ABSTRACT

CLUB MIX 4HECLUBMIXISTRADITIONALLYWHERETHEMAINFOCUSOFAREMIXWOULDLIEBUTIN RECENTTIMESAGROWINGNUMBEROFREMIXESHAVEBEENCOMMISSIONEDPRIMARILY TOPROVIDEANhALTERNATEvRADIOEDIT)FTHISISTHECASETHEREISNORMALLYSTILLA CLUBMIXPROVIDEDANYWAYASAMATTEROFCOURSE4HECLUBMIXISPROBABLYSTILL THEMAINPURPOSEOFALARGEMAJORITYOFREMIXES4HEBASICFRAMEWORKOFMOST CLUBMIXESISFAIRLYSTRAIGHTFORWARD4HEREARENTTOOMANYhRULESvASSUCHBUT THEREAREANUMBEROFTHINGSCONSIDEREDhNORMALvANDWHICHIFDEVIATEDFROM TOOMUCHMAYLEADACLUB$*TOAVOIDPLAYINGTHEREMIX

(ERESANOVERVIEWOFTHEBASICSTRUCTUREOFACLUBMIXOFAhTRADITIONALvSONG FOLLOWEDBYAMOREDETAILEDLOOKATEACHOFTHEPARTS

■ $* FRIENDLYINTRO ■ 3MALLhBREAKDOWNvBEFORELEADINGINTOlRSTVERSE ■ &IRSTVERSEBRIDGECHORUS ■ 3HORTINSTRUMENTALSECTIONBEFORESECONDVERSE ■ 3ECONDVERSEBRIDGECHORUS ■ -AINBREAKDOWN ■ ,ASTCHORUSPOSSIBLYDOUBLELENGTH ■ $* FRIENDLYOUTRO

)REALIZETHATYOUAREPROBABLYLOOKINGATTHATANDTHINKINGTHATITSEEMSVERY FORMULAICANDTOSOMEEXTENTYOUWOULDBERIGHT"UTYOUHAVETOREMEMBER THATMOSTSONGSAREQUITEFORMULAICEVENBEFORETHEYARRIVEAT THEREMIXER )N FACTIFYOUWERETOREMOVETHElRSTSECONDFOURTHSIXTHANDLASTPARTSOFTHE PREVIOUSLISTYOUBASICALLYHAVETHEhTRADITIONALvARRANGEMENTFORMOSTSONGS 2EMIXESAREOFTENQUITEFORMULAICINTHEIRARRANGEMENTASADIRECTCONSEQUENCE OFTHEFORMULAICNATUREOFTHESONGSBEINGREMIXED

4HEREISHOWEVERSTILLQUITEALOTOFSCOPEFORVARIATIONWITHINTHATBASICFRAME WORK/FCOURSETHEREISNOREASONWHYYOUhaveTOSTICKTOTHATSTRUCTURETHE SONGYOUAREREMIXINGMIGHTNOTHAVEEXACTLYTHATSTRUCTUREANYWAY4HEREMAY JUSTBEASIMPLEVOCALHOOKRATHERTHANAFULLVERSEBRIDGECHORUS9OUMIGHT

EVENBEREMIXINGANINSTRUMENTALTRACKINWHICHCASE)TENDTOVIEWTHEMAIN LEAD RIFFMELODYASAVOCAL REPLACEMENTAND TREAT IT AS IF ITWEREAVOCAL CHO RUSPLACINGITINTHEARRANGEMENTACCORDINGLY0RETTYMUCHEVERYTHINGISOPEN TO VARIATION AND INTERPRETATION DEPENDING ON THE SONG YOU HAVE BEEN ASKED TO REMIX4HE TWO THINGS THAT AREPRETTYMUCHANECESSITY ARE THE$* FRIENDLY INTRO AND OUTRO7HILE YOUMIGHT HAVE AN IDEA FOR A GREAT WAY TO START THE REMIXOFFORENDIT IF IT ISNT$* FRIENDLYWHICHNORMALLYMEANSSTARTINGAND ENDINGWITHBEATSANDVERYLITTLEELSE THENMANY$*SWILLSHYAWAYFROMPLAY INGITBECAUSEITWILLBEDIFlCULTORIMPOSSIBLETOMIXWITHOTHERTRACKS!NDIF YOURENOTGETTINGSUPPORT FROM$*S THENAMAJORREASONFORDOINGTHEREMIX HASPRETTYMUCHDISAPPEARED

4HERE ISALWAYSTHEOPTION IFYOUHAVETHETIMEANDTHEINCLINATION TODOAN ALTERNATIVECLUBMIXWITHALONGERORMOREUNUSUALINTROTHATCOULDPERHAPSBE USEDFORCOMPILATIONSOROTHERSITUATIONSWHEREITWOULDNTBEMIXEDLIVEBYA $*4HEREAREAFEWEXAMPLESOFREMIXES)CANTHINKOFWITHINTROSTHATWOULDNT REALLYBECONSIDERED$* FRIENDLY4HEMOSTOBVIOUSONETHATSPRINGSTOMINDIS THE$*4IÑSTO h)N3EARCHOF 3UNRISEv REMIXOF h3ILENCEvBY$ELIRIUM FEATURING 3ARAH-C,ACHLAN4HIS ISVERYMUCHANEPIC JOURNEYOFA REMIX THAT STARTSOFF WITHLITTLEMORETHANASUSTAINEDPADSOUNDWITHNODISCERNIBLEBEATFORTHE$* TOUSETOMIXINFROMTHEPREVIOUSTRACK4HEBEATCOMESINATAROUNDINTO THE SONG SOMYGUESS IS THAT SOME$*SWHOPLAYED THAT REMIXWOULD SIMPLY STARTMIXINGTHETRACKINFROMTHATPOINT/THERSMIGHTALLOWTHEPREVIOUSTRACK TOPLAYOUTCOMPLETELYANDTHENFADETHEINTROPADSOFTHISREMIXINUNDERNEATH THE LASTEIGHTBARSORSOOF THEPREVIOUS TRACKANDTHENALLOWTHISONE TOPLAY THROUGHFROMPRETTYMUCHTHEBEGINNING4HEMAINDANGEROFDOINGTHATASA$* ISYOULOSETHEENERGYLEVELSOFYOURSETWHICHYOUDONTWANTTODOTOOOFTEN

!NIMPORTANTCONSIDERATIONHEREISTHE8-bar rule)NDANCEMUSICNEARLYEVERY THINGTENDSTOWORKBESTWHENVIEWEDINSECTIONSOFBARS3OMETIMESTHESE WILL BE DOUBLEDUP INTO SECTIONS OF BARS DEPENDINGON THE TRACK YOU ARE WORKING ON AND THE GENRE 2ADIO EDITS ARE PERHAPS EXCLUDED FROM THIS RULE INCERTAINASPECTSBUTLARGELYITEVENAPPLIESTHERE4HEREASONFORTHISISTHAT DANCEMUSIC IS ABOUT GETTING PEOPLE DANCING OBVIOUSLY SO IT IS FAIR TO SAY THATYOUDONTWANTTOBECHALLENGINGTHEPEOPLEINTHECLUBTOKEEPUPWITH WHATYOUAREDOING2EPETITIONISAVERYIMPORTANTPARTOFMUSICASITHELPSUS TO LEARN#ERTAIN ASPECTS OF A TRACK GET REPEATED ANDPEOPLE BECOME FAMILIAR WITHTHEM!STHEYBECOMEFAMILIARWITHTHEMWECANBUILDFURTHERELEMENTS INTOTHETRACKUNTILTHEYTHENBECOMEACCUSTOMEDTOTHEM'ETTINGPEOPLETO FEEL COMFORTABLEWITH THE TRACK THEYARE LISTENING TO IS VERY IMPORTANT IF THEY ARE GOING TO SETTLE INTO IT ENOUGH TODANCE TO IT.OW )DONT KNOW THEPSY CHOLOGICALREASONSFORITIFINDEEDTHEREAREANYBUTPEOPLEDONTTENDTOLIKE ODDNUMBERSOFBARS )F YOUWERE TOHAVE A CYCLE THAT REPEATED EVERYBARS FOREXAMPLEITWOULDPROBABLYTHROWANAWFULLOTOFPEOPLEOFFTHEIRRHYTHM 7HILEYOUMIGHTCONSIDERYOURSELFavant-gardeANDMUSICALLYADVENTUROUSAND WHILE THATMAY GAIN YOU THE RESPECT OF YOURPEERS ITWOULD ALMOST CERTAINLY CONSIGNYOURREMIXESTOhBACKOFTHEBOXvSTATUS

3OWHYBARSINSTEADOFOROR7ELL)GUESSTHATITJUSTCOMESDOWNTO THEFACTTHATBARSANDEVENARENTREALLYALONGENOUGHPERIODOFTIMEFOR OURBRAINS TOBECOMEFAMILIARWITHSOMETHING!NDALONGTHESAMELINES BARSCANBEQUITEA LONGTIMEFOR THERE TOBENOCHANGE INWHAT ISGOINGON 4WELVEBARSCOULDPOSSIBLYWORKBUT)lNDTHATBARSJUSTDOESNTFEELRIGHT ,IKE ) SAID THAT ISMY LITTLEhRULEv THAT TENDS TOAPPLY TOQUITEA LOTOFDANCE MUSIC SOHAVE A LISTENYOURSELF ANDYOUWILL SEEWHAT )MEAN )F YOU CHOOSE TOAPPLYTHATRULETOYOUROWNMUSICTHENGREATBUTIFYOUDONTANDYOUARE HAPPYTOTHROWINSOMEDIFFERENTLENGTHSANDYOUFEELTHATITWORKSTHENTHATS GREATTOO*USTDONTGOCRAZYWITHIT

