFORTHEBREAKDOWNSO)PUTTHATINTHERIGHTPLACETOSTARTWITHAND THENCOPIEDOVERTHEORIGINALSTABSSOUNDJUSTTOGETAFEELFORHOWTHINGSMIGHT WORK)WASFAIRLYHAPPYTHATTHECHORDMOVEMENTOFTHECHORUSPATTERNWOULD WORKBUTTHEN)REMEMBERED)HADWANTEDTOUSETHEhS3TABSvPARTDURING THEBREAKDOWNBECAUSEITHADALITTLEMOREhSPACEvINITSO)MUTEDTHESTABS )ALREADYHADANDCOPIEDOVERTHATPARTINSTEAD!S)LISTENEDTOIT)LIKEDHOWIT SOUNDEDBUTTHOUGHTITWOULDBEBETTERINALONGERBREAKDOWNBECAUSEUSING THISSOUNDDROPPEDTHEDYNAMICSOFTHEWHOLETRACKALITTLETOOMUCHFORTHE RELATIVELYSHORTRADIOEDITBREAKDOWNSO)SWITCHEDBACKTOTHElRSTSTABSOUND )HAD )ALSOWANTEDTOADDINSOMEPADS TOKEEPA LITTLEMOREOF THEDENSITY ANDENERGYINTHEBREAKDOWNSO)COPIEDOVERTHEMAINh3TRING-ACHINEvPAD AND USED THE LOW PASS !UTOlLTER ) HAD ON THERE AND DROPPED THE CUTOFF FRE QUENCYDOWNTOZEROFORTHEBEGINNINGOFTHEBREAKDOWNANDTHENlLTEREDIT UPTOFULLYOPENOVERTHECOURSEOFBARS)ALSOCOPIEDOVERTHEOTHERTWOPAD SOUNDSFORTHESECONDHALFOFTHEBREAKDOWNANDAPPLIEDSOMEGENTLEVOLUME AUTOMATIONTOBRINGTHEMINALITTLEMORESUBTLY

4HENEXTTHING)WANTEDWASANICELONGRISEREFFECTSO)OPENEDUPMYUSUAL %3 AND STARTEDWORKINGONPROGRAMMINGONE-ANY TYPICAL RISER EFFECTS ARE BASEDONWHITENOISESO)WOULDOBVIOUSLYINCLUDETHATBUT)ALSOWANTEDTO HAVEAPITCHEDELEMENTTOITTHATCOULDRISEOVERTHECOURSEOFITSDURATIONAND ENDONAREALLYHIGH PITCHEDHELDNOTE )STARTEDOFFUSINGOSCILLATORSAND FOR THEMELODICPARTOF THE SOUNDANDQUICKLY SETUP THEMODULATIONWHEEL TOCONTROLTHEPITCHOFBOTHOSCILLATORSASWELLASTHE%3hDETUNEvPARAMETER WHICHSERVESTODETUNETHEOSCILLATORSRELATIVETOEACHOTHER7ITHBOTHOFTHESE MODULATIONROUTINGSSETUPWITHVERYLARGEhDEPTHvVALUESTHEENDRESULTISTWO OSCILLATORS THAT START OFF TUNEDOCTAVES APART BUT ENDUP AT THE SAMEPITCH 4HEN ) ALSO SET UP THEMODULATIONWHEEL TO CONTROL THE lLTER CUTOFF SO THAT WHENTHEMODULATIONWHEELWASATZEROSOWAS THECUTOFFANDAS THEWHEEL MOVEDTOMAXIMUMSOTHElLTEROPENED4HISWASAGOODSTARTSO)MOVEDON TOTHEWHITENOISEPARTOFTHESOUND

)SETUPAFEWMOREMODULATIONROUTINGSSOTHATNOWTHEREWASAN,&/SETTO CONTROL THElLTERCUTOFF4HAT,&/FREQUENCYWASSET TO(ZSO THAT ITWASA

