ABSTRACT
Tempo Change 4HElRSTTHINGTONOTICEHEREISTHEDIFFERENCEINTEMPO4HEORIGINALVERSIONOF THESONGISATBPMANDTHEREMIXISATBPM7HILETHATISNTTHELARGEST TEMPOCHANGE)HAVEEVERHEARDINAREMIXITCERTAINLYISNTTRIVIALEITHER4HIS ISEVENMORE IMPRESSIVEWHENYOUHEARHOWNATURAL THEVOCAL SOUNDS IN THE REMIXVERSION
Groove Change 4HEORIGINALVERSIONOFTHETRACKHASALOVELYhLOOSEvFEELWHICHGIVESTHESONG ITS INDIVIDUAL CHARACTER!SIDE FROM THE TEMPO CHANGE ONEOF THEMOSTOBVI OUS THINGS TOMEABOUT THE REMIX IS THAT ITHAS REDUCED THEAMOUNTOF SWING ORLOOSENESSINTHEGROOVE4HATSNOTTOSAYTHATTHEREMIXIShMECHANICALvFAR FROMITINFACTITHASANAWESOMEGROOVEBUTITISDElNITELYMUCHMOREBOUNCY THANTHEORIGINALVERSION4HISCANPOTENTIALLYPRESENTREALPROBLEMSIFTHEVOCAL IS TIED IN TOO TIGHTLYWITH THE ORIGINAL GROOVE BECAUSE HAVING A REALLY SWINGY ELEMENTATTHESAMETIMEASAMUCHSTRAIGHTERONECANSOMETIMESFEELUNCOM FORTABLE4HE&REEMASONSMAYHAVEDONESOMEMANUALRETIMINGORGROOVECOR RECTIONONTHEVOCALSORPERHAPSTHEORIGINALVOCALSJUSTHAPPENEDTOWORKOVER THE SLIGHTLY STRAIGHTER GROOVE THAT THEYUSED7HATEVER THE CASE THE RESULTS SIT REALLYWELL)NFACTLISTENINGTOTHEORIGINALVERSIONTHEVOCALSDONTSOUNDTHAT hSWINGYv EVEN THOUGH THE GROOVE DOES SO )M GUESSING THAT THE VOCALS WERE PROBABLYASTRAIGHTFORWARDSTRETCH
4HE REMIX GROOVE ITSELF IS DELICIOUSLY CATCHY AND HAS ELEMENTS OF CLASSIC S DISCOASWELL AS ABASS LINE THATPICKS THEWHOLE TRACKUPAND CARRIES IT ALONG ONARELENTLESSRIDEFORTHEFULLLENGTHOFTHESONG4HEREISNTMUCHGOINGONIN THEGROOVEBUTWHATISTHEREREALLYDOESCOUNTFORALOT$RUMSARETAKENCAREOF WITHAPRETTYSOLIDFOUR ON THE mOORHOUSEBEATWITHQUITEhLIVEvSOUNDINGPER CUSSIONSNAREHATSTAMBOURINESANDBONGOS THATHAVEANICESWINGTOTHEM )WOULDGUESS THEYUSEDONLYA!OR"GROOVEWHICH ISPRETTYCONSISTENT THROUGHOUT THE TRACK 4HERE ARE A FEW CHANGES INPERCUSSIONAS THE TRACKPRO GRESSES THATACCENTUATECERTAINSECTIONSOF THESONGBUTOTHERWISE THERE ISNTA GREATDEALOF TRICKERY IN THEPERCUSSION'IVEN THE STYLEOF THE REMIX THIS IS A GOODTHING2EMIXESOFTHISNATURETHATAREMUSICALLYRICHANDHAVEAVERYSLICK ORGLOSSYPRODUCTIONSHOULDNT INMYOPINIONBEOVERLYFUSSYWITHTHEDRUM PROGRAMMING BECAUSE WHILE THE DRUMS ARE IMPORTANT THIS KIND OF REMIX IS MOREABOUTTHEMUSICANDABOVEALLTHESONG)NCONTRASTMOREMINIMALSTYLES OFPRODUCTIONTENDTOSOUNDBETTERWITHLITTLECHANGESANDCONSTANTLYEVOLVING DETAILINTHEDRUMPROGRAMMING