)SHOULDMENTIONTHOUGHTHATBECAUSEOFEVERYTHING)HAVESAIDTHROWINGIN ANOCCASIONAL BREAK OF ORMAYBE BARS CAN IF DONEWELL AND IN THE RIGHT PLACE BRING OUT A HEIGHTENED SENSE OF AWARENESS ABOUT A PARTICULAR PART OF A TRACK )HAVEHEARD ANUMBEROF TRACKS AND REMIXES THATUSE THIS TECHNIQUE EXTREMELYEFFECTIVELYBY INCLUDINGA BARDROPTONOTHINGBARRINGTHEhTAILSv OFREVERBANDDELAYEFFECTS ATTHEENDOFABREAKDOWN4HISTOTALDROPFORJUST BARACTUALLYINCREASESTHEIMPACTOFTHETRACKWHENITSLAMSBACKINASECOND OR TWO LATER "UT IN GENERAL THAT IS THE KINDOF THING YOU CANONLY REALLY USE ONCEINATRACK)WOULDNTRECOMMENDTHROWINGTHATEFFECTINRANDOMLY)FYOU DECIDETOUSEITMAKEITCOUNTANDGOFORMAXIMUMIMPACTWITHIT

4HE$* FRIENDLYINTROANDOUTRO ISIMPORTANTFORAVARIETYOFREASONS!NYCLUB $*ISLOOKINGTOPHYSICALLYMIXTHETRACKSINTOEACHOTHERANDCHOOSETHERIGHT ONES TOPLAY!FTER ALL$*ING ISPART ART ANDPART SCIENCE 4HE SCIENCEOFMIX ING SONGS GETTING THEM BEAT MATCHED AND LEARNING SMOOTH WAYS TO CHANGE FROMONE TRACK TOANOTHER IS INMANY RESPECTS THEEASIERPARTOF$*ING-ANY PEOPLEWITHTHERIGHTEQUIPMENTTOPRACTICEONANDSOMETIMEACTUALLYSPENT PRACTICINGWILLEASILYBEABLETOMASTERTHISSIDEOFIT"UTTHETRUESKILLOFA$* COMES IN A LIVE CLUB ENVIRONMENTWITH A SET THAT TAKES THE CROWDON A JOUR NEYPICKSUPWHERETHELAST$*LEFTOFFANDTHROUGHTHECOURSEOFTWOORMORE HOURS INCREASES THE ENERGY LEVEL AND SENSE OF EXCITEMENT INSIDE THE CLUB ALL OFTHISWHILEREACTINGQUICKLYANDCORRECTLYTOTHELIKESANDDISLIKESOFTHECLUB PATRONS7ITHALLOFTHISTODEALWITHTHELASTTHINGA$*WANTSISTOMAKEHIS ORHERJOBMOREDIFlCULTBYTRYINGTOMIXINTOATRACKTHATWILLCAUSEPROBLEMS 4HINGS THAT WOULD BE CONSIDERED PROBLEMATIC IN THIS CONTEXT ARE TRACKS THAT DONTHAVEACLEARTIMINGREFERENCEATTHEBEGINNINGORSTARTOFFINSOMEOTHER STRANGEWAY THOSE THATDONTHAVE A STEADY TEMPODURING THE INTROOROUTRO THOSETHATBRINGEVERYTHINGINTOOQUICKLYSOTHATTHE$*DOESNTHAVETIMETO MIXOUTOF THE LAST TRACK FULLYBEFORE THENEXTONE IS FULLY INTO ITS STRIDE AND PRETTYMUCHANYTHINGTHATSTRAYSTOOFARFROMTHEhNORMv

/NETHING)STRUGGLEWITHFROMTIMETOTIMEWHEN)AMMAPPINGOUTARRANGE MENTSFORCLUBMIXES INPARTICULAR IS THAT THE INTRO ISNT TOO LONGORBORING OR JUST LIFELESS4HETHINGTOREMEMBERIFYOUlNDYOURSELF INTHISSITUATIONIS THATPROBABLYTHEONLYPEOPLEWHOWILLHEARYOURINTROARRANGEMENTINTHEWAY YOUDOINYOURSTUDIOAREYOUANDTHE$*&ORTHEMOSTPARTTHEPEOPLEINTHE

CLUBWONTREALLYBEFULLYAWAREOFYOURTRACKUNTILITISATLEASTSECONDSTOA MINUTEINTOIT4HEBARSYOUHAVEAT THEVERYBEGINNINGOFYOURREMIXWITH NOTHINGBUTAKICKDRUMARENTREALLYGOINGTOBEANISSUEINTHECLUBBECAUSE NOBODYWILLACTUALLYHEARITTHATWAY7HILEYOUR BARKICKDRUMINTROISPLAY INGTHEYWILLSTILLPROBABLYBEFOCUSEDONTHEOUTROOFTHEPREVIOUSTRACKTHAT ISIFTHEYCOULDEVENHEARYOURKICKDRUMATTHATPOINT

-OSTCLUBMIXESOREXTENDEDMIXES DONTREALLYGETINTOTHEIRSTRIDEUNTILAT LEASTONEMINUTEORPOSSIBLYEVENLONGERANDWILLNORMALLYHAVEAT LEASTONE MINUTEOFOUTROASWELLAGAINPOSSIBLY LONGER 4HESE TWOONE MINUTEPERI ODSARETHESECTIONSOFTHETRACKA$*WILLOVERLAPANDUSETOcrossfadeBETWEEN THETWOTRACKSWHILETHEOUTROOFONETRACKISGRADUALLYDROPPINGELEMENTSOUT ASITDROPSDOWNTONOTHINGTHEINTROOFTHENEXTTRACKWILLBEGRADUALLYBRING INGELEMENTSIN7ITHTHESETWOPROCESSESHAPPENINGSIMULTANEOUSLYTHERESULT TO THE LISTENER IN THE CLUB IS A SMOOTH TRANSITION FROMONE TRACK TO THENEXT WITHAFAIRLYCONSISTENTDYNAMICLEVEL

!FAIRLYTYPICAL$* FRIENDLYINTROWILLSTARTWITHSOMEKINDOFDRUMORPERCUS SIONPART 4HIS ISOFTEN JUST A KICKDRUMBECAUSE IT PROVIDES A VERY CLEAR AND SOLID TIMING REFERENCE FOR THE$* TOMIX THE TRACKWITH3OMETHINGMOREOFF BEAT SYNCOPATED OR JUST LESS REGULAR ISNT AS SIMPLE A cue point FOR THE$* TO WORKTO4HISWILLPROBABLYRUNFORORMAYBEBARSANDTHENPERHAPSAN ADDITIONALPERCUSSIVEELEMENTWILL JOIN ITEITHERBYSTARTINGATANAPPROPRIATE POINTORBYBEINGFADEDORlLTEREDINOVERAPERIODOFTIME!TAROUNDBARS INTOTHEARRANGEMENTYOUWOULDGENERALLYSTARTINTRODUCINGSOMEMUSICALELE MENTSASWELLASPERHAPSSOMEADDITIONALPERCUSSION

$URINGTHEINTROPHASEOFMOSTREMIXESANYMUSICALELEMENTSTHATAREBROUGHT INARE INTRODUCEDINEITHERAlLTEREDFORMORPERHAPSEVENASIMPLIlEDFORM &OREXAMPLE IF THElRSTMUSICALELEMENTYOUWANTED TO INTRODUCEWASABASS LINE THEN YOU COULD PERHAPS BRING IT IN HEAVILY lLTERED EITHER LOW PASS OR HIGH PASSlLTERED ANDGRADUALLYOPENTHElLTERUPTOBRINGINTHEFULLSOUND !NOTHEROPTIONWOULDBETOBRINGINTHEFULLSOUNDBUTWITHASIMPLIlEDVER SIONOFTHEMAINPATTERNPOSSIBLYWITHTHESAMEGROOVEASTHEMAINBASSLINE BUT JUST STICKING TO A SINGLE NOTE RATHER THAN THE PATTERNMOVING AROUND TO FOLLOW THE CHORDPROGRESSION IN THE SONG )T COULD ALSOBE A COMBINATIONOF BOTHOFTHESE4HESAMETHINKINGCOULDEASILYBEAPPLIEDTOWHICHEVERMUSICAL ELEMENTYOUCHOSE TOBRING INlRST )T ISNTHUGELY IMPORTANTWHATYOUBRING INlRSTOUTOF THEMUSICALELEMENTS"ASS LINESANDPADSCHORDSAREGENERALLY GOODCHOICESBECAUSETHEYCANBEBLENDEDINNICELYANDARENTALWAYSASREADILY IDENTIlABLEASALEADRIFFYOUDONTWANTTOGIVEAWAYTHEMUSICALHOOKOFTHE TRACKASEARLYASTHEINTRO