REALLYFASTOSCILLATIONOFCUTOFFFREQUENCYBUTTHEN)ALSOSETUPTHEMODULATION WHEEL TOCONTROL THESPEEDOF THE,&/ANDSLOWITDOWNTOVIRTUALLYNOTHING AS THEWHEELMOVEDUP )N ADDITION ) SET UP THEMODULATIONWHEEL TOHAVE AN INVERSE CONTROL OF THE AMOUNT OFMODULATION THE ,&/ GAVE TO THE CUTOFF FREQUENCY SO THAT AS THEWHEELMOVED UP THE DEPTH OF ,&/MODULATION OF THE CUTOFF FREQUENCY REDUCED ) ALSO SETUP THEMODULATIONWHEEL TOHAVEAN INVERSECONTROLOVERTHERESONANCEAMOUNTOFTHELOW PASSlLTERSOITREDUCED ASTHEWHEELMOVEDUP4HEENDRESULTWASASOUNDTHATSTARTEDOUTQUITEDIRTY AND WITH A LOT OFMODULATION BUT BECAMEMORE STATIC ALBEIT WITH AMUCH HIGHERPITCH TOWARDTHEEND/NElNALTHING)WANTEDTOADDWASAHIGH PASS lLTERINSERIESWITHTHELOW PASSlLTERTHATSTARTEDOFFATQUITEAHIGHCUTOFFFRE QUENCYTOREDUCETHEAMOUNTOFLOWENDRUMBLEANDTHENUSINGTHEMODULA TIONWHEELAGAINHAVETHEHIGH PASSCUTOFFFREQUENCYDROPASTHEMODULATION WHEELMOVEDUP! FEW LITTLE TWEAKS TO THEBALANCEOF THE THREEOSCILLATORSA BITOFlLTERDRIVEANDATOUCHOFCHORUSANDTHISSOUNDWASDONE)TSOUNDED ALITTLETOODRYANDUPFRONTATTHEMOMENTOFCOURSEBUT)WASGOINGTOPUSHIT BACKFURTHERINTOTHEMIXUSINGEFFECTSNEXT

)TWOULDNTNEEDMUCHTOPUSHTHISSOUNDBACKINTOTHEMIXSOSOMESIMPLE 3TEREO$ELAYANDANICEBIGSETTINGON3ILVER6ERBDIDTHEJOB)WANTEDTOHAVE A PUMPING EFFECT ON THIS SOUND WHICH ORDINARILY ) WOULD USE A SIDECHAIN COMPRESSOR FOR (OWEVER AS THERE WAS NO KICK DRUM RUNNING THROUGH THIS PARTOF THE TRACK )HADACOUPLEOFOPTIONS ) COULDHAVECREATEDANOTHERKICK DRUMTRACKANDUSEDTHISASASIDECHAININPUTTOACOMPRESSORWITHTHEACTUAL AUDIOOUTPUTOFTHENEWKICKTRACKSETTOh.O/UTPUTvORAS)DECIDEDTODO )COULDUSETHE4REMOLOEFFECTASAMAKESHIFTSIDECHAINCOMPRESSORTYPEEFFECT

4HEACTUALSETTINGS)USEDARESHOWNIN&IGUREANDYOUCANPROBABLYSEE THATTHESHAPEOFTHETREMOLOWAVEFORMLOOKSMUCHLIKEYOUWOULDEXPECTTHE OUTPUTOF A SIDECHAIN COMPRESSOR TOBE IN TERMSOFOUTPUT LEVEL 7HEN THE h2ATEv IS SET TOhv ITHAS THE SAMEEFFECTASHAVINGA SIDECHAINCOMPRESSOR TRIGGEREDBYAKICKONEVERYBEAT)NACTUALFACT)SHOULDSAYTHATITHASASIMI LAREFFECT4HEGAINREDUCTIONEFFECTWHENUSINGA4REMOLOFOLLOWSAVERYREGU LARhCURVEvSHAPESETBYTHESYMMETRYANDSMOOTHINGCONTROLS)NASIDECHAIN COMPRESSORTHEGAINREDUCTIONhCURVEvISDEPENDANTONTHESIGNALCOMINGINTO THESIDECHAIN INPUTANDAS SUCH THESHAPEOF THECURVECANBEVERYDIFFERENT FROMTHEREGULARSHAPEOF THE TREMOLOEFFECT&ORSOMETHING LIKE THISWHERE IT ISABACKGROUNDSOUND)JUSTWANTTOGIVETHEPUMPINGFEELTOITDOESTHEJOB MORETHANWELLENOUGH