4HEBASSLINEHASAVERYhLIVEvFEELTOIT)BELIEVEITWASACTUALLYALIVEBASSLINE ASOPPOSEDTOAPROGRAMMEDONE BUTAGAINITISNTOVERLOADEDWITHDETAILAND FANCYlLLS)NSTEADWEHAVEASIMPLEBUTDETAILEDBASSLINETHATCOMPLEMENTSTHE DRUMSANDPERCUSSIONANDPROVIDESASOLIDBASEUPONWHICHTHERESTOFTHEBASS LINEISBUILT
Musical Change 0OSSIBLY THE MOST SIGNIlCANT DIFFERENCE BETWEEN THE ORIGINAL SONG AND THE &REEMASONS REMIX IS THAT THE WHOLE SONG NOW USES A SINGLE CHORD PATTERN EXCEPTINTHEINTROANDENDINGOFTHECLUBMIXWHICHISASIMPLIlEDVERSION OF THESAMEPATTERN 5NUSUALLY FORACLUBMIXTHIS ISACTUALLYMORECOMPLEX THAN THEMUSICAL STRUCTURE OF THE ORIGINAL-ORE OFTEN THAN NOT CLUBMIXES
HAVEASIMPLERCHORDSTRUCTURETHANTHEORIGINALSONGBUTINTHISCASETHENEW CHORD PATTERN ACTUALLYMAKES THE SONGMUCHMORE DYNAMIC AND INTERESTING 4HE FACT THAT THE PATTERN REPEATS THROUGHMOST OF THE SONG ISNT REALLY A BAD THINGANDITDOESNT FEELBORINGATANYPOINTBECAUSETHEDYNAMICCHANGES IN THESONGARETAKENCAREOFBYCLEVERARRANGEMENTOFTHEDIFFERENTMUSICALPARTS TOGIVESUBTLEINCREASESANDDECREASESINENERGYTHROUGHOUTTHETRACK
4HE REMIX RETAINS SOMEOF THEMUSICAL FEEL OF THE ORIGINAL BY STICKINGWITH THE ORIGINAL KEY THERE IS NO SHIFT FROM MINOR TO RELATIVE MAJOR WHICH COULD HAVE CHANGED THE MOOD OF THE SONG SIGNIlCANTLY 4HE CHOICE OF CHORDSWORKS ESPECIALLYWELL IN THIS INSTANCE BECAUSE THEY KEEP THE FEELING OF THE ORIGINAL SONG WHILE BEING VERY SUITABLE FOR THE GENRE OF THE REMIX 3OMETHING ) HEAR PERHAPS A LITTLE TOO OFTEN IS AN INAPPROPRIATE CHOICE OF CHORDSFOR THEGENREOFMUSIC!SWELLASGETTINGTHESOUNDSANDTHEGROOVE RIGHT CHOOSING THE RIGHT CHORDS TO lT INWITH THEMELODIES AND KEY OF THE SONG AS WELL AS THE GENRE ITSELF IS CRUCIALLY IMPORTANT !N OTHERWISE GREAT REMIX CAN BE SPOILED BY HAVING hMOODYv CHORDS IN A BOUNCY AND POPPY PRODUCTIONSTYLELIKEWISEHAVINGREALLYMAJORANDhUPvCHORDSINSTYLESTHAT ARETYPICALLYQUITEDARKWOULDNTWORKEITHER(ERETHEBALANCEIS JUSTABOUT RIGHT