7HICHEVER ELEMENT YOU HAVE BROUGHT IN lRST THIS ELEMENT WILL GENERALLY EVOLVEˆEITHERTHROUGHlLTERINGVOLUMEFADESORINCREASINGCOMPLEXITYINTHE PATTERNUSEDˆOVERTHENEXTBARSDURINGWHICHTIMEYOUMIGHTSTARTTOBRING INPERHAPSANOTHERONEORTWOMUSICALELEMENTSANDMOREPERCUSSION4HISWILL BRINGYOUUPTOTHE BARMARKWHICHISAROUNDSECONDSTOINTOTHE

TRACK"Y THIS TIME YOU COULDPOTENTIALLY START THEMAINBODYOF THE TRACK )N GENERALHOWEVERYOUWOULDPROBABLYCONTINUETOBUILDTHEINTROFORANOTHER BARSTOTAKETHETRACKTOAROUNDTODEPENDINGONTEMPO

$URING THIS LASTPARTOF THE INTROYOUMIGHT CHOOSE TO INTRODUCEA FEWVOCALS ASWELLASSUMINGOFCOURSETHATTHESONGYOUAREREMIXINGHASVOCALS HOPE FULLYWITHOUT GIVING AWAY THEMAIN VOCALHOOK TOO SOON9OU CANOFTEN SNIP OUTINDIVIDUALLINESOREVENPARTSOFLINESFROMLATERINTHESONGANDTAKETHEM OUT OF CONTEXT BY PERHAPS CHANGING THE TIMING POSITION OF THE VOCAL SO THAT IT STARTS IN A DIFFERENT PLACE IN THE BAR OR PERHAPS BY REPEATING THAT ONE LINE OVERANDOVER/RYOUCOULDTHINKOFOTHERWAYSTOAVOIDGIVINGAWAYTHEHOOK TOOEARLYFOREXAMPLEBYGIVINGTHEVOCALADIFFERENTSOUNDWITHEFFECTSTHATCRE ATEAMOREHEAVILYPROCESSEDSOUNDORBYLETTINGITSITFURTHERBACKINTHEMIX)F YOUDOTHISYOUCANALMOSTMAKEITSOUNDLIKEACOMPLETELYNEWVOCALLINETHAT ONLYOCCURSINTHEINTROANDQUITEPOSSIBLYTHEOUTROASWELL OFTHETRACK

4HISNOWBRINGSUSUPTOBARSINTOTHETRACKWHICHIS)THINKAGOODPLACE TOBRINGINTHEMAINBODYOFTHESONG!NYLONGERTHANTHISANDYOURISKTHINGS BECOMINGALITTLEBORING4HE$*WOULDALMOSTCERTAINLYHAVElNISHEDHERMIX BETWEENTHETWOTRACKSBYTHISPOINTANDSOANYTHINGAFTERTHISWOULDJUSTBE DRAGGING THINGSOUT FOR THE LISTENER/FCOURSE IFYOUHAVEANESPECIALLY LONG INTROAS)MENTIONEDEARLIERTHE$*MIGHTSIMPLYCHOOSETOSTARTHISMIXFUR THERINTOYOURTRACK3OEVENIFYOURINTROISALITTLETOOLONGTHELISTENERSWILL ARRIVEATTHECRITICALPOINTATTHERIGHTTIMETHATISNOTTOOLONGAFTERTHE$*HAS lNISHEDMIXINGOUTTHELASTSONG

4HE NEXT SECTION IS THE SMALL hBREAKDOWNv BEFORE OR LEADING INTO THE lRST VERSE4HISCANBEQUITEGENRE DEPENDENTASSOMEGENRESTENDTOUSETHISTECH NIQUE QUITE REGULARLY ANDOTHERS BARELY AT ALL )T CAN SERVE A VERY USEFUL PUR POSE THOUGH WHICH BECOMES APPARENT A LITTLE LATER7ITH ANY CLUBMIX YOU NEED TOBUILD THEDYNAMICSOF THE TRACK AS IT PROGRESSES(OWEVER IF YOU TRY TO KEEP BUILDING AND BUILDING AND BUILDING FROM THE VERY BEGINNING OF THE TRACK THENYOUWILLQUICKLYlNDYOUHAVEUSEDUPEVERYTHINGYOUHAVEAVAIL ABLE TOYOUANDHAVENOWHERE LEFT TOGOBEFOREYOUREEVENHALFWAY INTO THE TRACK/BVIOUSLYTHISISNTAGOODPOSITIONTOlNDYOURSELFINANDTHISISWHY ASMALLBREAKDOWNBEFORE THElRSTVERSECANBEGOOD"Y TAKING THEDYNAMIC LEVEL OR ENERGY LEVEL OF THEMUSIC DOWN A LITTLE BEFORE GOING INTO THE lRST VERSEYOUHAVEGIVENYOURSELFMORESCOPETOBUILDITAGAINTHROUGHOUTTHEVERSE ANDBRIDGEIFTHEREISONE BEFOREGOINGINTOTHECHORUS4HISHASTHEEFFECTOF MAKINGTHECHORUSSOUNDBIGGERTHANITACTUALLYIS4HEHUMANBRAINANDEAR COMBINATIONADAPTSTOWHATITHEARSVERYQUICKLYSOADROPINDYNAMICLEVELSAT THEBEGINNINGOFAVERSEWILLHAVEALLOFTHESEPOSITIVEEFFECTSEVENIFTHELEVEL STARTSTOBUILDAGAINQUITEQUICKLY

4HISBREAKDOWNDOESNTNEEDTOBEASDRAMATICASTHEMAINBREAKDOWNLATERIN THEMIXANDCOULDBEASSIMPLEASJUSTDROPPINGBACKTONOTHINGMORETHANA KICKDRUMANDBASSLINEORPERHAPSKEEPINGEVERYTHINGRUNNINGASITWASBUT REMOVINGTHEKICKDRUM)TCOULDFEASIBLYBEANYTHINGATALLTHATDROPSTHELEVEL

OF ENERGY IN THIS SECTION OF THE TRACK &ROM EXPERIENCE )WOULD SAY THAT THE MOSTEFFECTIVETHINGSYOUCANDOARETOREMOVETHEKICKDRUMTHEBASSLINEOR BOTHORSTRANGELYENOUGH TODOEXACTLY THEOPPOSITEANDREMOVEEVERYTHING but THE KICK DRUM BASS LINE OR BOTH /BVIOUSLY YOU WILL BEMORE FAMILIAR WITHTHESPECIlCSOFHOWTHESETHINGSWORKINTHEGENREYOUREWORKINGINBUT HOPEFULLYWHATEVERTHOSESPECIlCSAREYOUCANSEETHEREASONSWHYYOUWOULD POSSIBLYHAVEASMALLBREAKDOWNATTHISPOINTINTHETRACK

-OVINGONTOTHElRSTVERSEBRIDGEANDCHORUSSECTIONSISMUCHSIMPLERASTO SOMEEXTENTATLEASTTHEARRANGEMENTHEREISALREADYTAKENCAREOFFORYOU!LL YOUHAVETODECIDEISEXACTLYHOWMUCHANDHOWQUICKLYTOBUILDTHINGSLEAD ING INTO THECHORUS )N SOMESONGSˆANDCERTAINLY THEMORECOMMERCIALAND hPOPPYv SONGSˆTHE VERSE AND THE CHORUS HAVE DIFFERENT CHORD PROGRESSIONS SO THIS IN ITSELFWILLMAKE THE CHORUS FEEL LIKE A hLIFTv FROM THE VERSE-ORE RECENTLYHOWEVERTHEREHASBEENANINCREASEINTHENUMBEROFSONGSTHATUSE THESAMECHORDPROGRESSIONTHROUGHOUT)NTHESETHECHORUSISONLYREALLYDIF FERENTIATEDBYACHANGEINVOCALMELODYANDPERHAPSADIFFERENTMUSICALHOOK THATONLYCOMESINTHECHORUSORTHEINTRODUCTIONOFMORECOMPLEXPERCUSSION ELEMENTSANDOTHERMUSICALSUBTLETIES

/NEPOSSIBLEAREAWHEREACLUBMIXCANBEALITTLEMORECREATIVEINTHEARRANGE MENT IS IN THE INTRODUCTION OF AN INSTRUMENTAL SECTION BASED ON THE CHO RUSCHORDPROGRESSIONEITHERAT THEBEGINNINGOR THEENDOF THECHORUS )FYOU CHOOSETOHAVEANINSTRUMENTALSECTIONATTHESTARTOFTHECHORUSTHENTHATCAN HELP TO PROVIDE A CONTINUED BUILD THROUGHOUT THE CHORUS BY lRST TAKING THE CHANGES IN THECHORDPROGRESSIONASONEhSTEP UPvANDTHENUSING THEREINTRO DUCTIONOFTHEVOCALASASECONDSTEP UP4HEONLYRISKWITHTHISTECHNIQUEISTHAT THEmOWOF THEORIGINAL SONGCANBE LOST ESPECIALLY IN SONGS THATHAVEAVOCAL LINETHATRUNSSMOOTHLYFROMTHEENDOFTHEBRIDGEORVERSEIFTHEREISNOBRIDGE INTOTHECHORUS)NCASESLIKETHESEITCANBEHARDTOlNDAWAYTOENDTHELINE LEADING INTO THECHORUSPROPERLYAND SIMILARLY IT CANBEDIFlCULT TO THEN LEAD BACKINTOTHECHORUSVOCALWHENITDOESRETURN)FYOUWANTEDTODOTHISPERHAPS YOUCOULDADDADELAYEFFECTTOTHEENDOFTHELASTLINEOFTHEVERSEBRIDGEWHICH WOULDCARRY THEVOCALOVER INTO THE INSTRUMENTALCHORUSSECTIONANDTHENPOS SIBLYREPEATTHEENDOFTHELASTLINEOFTHEVERSEBRIDGEASALEAD INTOTHECHORUS