!S IT STOOD RIGHT NOW THE BREAKDOWN FELT PRETTY mAT EVENWITH THE NEW RISE EFFECT)TNEEDEDMOREENERGYANDTENSION)LIKEDTHEBREAKBEATDRUMLOOPBUT )FELTTHATITALMOSTSLOWEDTHINGSDOWNSO)MUTEDITOUTFORNOWANDTHENCOP IEDOVERSOMEOF THETOP ENDPERCUSSIONSOUNDSFROMTHECHORUSOF THESONG )NFACT)COPIEDALLOFTHEPERCUSSIONELEMENTSOVEREXCEPTTHEMAINKICKSNARE CLAPANDHI HATS4HISDElNITELYSOUNDEDBETTERSO)KEPTTHESEINBUTSTILL WANTEDTOUSETHATBREAKBEATLOOPSOMEHOW3O)PUTABITOFAHIGH PASSlLTER ONITTOTAKESOMEOFTHEWEIGHTOUTOFITADDEDABITCRUSHERTOGIVEITAREALLY LO lANDRETROSOUNDANDTHENLOADEDUP$ELAY$ESIGNERANDmICKEDTHROUGHA FEWOFTHEh7ARPEDvPRESETSUNTIL)CAMEACROSSONE)LIKED)THENADJUSTEDTHE WETDRYBALANCEANDCUTTHELOOPSOITONLYCAMEINDURINGTHESECONDHALFOF THEBREAKDOWN)PULLEDTHELEVELDOWNANDITSOUNDEDGREAT

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) ADDED A HIGH PASS lLTER TO THE h)NSTRUMENTALv BUS AND DREW IN AN AUTOMA TIONCURVETHATRAISEDTHEFREQUENCYFROMITSLOWESTTOABOUTOVERTHELAST FOURBARSOFTHEBREAKDOWNBEFOREDROPPINGBACKDOWNTOITSLOWESTATTHEVERY LASTSECONDBEFORETHETRACKCAMEBACKIN!CTUALLYONETHING)DOWANTTOMEN TIONHERE IS A LITTLE TIP REGARDING AUTOMATIONON SUBMIXBUSES )N GENERAL ON AN AUDIO OR AUDIO INSTRUMENT TRACK YOU WILL HAVE AUTOMATION DURING PLACES WHERE THERE IS SOMETHING GOING ON IN THE TRACK !S A RESULT THEREWILL USUALLY

BE A REGION AUDIO OR-)$) WHERE THE AUTOMATION IS HAPPENING "Y DEFAULT WHENYOUMOVEORCOPYA REGION ITWILLASKYOU IFYOUWANT TOMOVEORCOPY THEAUTOMATIONDATABECAUSEITIShATTACHEDvTOTHATREGION(OWEVERIFYOUCRE ATEAUTOMATIONONASUBMIXBUSYOUWILLGETAhTRACKvINTHE!RRANGEWINDOW WHEREYOUCANVIEWDRAWOR EDIT AUTOMATIONBUTBECAUSE THERE ISNO REGION THATITISATTACHEDTOIFYOUINSERTORCUTOUTSECTIONSOFTHETRACKTHISAUTOMATION DATAWONTMOVEORFOLLOWTHEARRANGEMENTINTHESAMEWAYITDOESFORAUDIOOR AUDIOINSTRUMENTTRACKS4OALLOWFORTHIS)WILLDRAWINANEMPTYREGIONONTHE SUBMIXBUSTRACKINTHE!RRANGEWINDOWANDMAKESUREITSTARTSPRIORTOTHElRST AUTOMATION)WANTTODEALWITHANDENDSAFTERTHELASTOFIT4HISENSURESTHATTHE AUTOMATIONWILLMOVE SHOULDYOU CUTINSERT SECTIONS IN THEARRANGEMENT AND GIVESYOUAQUICKANDSIMPLEWAYTOCOPYAUTOMATIONFROMONESECTIONOFTHE SONGTOANOTHERSHOULDYOUWISHTODOSO

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