Sounds and Rhythms )MENTIONED EARLIER THAT THERE ARENT A GREAT NUMBER OFMUSICAL PARTS IN THIS REMIX4HEFOLLOWINGLISTIDENTIlESTHEINDIVIDUALPARTSOFTHESONG(AVEALIS TENANDSEEIFYOUCANIDENTIFYEACHOFTHEMANDHOWTHEYAREUSED
■ $RUMS ■ #YMBALSAND&8SOUNDS ■ "ASSLINE ■ 4HINBACKGROUNDARPEGGIORESONANTSOUNDINGSYNTH ■ -AIN PIANO CHORDS LAYERED WITH STRINGS WITH OCCASIONAL PIANO RUNS AND STABS
■ /NE NOTE STRING HELD LEGATO NOTES THAT LAST FOR THE WHOLE CHORD PATTERN CYCLE
■ 3TRINGMELODY ■ 3HORTSTRINGSTABSTHATAPPEARBRIEmYINTHEOUTRO ■ 3USTAINEDTHINPADSOUNDWITHSIDECHAINCOMPRESSIONVERYSUBTLE ■ &UNKYGUITARCHORDS ■ !DDITIONALFUNKYGUITARSINGLENOTESRATHERTHANCHORDSBUTSIMILARPATTERN TOTHECHORDS
■ &UNKYGUITARRIFFTHATAPPEARSBRIEmYINTHEOUTRO ■ 6OCALS
9OUCANSEETHATITREALLYISNTTHATMUCH(AVINGSAIDTHAT INMANYWAYSTHE NUMBEROFPARTSISSIMILARTOWHATYOUMIGHTlNDINACLASSIChLIVEvDISCOTRACK )N SOME RESPECTS THAT ISWHAT ) THINKHASMADE THE&REEMASONS SO SUCCESSFUL
INTHISFUNKYORDISCOHOUSEGENRE)TISVERYEASYTOGETCARRIEDAWAYWITHPUT TINGLOTSOFSOUNDSINTOAPRODUCTIONJUSTBECAUSEYOUCAN"UTBYKEEPINGTHE SOUNDSPRETTYMUCHTOTHEKINDOFTHINGSONEWOULDEXPECTTOHEARINANOLDER DISCO RECORD THERE IS AN AIR OF AUTHENTICITY HEREWHICH GIVES A PLEASANT AND SLIGHTLYRETROFEELTOTHEWHOLETHING
Vocals 4HE VOCALS SOUND EXCELLENT CONSIDERING THEY HAVE UNDERGONE SOMETHING APPROACHINGACHANGEINSPEED4HEREAREAFEWPLACESWHERETHEVIBRATO ON"EYONCÏSVOICESOUNDSALITTLEFASTBUTTHEREAREALSOPLACESINTHEORIGINAL SONGWHERETHEVIBRATOSOUNDSQUITESTRONGSOITSINEVITABLETHATTHESPED UP VERSIONWOULDALSOHAVETHESEISSUES
,ATERINTHEBOOKWECONSIDERSOMETECHNIQUESTHATCANBEUSEDTOMINIMIZE THEEFFECTSOF SPED UPVIBRATO IN REMIXESBUT THEREARE TIMESWHENYOUCANT ACTUALLYDOAGREATDEAL)THINKTHISWOULDBEONEOFTHOSESITUATIONSBECAUSE EVENTHEORIGINALTEMPOHASAREALLYQUICKVIBRATO)RONICALLYBECAUSETHEREMIX IS FASTER ANDMORE ENERGETIC THE VOCAL VIBRATO ISNT AS BOTHERSOME AS IN THE ORIGINALEVENTHOUGHITISACTUALLYFASTERINTHEREMIX4HISISONEOFTHOSESITU ATIONSWHEREITISALLABOUTCONTEXTYOUCANGETAWAYWITHTHINGSINONESITUA TIONTHATYOUPERHAPSCOULDNTINANOTHER