#ONVERSELYIFYOUCHOOSETOHAVEANINSTRUMENTALSECTIONAFTERTHECHORUSVOCALIT CANSERVEASAWAYTOSTEPBACKDOWNINTOTHEFOLLOWINGSECTIONOFTHETRACKWITH OUTITBEINGSUCHADRAMATICDROP!LSOIFYOUHAVEAMUSICALCHORUShRIFFvTHEN YOUCOULDEITHERLEAVETHISOUTCOMPLETELYDURINGTHEVOCALCHORUSORHAVEITlL TEREDDOWNANDRUNNINGINTHEBACKGROUND4HENONCETHECHORUSVOCALHASlN ISHEDREPEATTHEWHOLECHORUSSECTIONBUTINTRODUCETHISMUSICALCHORUSHOOK INPLACEOFTHEVOCALCHORUSINTHEREPEAT4HESECANBEEFFECTIVEWAYSTOINCREASE THEDYNAMICCHANGESINACLUBMIXBUTTHEYAREDEPENDENTONTHELENGTHOFTHE ORIGINALTRACK$OINGEITHEROFTHESEWILLNORMALLYADDATLEASTBARSANDMAYBE EVENBARS TOTHELENGTHOFEACHCHORUSWHICHOVER THECOURSEOF THEWHOLE REMIXCOULDADDANYWHEREFROMSECONDSTOTOTHELENGTHOFTHEWHOLE MIXANDMIGHTINTHATEVENTUALITYMAKETHEWHOLEMIXJUSTALITTLETOOLONG

(OWEVERYOUDEALWITHTHECHORUSWHETHERYOUKEEPITASASINGLEVOCALCHORUS ORDOUBLE ITUP TO INCLUDE AN INSTRUMENTAL SECTION AT THE ENDOF THE CHORUS YOUWILLNEEDTODROPTHEENERGYLEVELSBACKDOWNAGAINTOGOINTOTHESECOND VERSE4HISUSUALLYHAPPENSDURINGASHORT INSTRUMENTALSECTIONFOLLOWINGTHE lRSTCHORUS4HEAIMOFTHISSECTIONISEXACTLYTHESAMEASWEDESCRIBEDEARLIER FORTHESMALLBREAKDOWNBEFORETHElRSTVERSE"YDOINGTHISWEGIVEOURSELVES MOREROOMTOBUILDINTOTHESECONDCHORUS4HEMAINDIFFERENCEHERE IS THAT THISSECTIONNEEDSTOBEALITTLEDIFFERENTFROMTHElRST2EMIXERSCANAPPROACH THIS IN ANUMBEROFDIFFERENTWAYS THEMOST COMMONOFWHICH IS TO SIMPLY NOTTAKETHEENERGYLEVELSDOWNASFARASYOUDIDDURINGTHElRSTSMALLBREAK DOWN)FYOUKEEPAFEWMOREELEMENTSRUNNINGDURINGTHISSECTIONANDINTO THESECONDVERSETHENYOUAREATASLIGHTLYHIGHERLEVELANDIFYOUBUILDTHINGS THROUGHOUT THE SECOND VERSE ANDBRIDGE IN A SIMILARWAY THENBY THE TIME YOU REACH THE SECOND CHORUS THE OVERALL ENERGY LEVELS WILL BE A LITTLE HIGHER THAN AT THE SAME POINT IN THE lRST CHORUS 4HIS ISWHATWEWANT TO ACHIEVE AGRADUALUPWARDTRENDINPOWERANDENERGY THROUGHOUT THEWHOLE TRACKBUT WITHOBVIOUSPEAKSANDTROUGHSTHROUGHOUTTHISPROCESS

/FTEN THESECONDVERSEBRIDGEANDCHORUSAREDEALTWITH INASIMILARWAY TO THE lRST VERSE BRIDGE AND CHORUS BUT PERHAPS WITH AN ADDITIONAL ELEMENT MUSICALPERCUSSIVEOREVENVOCAL ORTWOTODIFFERENTIATEIT4HEORIGINALSONG YOU ARE REMIXINGMIGHT ACTUALLY HELP YOU OUT IN THIS RESPECT BECAUSEMANY SONGS WILL HAVE SOMETHING DIFFERENT IN THE SECOND SECTION TO HELP RAISE THE DYNAMICSSOYOUMAYHAVEEXTRAHARMONIESORPERHAPSEVENASLIGHTLYSHORTER ORLONGERVERSEORBRIDGE4HISHELPSTOMARKTHISSECTIONOFTHEREMIXASBEING DIFFERENT BUT EVEN IF THAT ISNT THERE IN THE ORIGINAL TRACK THERE IS NO REASON WHY YOU CANT CREATE THAT DIFFERENCE YOURSELF/VERALL THOUGH THIS SECTION OF THE REMIX IS PERHAPS THE ONE THAT NEEDS THE LEAST THOUGHT "Y THIS POINT IN TIMEPEOPLEAREALREADYSTARTINGTOBECOMEFAMILIARWITHTHEVOCALTHEMESAND MELODIES ANDWHEN THE CHORUS HITS FOR THE SECOND TIME THEYWILL PROBABLY HAVESTARTEDTOREMEMBERITANDWILLSTARTTOINWARDLYIFNOTOUTWARDLY SING ALONG4HISCERTAINLYHELPSYOUASAREMIXERBECAUSEYOUDONTHAVETOBEQUITE SOCLEVERTOHOLDPEOPLESATTENTIONSOMUCHDURINGTHISPARTOFTHESONG

)FYOUDIDANINSTRUMENTALSECTIONEITHERBEFOREORAFTERTHEVOCALCHORUSlRST TIMEAROUNDTHENYOUPROBABLYSHOULDINCLUDEONEAGAINHERE)FYOUHADONE THE lRST TIME AROUNDBUT NOT THE SECOND ITMIGHT SOUND A LITTLE STRANGEBUT CONVERSELY IF YOU DIDNT HAVE ONE THE lRST TIME AROUND THEN YOU CAN EASILY INTRODUCE ONE THE SECOND TIME AROUNDWITHOUT IT SOUNDING ODD !T THE END OF THIS SECOND CHORUS YOU REACH ANOTHER OF THE CRUCIAL AND OFTEN hMAKE OR BREAKvPARTSOFYOURREMIXTHEBREAKDOWN

&IRSTLETSASKTHEQUESTIONh7HYDOWEEVENHAVEABREAKDOWNINTHEMIDDLEOF ACLUBMIXv4HEREAREACTUALLYTWOPARTSTOTHISANSWERBOTHOFWHICHAREPRETTY SIMPLEANDMAKEALOTOFSENSE4HElRSTPARTISTHATATTHISPOINTINTHESONG WE ARE NORMALLY SOMEWHERE AROUND THE FOUR MINUTEMARK AND SO ASSUMING MAYBETWOMINUTESORMOREATTHEENDOFTHEPREVIOUSSONGANDTHREETOFOUR

MINUTESOFTHISSONGTHECROWDWILLHAVEHOPEFULLYATLEAST BEENDANCINGLIKE MANIACS FOR SIXORMOREMINUTESANDWILLPROBABLYAPPRECIATEA LITTLEBITOFA REST!BREAKDOWNGIVESTHECROWDALITTLETIMETORELAXWHICHOVERTHECOURSE OF THE WHOLE NIGHT PROBABLYMEANS THAT THEY WILL BE THERE FOR THE DURATION RATHERTHANBURNINGTHEMSELVESOUTTOOSOONORHAVINGTOLEAVETHEDANCEmOOR FORAWHILETOTAKEABREAK/URAIMISTOGETPEOPLETOTHEDANCEmOORANDkeep THEMTHERESOTHESELITTLEBREAKSGIVETHEMJUSTENOUGHOFARESTTOMEANTHAT THEYDONTNEEDTOACTUALLYTAKEABIGGERBREAKATSOMEPOINTDURINGTHENIGHT "UTHAPPILYTHEYALSOSERVEourPURPOSESBECAUSETHEYPROVIDEAWAYFORUSTO HAVEABIGBUILD UPANDANAPPARENTLYHUGELIFTINTOTHELASTANDlNALCHORUS

4HESECONDPARTOFTHEANSWERISASFOLLOWS7EHAVEHOPEFULLYATLEASTBEEN PRETTYSUCCESSFULINKEEPINGTHEUPWARDTRENDOFENERGYINTHETRACKSOFARBUT BYNOWPEOPLEAREQUITEFAMILIARWITHEVERYTHINGWEHAVEGOINGONSOWEHAVE TO GIVE THEMONElNAL PUSH ONElNAL hTHIS IS NEWv FEELING BEFOREWE LEAVE THEM TO START ENJOYING THE NEXT SONG !ND WITHOUT QUITE A SUBSTANTIAL DROP IN THEDYNAMICS ANDENERGYOF THE TRACK THISWOULDBE ALMOST IMPOSSIBLE TO DO/VER THEDURATIONOFANORMALBREAKDOWNWECANDROP THEENERGY LEVELS ENOUGH THAT EVEN IFWE JUST RETURNED TO EXACTLY THE LEVEL THEYWERE AT IN THE SECONDCHORUSITWOULDSTILLFEELEVENBIGGERTHISTIMEAROUND"YINCORPORAT INGCERTAINKINDSOFDRUMROLLSAND&8SOUNDSWECANADDANELEMENTOFTEN SION THAT TAKES THINGS EVEN HIGHER'IVEN THAT SOMETIMES AT LEAST A REMIXER WILLINTRODUCEONElNALNEWMUSICALELEMENTPOSSIBLYEVENSOMETHINGQUITE SUBTLE WEHAVEALLTHEINGREDIENTSFORTHATLASTBIGlNALEMOMENT

4HE SPECIlCS OF A BREAKDOWN VARY ENORMOUSLY ACROSS GENRES AND REMIXERS 4HEREAREASALWAYSMANYPATTERNSTHATHAVEEMERGEDASBEINGTHEMOSTCOM MONANDDOMINANTWHICHMEANSTHATAMAJORITYOFBREAKDOWNSFALLINTOONE OF THREEDIFFERENTMAINSTYLESWITHONEEXTRAVARIATIONONTHETHEME4HElRST ISA REALLY SUDDENDROP TOALMOSTNOTHINGWITHA SLOWANDSUBTLEBUILDBACK UP AS THE BREAKDOWN PROGRESSES 4HE SECOND IS ALMOST EXACTLY THE OPPOSITE ELEMENTS ARE GRADUALLY REMOVEDUNTIL THERE ISNOTMUCH GOINGON AT ALL FOL LOWEDBYAQUICKBUILDBACKUPINTOTHELASTCHORUS4HETHIRDISREALLYACOM BINATIONOFBOTHOF THESEWITH ELEMENTS REMOVING THEMSELVES GRADUALLY AND THEN A REASONABLE LENGTHBUILDBACKUP INTO THE LAST CHORUS 4HElNAL VARIA TIONMENTIONEDEARLIERWHICHCROPSUPQUITEALOTISREALLYAVARIATIONONTHE lRSTMETHODBUT INVOLVES A LITTLE FAKE OUT TOWARD THE ENDOF THEBREAKDOWN %VERYTHINGPROGRESSES AS YOUWOULDEXPECTWITHA LONGBUILDUPBUT INSTEAD OFDROPPINGBACKINTOTHELASTCHORUSATTHEENDOFTHEBREAKDOWNYOUGETA FURTHERDROPFOLLOWEDBYANOTHERBUILD UPPROBABLYAMUCHSHORTERONETHIS TIME THATTHENLEADSBACKINTOTHELASTCHORUS

4HEREMAYBEADIFFERENTCHORDPROGRESSIONINTHEBREAKDOWNANDIFTHEORIGI NALTRACKHADAmiddle 8VOCALSECTIONTHISCANWORKVERYNICELYASAVOCALINA BREAKDOWN)F THEREISNOMIDDLEASSUCHTHENACOMMONTHINGTODOISTO CREATEAVARIATIONONEITHERTHEVERSEORCHORUSCHORDPROGRESSIONANDUSETHAT INSTEAD )F THERE ISNOSPECIlCVOCAL TOUSEHERE THENANOTHERPOSSIBILITY IS TO

DOSOMETHINGSIMILARTOWHATWEDIDFORTHEINTROSECTIONANDACTUALLYCREATEA LITTLEVOCALHOOKBYTAKINGALITTLEPARTOFTHECHORUSANDEFFECTINGITHEAVILYAND USINGITINAMOREREPETITIVEWAY

-USICALLY THEBREAKDOWNWILL NEARLY ALWAYS INVOLVE REMOVING THE KICKDRUM AND THE BASS LINE BECAUSE THOSE TWO ELEMENTS COMING BACK IN AT THE END OF THEBREAKDOWNWILLADDANIMMENSEAMOUNTOFPOWERCOMPAREDTOWHENTHEY WERENOTPLAYING4HISWILL REALLYHITHOMETHETRANSITIONFROMBREAKDOWNTO LASTCHORUS-ANYOFTHEOTHERSOUNDSTHATWEREINUSEDURINGTHEOTHERPARTS OFTHEREMIXCANALSOBEUSEDHEREBUTWILLMOSTLIKELYBEEITHERlLTEREDORVOL UMEFADEDINOROUTASTHEBREAKDOWNPROGRESSES&8SOUNDSCANALSOAPPEAR HEREINABUNDANCEWITHLONGrisersBEINGVERYPOPULARASAWAYOFBUILDINGTEN

SIONANDANTICIPATION LEADING INTO THE LAST CHORUS7EWANT TO USETHEENDOFTHEBREAKDOWNTOLIFTPEOPLETOAHIGHSTATE OF EXCITEMENT AND THEN AT THE ENDOF THEBREAKDOWN DROP THEM BACK DOWN AGAIN SO THAT IT ALMOST FEELS LIKETHEYFALLJUSTATINYLITTLEBITEVENTHOUGHTHEY ARE ACTUALLY AT HIGHER PLACE THAN BEFORE 4RY LIS TENINGTOATRACKORREMIXTHATHASAREALLYGREAT BREAKDOWNANDTHENTRYTOVISUALIZETHATIMAGE ASYOU LISTEN TO THE TRANSITION FROMTHEBREAK DOWNBACKINTOTHECHORUS

,IFTINGPEOPLEUPTHATHIGHISSURPRISINGLYEASY BY COMBINING riser FX WITH DRUM lLLS lLTER ING AND VOLUME FADES BUT THE DIFlCULTY CAN BETHATSOMETIMESYOUCANMAKETHEENDOFTHE BREAKDOWNsoBIGTHATANYTHINGTHATFOLLOWSFEELS LIKEANANTICLIMAX7ITHSOMECAREFULFORETHOUGHT AND JUDICIOUSUSEOF AUTOMATION FOR EXAMPLEBY AUTOMATING THE VOLUME LEVELS OF ALL OF THE SOUNDS

DOWNWARDBY A COUPLEOF D"OVER THE LAST FEWBARS OF THEBREAKDOWNSOTHATEVENTHOUGHTHESOUNDFEELSLIKEITS

GETTING BIGGER SONICALLY IT IS ACTUALLY DROPPING IN LEVEL ALMOST IMPERCEPTIBLY WECANMAKESURETHATWHENEVERYTHINGCRASHESBACKINFORTHE LASTCHORUSITREALLYdoesCRASHBACKINABIGWAY

/NElNALTHINGTOCONSIDERWITHBREAKDOWNSISHOWLONGTOMAKETHEM4HERE ISATEMPTATIONTOMAKETHEMTOOLONGBECAUSEWITHLONGERBREAKDOWNSTHE EFFECTOF SUCH A SLOWBUILD UP TO SUCH AHIGHPEAK CANBEMESMERIZING 4HE TROUBLEWITH THIS IS THAT IT IS ABALANCINGACT9ESWEWANT TO GIVE THE CROWD A BREAK BUT AT THE SAME TIMEWEDONTWANT THEM TO LOSE THEIR ENTHUSIASM AND LIVELINESS COMPLETELY "ECAUSE OF THIS YOU SHOULD DElNITELY AVOID MAK ING YOUR BREAKDOWNS TOO LONG 4HERE ARE OF COURSE EXCEPTIONS TO EVERY RULE ANDIFYOUHAVEACHANCETOCHECKOUTTHEBREAKDOWNOFTHETRULYEPIC3IZE h) !M2EADYv CLUBMIX YOUWILL HEAR A BREAKDOWN THAT IN TOTAL LASTS FOR CLOSETOMINUTESANDDURINGTHATTIMEGOESFROMA ISHBPMHOUSETRACK INTOA ISHBPMBREAKBEAT TRACKANDBACKAGAIN4OBEFAIR THIS IS THEONLY

!RISERISAN EFFECTSOUNDOFTEN

NON CHROMATICALLYTUNED WHICHISQUITELONGINDURATION ANDWHICHCREATESASENSEOF hBUILDUPvBYRISINGINVOLUME GETTINGhBIGGERvANDhBRIGHTERvIN SOUNDANDPERHAPSRISINGINPITCH ORPOSSIBLYANYCOMBINATIONOFTHE THREE 4HESEKINDSOFEFFECTSARE OFTENBASEDONhWHITENOISEvTYPE SOUNDSANDAREINAWAYTHE DANCEMUSICEQUIVALENTOF ACYMBALCRESCENDOIN ORCHESTRALMUSIC

DANCEMUSIC TRACK ) HAVE EVER HEARD THAT GOES TO THIS EXTREME BUT FOR SOME STRANGEREASONITGETSAWAYWITHIT4HE42 nTYPESNAREDRUMROLLTHATRUNS THROUGHTHELASTMINUTEOFTHEBREAKDOWNBUILDSSOMUCHTENSIONTHATBYTHE ENDOFITYOUFEELLIKEYOUAREREADYTOEXPLODE

) THINK THATPERHAPS THEBESTWAY TOAPPRECIATEBREAKDOWNS IS TOGO TOA FEW CLUBSTHATPLAYTHEGENREOFMUSICYOUWILLBEWORKINGINANDACTUALLYseeHOW THE CROWD REACTS TO DIFFERENT BREAKDOWNS ,ISTENING TO THEM IN A STUDIOWILL GIVEYOUATECHNICALAPPRECIATIONANDPOSSIBLEINSIGHTINTOhow THEYAREDONE BUTTHEYWONTREALLYHELPTOEXPLAINTOYOUwhyTHEYWORK/NCEYOUHAVESEEN ITFORYOURSELFYOUWILLHAVEABETTERUNDERSTANDINGOFHOWTOCREATEYOUROWN EFFECTIVEBREAKDOWNS

-OVINGONTOTHElNALCHORUSOFTHECLUBMIXWEAREPRETTYMUCHDEALINGWITH THESAMESCENARIOASTHElRSTTWO4HEPRINCIPLESARETHESAMEBUTONCEAGAIN YOUAREHELPEDALONGBYTHEFACTTHATBYNOWTHEREISANEVENGREATERSENSEOF FAMILIARITYWITHTHESONGANDGIVENTHATYOUHAVEONLY JUSTCOMEOUTOF THIS BIGBUILD UPSECTIONPEOPLEWILLHOPEFULLYBEFEELINGEXCITEDENOUGHTOFORGIVE YOUFORNOTACTUALLYGIVINGTHEMANYTHINGORMUCH THATISSONICALLYNEW9OU MAYDECIDETOUPTHEANTEALITTLEBYADDINGINANOTHERNEWMUSICALELEMENT HEREBUTYOUREALLYSHOULDNTFEELTHATYOUABSOLUTELYMUSTDOTHIS3OMETIMES ITISBETTERTOLEAVETHINGSOUTRATHERTHANRISKMAKINGYOURPRODUCTIONSOUND CROWDEDWITHUNNECESSARYSOUNDS

/NCEAGAINTHOUGHTHEISSUEOFTHEINSTRUMENTALCHORUSSECTIONRAISESITSHEAD ANDMYPOSITIONREMAINS THESAME )FYOUHAVE INCLUDEDONE IN THElRST TWO CHORUSESOREVENJUSTINTHESECONDTHENYOUPROBABLYSHOULDINCLUDEONEIN THElNALCHORUSASWELL)FYOUHAVENTINCLUDEDONESOFARTHENPERHAPSNOWIS AGOODPLACETODOSO"UTAGAINCONSIDERTHEEFFECTTHISWILLHAVEONTHEOVER ALLLENGTHOFYOURREMIX

!T THE END OF THIS LAST CHORUS ALL YOU HAVE LEFT TO DO IS GIVE THE $* A NICE SMOOTHANDEASYWAYOUTOFYOUR REMIXAND INTO THENEXT TRACK2ATHER THAN GO INTOHUGEDETAILOVER THIS )WILL JUST REFERYOUBACK TOWHAT )WROTEABOUT THE$* FRIENDLYINTROBUTINSTEADOFAPPLYINGTHOSEPRINCIPLESINTHEORDERTHEY WEREGIVENAGOODSTARTINGPOINTISTOAPPLYTHEMINREVERSEBYTAKINGTHINGS OUTINTHEOPPOSITEORDERYOUBROUGHTTHEMIN4HISISARATHERSIMPLISTICVIEW OFTHINGSAND)WOULDNEVERADVISEYOUTOLITERALLYMAKEYOURENDINGAMIRROR IMAGEOFYOURINTROBUTMANYOFTHESAMEWELL…OPPOSITE PRINCIPLESAPPLY 4HE$*WILLSTILLWANTANICESOLIDTIMINGREFERENCEUNTILVERYNEARTHEENDOFIF NOTTHEACTUALENDOF THETRACKSOAKICKDRUMISAVERYUSEFULTHINGTOKEEP RUNNING )TWOULDALSOBEADVISABLE TOSTART REMOVING THEBASS LINEEITHERBY lLTERINGORWITHAVOLUMEFADEALITTLEWAYFROMTHEENDOFTHETRACKSOYOUARE GIVINGTHEBASSLINEOFTHENEWTRACKSOMESPACETOCOMEINWITHOUTCLASHING "EYONDTHATDOWHATEVERYOUFEELWORKSBESTFORTHETRACK

)WOULDCERTAINLYTRYTOMAKETHINGSSOUNDSMOOTHINYOUROUTROBECAUSEYOU WANT THE TRANSITION INTO THE NEXT TRACK TO BE GENTLE RATHER THAN A BIG JERKY CHANGE INDYNAMIC LEVELWHICHMIGHTCATCHTHE$*OUT )WOULDALSOSAY THAT

YOUDONTALWAYSNEEDTOGOALLTHEWAYDOWNTONOTHINGONTHEOUTRO)THINK ITISQUITEACCEPTABLETOKEEPAFEWMOREPERCUSSIONELEMENTSGOINGINTHEOUTRO THANYOUMIGHTORDINARILYHAVESTARTINGOFFINTHEINTRO/NTHEWHOLETHOUGH IFYOUAPPLYTHEh$* FRIENDLYvPRINCIPLETHEOUTRONEEDNTBEAHUGEHEADACHE

4HATS PRETTYMUCH IT FOR A VERYBASIC OVERVIEWOF A CLUBMIX ARRANGEMENT!S ) SAIDAT THEBEGINNINGOF THISSECTIONWHAT ISPRESENTEDHEREMIGHTNOTMAKE COMPLETESENSETOYOUDEPENDINGONTHEGENREYOUWORKIN3OMEGENRESHAVE SLOWERANDMOREGRADUALBUILDSTHROUGHTHETRACKWITHOUTTHEUPSANDDOWNSOF THEMETHOD)VEDESCRIBED)NSOMEWAYTHOSEKINDSOFARRANGEMENTSAREMUCH HARDERTOWORKONBECAUSEYOUHAVETOKEEPTHATBUILDGOINGCONTINUOUSLYFOR ALONGERPERIODOFTIME4HEYOFTENHAVEMOREOFAMINIMALSETOFMUSICALELE MENTSTODOITWITHSOTHEYCANBEACHALLENGEINADIFFERENTWAY%VENIFTHISIS THECASETHOUGHMUCHOFWHYYOUDOCERTAINTHINGSREMAINSTHESAME

*USTASAlNALBITOFFOODFORTHOUGHTBEFOREWEMOVEONTORADIOEDITARRANGE MENTS&IGURESHOWSASCREENSHOTOFTHECLUBMIXARRANGEMENTFROM&IGURE ONLYTHISTIMEALLTHETRACKSAREARRANGEDSOTHATTHEELEMENTSSTARTWITHTHE lRSTONESATTHEBOTTOMANDGRADUALLYPILEUPASTHEYCOMEINASIFYOUWERE BUILDINGAWALL

4HEVIEWSHOWNIN&IGUREGIVESUSAPRETTYGOODIDEAOFHOWTHEDYNAM ICS AND ENERGY LEVELS OF THE TRACK BUILD EVENWITHOUT LISTENING TO THE REMIX 7HILE)WOULDNEVERRELYONAPURELYVISUALMETHODOFARRANGINGATRACKTHIS VISUALOVERVIEWCANCERTAINLYHELPUSBUTITDOESCOMEATAPRICE)TISVERYEASY

TOSTARTHEARINGTHINGSWITHYOUREYESINTHESENSETHATIFYOUARELOOKINGATTHE SCREENASTHETRACKISPLAYINGANDYOUCANSEETHATACERTAINSOUNDORMUSICAL PARTWILLBECOMINGINVERYSOONITPREPARESYOURBRAINFORITSARRIVALSOMUCH SOTHATWHENITDOESCOMEIN ITCANFEEL LIKE ITHAS LESSOFAN IMPACTBECAUSE YOUHADALREADYANTICIPATEDIT)PERSONALLYLIKETOLISTENTOTRACKSAS)AMWORK INGONTHEMWITHMYSCREENEITHERTURNEDOFFORATTHEVERYLEASTWITHMEFAC INGAWAY FROMIT SO THAT )AMHEARING THE SOUNDOF ITOBJECTIVELYAND IN THE SAMEWAYALISTENERWOULD)MTRYINGTOAVOIDTHEIMAGEGIVINGMEVISUALCLUES ASTOWHATISCOMINGNEXT

RADIO EDIT (AVING TACKLED THE BASIC STRUCTURE OF A TYPICAL CLUB MIX WE CAN NOW TURN OUR ATTENTION TO THE RADIO EDIT )N SOME SITUATIONS THIS CAN ACTUALLYBEMORE IMPORTANTTOTHECLIENTTHANTHECLUBMIX)NANYCASEBEINGABLETODELIVERA GOODCLEANANDPUNCHYRADIOEDITISAGOODSKILLTOHAVE4OSOMEEXTENTTHE ARRANGEMENTOFARADIOEDITCANBE LAIDOUT FORYOUFROMTHESTRUCTUREOF THE TRACKYOUAREREMIXING'IVENTHATMOSTRADIOEDITSHAVETOBENOMORETHAN LONGANDSOMETIMESYOUAREASKEDTOMAKETHEMEVENSHORTERTHEREISNT ALWAYSAGREATDEALOFSCOPEFORCREATIVEARRANGEMENTS

4HEORIGINALTRACKASSUMINGYOUHAVEBEENGIVENARADIOEDITVERSIONTOWORK FROM WILL PROBABLY BE AROUND THAT LENGTH ANYWAY SO IF YOU HAVE SPED THE VOCALUPTHENYOUMIGHTHAVEALITTLEROOMTOBECREATIVEBECAUSETHERUNNING TIMEOFTHEORIGINALVOCALWILLBESHORTERTHANITWASBEFORE)FTHISISTHECASE YOUMAYBE ABLE TO INSERT SOMEEXTRA SPACE INTO THE ARRANGEMENTWHERE YOU CAN&OR EXAMPLE YOUMIGHTHAVEA SHORT SECTIONWITHANEWLY CREATEDVOCAL PARTLIKEWEDESCRIBEDFORTHEINTROFORACLUBMIXINTHELASTSECTION OREVEN HAVEADOUBLECHORUSWHERETHEREWASONLYASINGLEONEBEFORE9OUROPTIONS ARESTILLLIMITEDBUTTHERESTILLMIGHTBEABITOFROOMFORCREATIVITY

)F HOWEVER YOU HAVE HAD TO SLOW THE VOCAL DOWN THEN YOUMIGHT RUN INTO PROBLEMSlTTINGTHEWHOLESONGINTOTHEALLOTTEDTIME/UTOFTHETWOPOSSIBLE SCENARIOSTHISONEISBYFARTHEMOREDIFlCULTTODEALWITHASAREMIXERBECAUSE ITWILLMOSTLIKELYREQUIREYOUTOCUTSOMETHINGOUTOFTHEORIGINALTRACK&IRST THIS ISNTNECESSARILYANEASYTHINGTODOWHILEAT THESAMETIMERETAININGTHE mOWOFTHESONGBECAUSEITWASWRITTENTOFOLLOWAPARTICULARPATTERNANDBY REMOVINGAPARTOFTHATPATTERNYOUMIGHTENDUPWITHSOMETHINGTHATDOESNT MAKEMUCH SENSEMELODICALLY OR LYRICALLY ! SECOND AND BIGGER PROBLEM IS THATYOUMIGHTlNDTHAT INDOINGTHISYOUMAKETHEORIGINALARTISTUNHAPPY BECAUSEYOUHAVESOMEHOWhRUINEDvHISSONG9OUCOULDARGUETHATYOUREALLY DIDNTHAVEANYCHOICEBUTUNDERSTANDABLY)THINKMOSTARTISTSAREWELLARTISTS ANDAS SUCHAREMORE LIKELY TO THINKABOUT THE SITUATIONCREATIVELYANDEMO TIONALLYRATHERTHANTECHNICALLYANDLOGICALLY

/NEPOSSIBLESOLUTION TO THIS SECONDSCENARIOAND THEONE THAT IS LEAST LIKELY TOCAUSEOFFENCEISTOSHORTENTHECHORUSESORPERHAPSJUSTTHElRSTONE%VEN THISHOWEVERISONLYANOPTIONIFTHECHORUSISVERYREPETITIVEANDLONGERTHAN

BARSTOSTARTWITH)FTHECHORUSISONLYBARSLONGTHENYOUWOULDNTREALLY BEABLETOREDUCEITINLENGTHATALLASA BARCHORUSTHENEXTLOGICALSTEPDOWN INLENGTH ISJUSTSIMPLYUNHEARDOF!NDIFTHECHORUSHASALYRICALCONTENTTHAT CHANGESCONSTANTLYTHROUGHOUTITSLENGTHTHENAGAINYOUWOULDHAVEDIFlCULTY REDUCINGTHELENGTHINANYWAY)FYOUDOlNDYOURSELFINTHISSITUATIONTHENTHE BESTSOLUTIONISSIMPLYTOCONTACT THECLIENTANDEXPLAINTOTHEMASCLEARLYAS YOUCANTHATYOUAREHAVINGDIFlCULTIES)FYOUTELLTHEMTHATASARESULTOFYOU HAVINGTOSLOWTHEVOCALDOWNTOlTTHETEMPOYOUAREWORKINGATTHEORIGINAL SONGNOWRUNSFORSAYFOURMINUTESANDYOUEXPLAINTHATTHEONLYOPTIONSYOU HAVE ARE TO EDIT SOMETHING OUT OF THE ORIGINAL SONG OR TO HAVE THE SONG STAY INTACTBUTATTHECOSTOFHAVINGALONGERRADIOEDITTHENYOUSHOULDRECEIVESOME KINDOFGUIDANCEAS TO THEBEST ROUTE TO TAKE!FTERALLNO REMIXERNOMATTER HOWGOODOREXPERIENCEDCANDOTHEIMPOSSIBLE!TLEASTIFYOUASKYOURCLIENT FORHERINPUTATTHEVERYEARLYSTAGESTHENYOUSTANDTHEBESTCHANCEOFCOMING UPWITHARADIOEDITTHATISACCEPTABLETOEVERYONE

4HEREAREVERYFEWSTANDARDPRACTICETHINGSABOUTARADIOEDITFARLESSINFACT THANFORACLUBMIXBUTTHEONESTHATDOEXISTAREEQUALLYIMPORTANT4HEYARE

■ 4HElRSTVOCALINTHETRACKWHETHERACHORUSORAVERSESHOULDCOMEINAFTER NOMORETHANnSECONDS

■ 4HERE SHOULDBENOdead air timeWHICHMEANS THATUNLIKEACLUBMIXA RADIO EDIT SHOULDNT CONTAIN PERIODS IN THE TRACKWITH NOTHING GOING ON 4HISISMOSTLIKELYTOBERELEVANTINTHESENSEOFHAVINGNOBREAKSBETWEEN VERSESANDCHORUSESBETWEENCHORUSESANDVERSESANDNOEXTENDEDBREAK DOWNSWITHLONGINSTRUMENTALSECTIONS

■ )TSHOULDIDEALLYBEBETWEENANDINLENGTHALTHOUGH53RECORD LABELSAREUSUALLYHAPPYWITHRADIOEDITSLASTINGUPTOINLENGTHBUTBE SURETOCHECKTHATWITHEACHCLIENT

■ 4HERE SHOULDBEADElNEDANDCLEAR END RATHER THANA FADEOUT &ADE OUT ENDINGSWEREACCEPTABLEANDOFTENQUITENORMALMANYYEARSAGOBUTTODAYS MARKETSEEMSTODEMANDACLEARLYMARKEDENDINGTOARADIOEDIT

! LESS CLEARLY DElNED RULE IS THE REQUIREMENT TO KEEP ANY BREAKDOWN SHORT ALTHOUGHTHAT TENDSTOHAPPENANYWAYGIVENTHE LENGTHRESTRICTIONSSINCETHE BREAKDOWNS TEND TONOTDROPDOWNDYNAMICALLY ANYWHERENEAR ASMUCH )N MANYCASES THEYARE SIMPLY THE LASTORBARSOF THE CLUBMIXBREAKDOWN EDITEDTOlTINTOTHERADIOEDITPERHAPSWITHAFEWCHANGESTOMAKETHETRANSI TIONINTOTHEMFROMTHEPREVIOUSCHORUSALITTLESMOOTHER

'ETTINGARADIOEDITSTARTEDISGENERALLYQUITEEASYBECAUSEMOSTLYITWILLEITHER JUST STARTWITH A BANG AND COME STRAIGHT IN OR HAVE SOME KIND OF DRUMlLL REVERSEDCYMBALORSOMEOTHERKINDOFSHORT&8SWEEPTOLEADINTOTHETRACK 3OMETIMESYOUWOULDGOSTRAIGHTINTOACHORUSSECTIONPERHAPSINSTRUMENTAL BUTUSUALLYWITHSOMEKINDOFVOCALINCLUDED THATMIGHTONLYBEBARSLONG ANDWOULDBETHEONLYTIMEYOUCOULDREALLYGETAWAYWITHSUCHASHORTCHORUS /THER TIMESYOUMIGHTGO INTOA OR BAR INSTRUMENTAL VERSIONOFAVERSE 4HEREARENOHARD AND FASTRULESHEREANDITDEPENDSLARGELYONTHESONGITSELF

ANDTHECONVENTIONSWITHINAPARTICULARGENREANDYOUROWNPREFERENCESASA REMIXER9OUWILLlGUREOUTWHATWORKSBESTFORYOU+EEPINMINDTHATn SECONDTIMESCALETOGETINTOTHESONGPROPERLYWHENEVERYOUAREWORKINGON THISINITIALINTRO

&ROM THIS POINT ON MOST OF THE ARRANGING WILL SIMPLY FOLLOW THE PROGRES SIONANDDYNAMICSOF THEORIGINALARRANGEMENTOF THESONG-OREOFTEN THAN NOT YOUWILL GO STRAIGHT FROM THE VERSE INTO THE BRIDGE IF THERE IS ONE AND THEN STRAIGHT INTO THE CHORUS &ROM THE ENDOF THElRST CHORUS YOUWILL USU ALLYGOSTRAIGHTBACKINTOTHESECONDVERSEBUTCOULDOVERALLLENGTHPERMITTING INCLUDEAVERYSHORTINSTRUMENTALBREAKOFTENASLITTLEASTWOBARSBUTCERTAINLY NOMORETHANFOURBEFORERETURNINGTOTHEVOCALS4HESAMEPATTERNWILLFOLLOW THROUGHTHESECONDVERSEBRIDGEANDCHORUS

!S FOR THE BREAKDOWN )WOULD REALLY TRY TO KEEP THAT DOWN TO BARS POSSI BLYALTHOUGHTHATMIGHT FEELA LITTLECUMBERSOME )WOULDONLYEVERUSEA BARBREAKDOWNIFTHEREWASAMIDDLEVOCALTHATACTUALLYLASTEDBARSAND WASONLYUSEDINYOURBREAKDOWNSECTION/THERWISE)THINKBARSISGENER ALLYTOOLONGFORABREAKDOWNINARADIOEDITBECAUSEYOUDONTHAVETHESAME REASONFORHAVING IT THATYOUDO INACLUBMIX )NACLUBMIX THEBREAKDOWN ISTHERETOGIVETHEPEOPLEINTHECLUBACHANCETORELAXFORASHORTWHILEAND TOHELPYOUBUILDTHEDYNAMICSOFTHETRACKBACKUPAGAINFORTHELASTCHORUS 0EOPLELISTENINGTOASONGONTHERADIOINTHEIRCARORONTHEIR-0PLAYERON THETRAINORATHOMEONA#$PLAYERINTHEKITCHENWHILEMAKINGDINNERWONT NEED THAT RESPITE FROMDANCING THAT A CLUBBERWOULD9ES IT CAN STILLHELP TO DROP THEDYNAMICS JUST ENOUGH TOKEEP THAT LAST CHORUS SOUNDING INTERESTING BUTATTHISPOINTANDINTHESELISTENINGENVIRONMENTSITISNTSOCRUCIALTOHAVE SUCHALARGERANGEOFMOVEMENTINTHEDYNAMICSANDENERGYLEVELSINTHETRACK

"EYONDTHEBREAKDOWNWEREALLYJUSTHAVETHELASTCHORUSANDQUITEOFTENTHIS ISLONGERTHANTHElRSTTWOCHORUSES4HISISPOSSIBLYONEAREAWHEREYOUMIGHT BEABLETOLOSEALITTLETIMEIFYOURRADIOEDITISRUNNINGALITTLELONG"UTIFYOU CAN AFFORD TO KEEP THE LONGER LAST CHORUS OR EVENMAKE A LONGER OR DOUBLE LENGTHCHORUSIFTHEREISNTONETHEN)DOTHINKITADDSALITTLESOMETHINGTOTHE ENDOFTHERADIOEDIT)TCANPROVIDEANICElNALFAREWELLFROMTHESONGORATRI UMPHANTEXITUSINGTHEMOSTMEMORABLEPARTOFTHESONGANDITSAGOODWAY TOREALLYPUSHHOMETHATVOCALANDMUSICALIFTHEREISONE HOOK

/NCE THIS LAST CHORUS ISDONEWEHAVE TO END THINGS!S )MENTIONEDEARLIER ALMOST WITHOUT EXCEPTION RADIO EDITS THESE DAYS TEND TO END ABRUPTLY 4HIS IS MOSTLY QUITE EASY TO ACHIEVE BY ADDING SOME KIND OF SMALL BUILD UPˆ PERHAPSADRUMlLLORA RISING&8SOUNDˆOVER THEENDOF THE LAST CHORUSAND THENlNISHINGUPWITHACRASHCYMBALORSIMILAREFFECTANDPOSSIBLYSOMEKIND OF LONGER REVERB OR DELAY EFFECT ON A VOCAL LINE OR OTHER PROMINENTMUSICAL PART TOCARRY THINGSOVERA LITTLEANDGIVEASECONDOR TWOOFhMINIv FADE OUT 3OMETIMESYOUMIGHTlNDITEFFECTIVETOHAVEABASSNOTEONTHISlNALDOWN BEATASWELL4HISCOULDBEINTHEFORMOFASUSTAINEDBASSNOTETHATFADESOUT OVERASECONDORTWOORITCOULDBEASHORTERMORESTACCATONOTETHATHASSOME

KINDOFDELAYEFFECTONIT TOGIVE IT THATSAMESENSEOF FADINGOUT%ITHERWAY SOMETIMES A TRACK FEELS LIKE IT NEEDS SOME EXTRA WEIGHT ON THAT lNAL DOWN BEATSOABASSNOTEOREVENAKICKDRUMORBOTH REALLYMARKINGOUTTHATlNAL POINTCANWORKQUITEWELL

4HEREUSEDTOBEANDPERHAPSSTILLAREPEOPLEINTHEINDUSTRYWHOPRIMARILYJUST MADERADIOEDITS)REMEMBERQUITEAFEWYEARSAGOBEINGRECOMMENDEDSOME

ONETOUSETOCREATEARADIOEDITOFASONG)HADWRITTEN%VENTHEN WHEN)HADFARLESSEXPERIENCEINTHEINDUSTRYITSTILLSEEMED LIKEASTRANGEIDEATOGETSOMEONETOWORKONARADIOEDIT BUT)TOOKTHERECOMMENDATIONONBOARDANDHANDED OVERTHEstemsASREQUESTED(OWEVER)WASTOLDTHAT IT WOULD BE A FEW DAYS BEFORE THIS PERSON COULD BEGINWORKSO)DECIDEDTOHAVEAGOATITMYSELF !S ) LISTENED TO THE SONG ITBECAMEQUITE APPAR ENTWHERE )WOULDMAKE THE EDITS AND ) DIDNT FEEL THAT THEREWAS ANYKINDOFMAGIC TO IT 3O ) DID MY OWN EDIT AND WAITED A FEW DAYS TO GET THEVERSION FROMTHEOTHERPERSON7HEN ) EVENTUALLYGOTITBACK)WASQUITESURPRISEDAND QUITEDISTURBED9OUSEETHISPERSONHADCOME WITHTHEHIGHESTRECOMMENDATIONANDHADQUITE AN IMPRESSIVE RÏSUMÏ OF PREVIOUS CLIENTS BUT WHEN)LISTENEDTOTHEEDIT ITWASFUNDAMENTALLY THE SAMEASMINE 4HEREWERE A FEWPLACESWHERE THINGSWEREALITTLESMOOTHERWHERETRANSITIONSHAD BEEN EDITED A LITTLE BETTER AND A FEW SPOT EFFECTS HAD BEENPUTONTOCOVERANYSLIGHTLYBUMPYEDITSBUTOTHER

WISETHEARRANGEMENTWASBASICALLYLIKEMINE

4HIS SURPRISEDME BECAUSE ) HAD UP UNTIL THIS POINT ASSUMED THAT THEREWASSOMETHINGDIFFERENT THAT THESE REMIXERSDIDBUTAND) SAY THIS WITHMYHANDONMYHEARTWHAT THEYDID THENWASNOTHING that SPECIAL )N FACT)WOULDSAYTHATMYEDITWASPROBABLYASGOODASTHEIRSANDHAD) ACTUALLY SPENT A LITTLEMORE TIME SMOOTHING OFF THE ROUGH EDGES ONMINE IT WOULDPROBABLYHAVECOMECLOSE TOASGOODAS THEIRS4HIS TROUBLEDME BECAUSEATTHETIMEATLEASTSOMEOFTHESERADIOEDIThSPECIALISTSvWERECHARG INGQUITEA LOTOFMONEYAND) REALLYCOULDNTlGUREOUTHOWTHEYCOULD JUS TIFYTHAT3INCETHEN)HAVEDONEWELLOVERRADIOEDITSONVARIOUSORIGINAL TRACKSANDREMIXESAND)HAVETOSAYTHATINGENERALMOSTOFTHEMHAVEBEEN PRETTYEASYONTHECREATIVESIDEASINWHERE)MADETHEEDITSANDWHICHPARTS) EDITED 3OMEOFTHEMHAVEBEENTECHNICALLYMOREDIFlCULTTHANOTHERSBECAUSE OF THENEEDTO LOSEA LITTLE TIME INORDER TOGET THEMUNDER THEMARKOR PERHAPS BECAUSE OF A DIFlCULTMUSICAL TRANSITION FROM THE ENDOF THE CHORUS INTOTHEBEGINNINGOFAVERSE"UTONTHEWHOLE)THINKTHATESPECIALLYNOWTHAT MYTECHNICALSKILLSHAVEIMPROVEDAGREATDEALSINCETHOSEDAYS)AMPERFECTLY CAPABLEOFDOINGMYOWNRADIOEDITS

Stems are audio files of

groups of musically related sounds. A typical

set of “stems” for a pop song could be made up of: drums, bass, guitars, keyboards, strings, backing vocals, lead vocals and effects. In

the case of the guitar stem, for example, all of the different guitar parts for the song would be mixed together into just one “stem.” In many ways it is a midway point between having every single track available and having

only the final stereo master version.