!SIDEFROMTHEMAINLEADVOCALWHICHISPRETTYMUCHASPERTHEORIGINALSONG IN TERMS OF SOUND THERE ARE ALSO SOME REALLY NICE CHOPPED UP VOCALS USED THROUGHOUTTHATHAVEAMORESPACIOUSANDDISTANTSOUNDTOTHEM)AMABIG FANOFUSINGVOCALSINTHISWAYBECAUSEITALLOWSYOUTOHINTATTHESONGEVEN DURING THE INTRO WHEN THE LISTENERS WONT NECESSARILY KNOW WHATS COMING 4HEYALSOWORKWELLINTHEOUTROOFTHESONGBECAUSEITCARRIESTHESONGONFOR ABIT LONGERWITHOUTGETTINGTOOREPETITIVE/FCOURSEYOUNEEDTOCHOOSETHE PARTSCAREFULLYBECAUSEYOUDONTWANTTOGIVETOOMUCHAWAYTOOSOON)NTHIS CASEASIMPLEh"ABYvISREPEATEDBUTITREALLYDOESSETTHINGSUPNICELY
Arrangement ) THINK THE MOST SIGNIlCANT ARRANGEMENT DECISION THE &REEMASONS MADE IN THEIRREMIXWASTONOTINCLUDETHEBRIDGEVOCALSOFTHEORIGINALVERSION4HOSE VOCALSWOULDNT HAVEWORKED ESPECIALLYWELL IF AT ALL WITH THEIR NEW CHORD PATTERNANDWOULDHAVEMEANTACHANGEINTHECHORDPATTERNFORONLYOR BARSATATIMEWHICHWOULDHAVEREALLYSPOILEDTHEmOWOFTHEREMIX
!NOTHER INTERESTING VOCAL ISSUE IN THE ORIGINAL SONG IS THAT THE lRST VERSE IS LEDOFFBY*AY :SRAPWHILETHESECONDVERSEISPURELY"EYONCÏANDTHENBACK TO*AY :FORANEXTENDEDRAPSECTIONINTHETHIRDVERSEWITHNO"EYONCÏVOCAL IN THE VERSE !SMUCH AS ) THINK THIS IS INTERESTING ITS ALSO QUITE ANUNUSUAL ARRANGEMENT FOR A VOCAL SO ITS NOT REALLY A SURPRISE TOME TO HEAR THAT THE REMIXVOCALSFOLLOWAMORECONSISTENTPATTERN(EREIS THEDIFFERENCEBETWEEN THEORIGINALVERSIONANDTHE&REEMASONSRADIOEDIT
VOCAL ARRANGEMENT ORIGINAL ■ )NTROSECTION ■ *AY :h)USEDTORUNBASSv…hSTANDBACKv ■ "EYONCÏh"ABYSEEMSLIKEEVERYWHEREv…hCOMPARENOBODYTOYOUv ■ "EYONCÏBRIDGEh"OY)TRYTOCATCHMYSELFv…h)CANTLETITGOv ■ "EYONCÏCHORUSh9OUKNOWTHAT)CANTGETOVERYOUv…hSWEARITSDÏJÌVUv ■ "EYONCÏh)MSEEINGTHINGS)KNOW)CANTBEv…hITSLIKE)MLOSINGITv ■ "EYONCÏBRIDGEh"OY)TRYTOCATCHMYSELFv…h)CANTLETITGOv ■ "EYONCÏCHORUSh9OUKNOWTHAT)CANTGETOVERYOUv…hSWEARITSDÏJÌVUv ■ *AY :h(OVASmOWSOUNUSUALv…hNODÏJÌVUJUSTMEANDMYv ■ "EYONCÏh"ABY)CANTGOANYWHEREv…hTHAT)MHAVINGDÏJÌVUv ■ "EYONCÏCHORUSh9OUKNOWTHAT)CANTGETOVERYOUv…hSWEARITSDÏJÌVUv
VOCAL ARRANGEMENT REMIX (RADIO EDIT) ■ "EYONCÏh"ABYSEEMSLIKEEVERYWHEREv…hCOMPARENOBODYTOYOUv ■ "EYONCÏCHORUSh9OUKNOWTHAT)CANTGETOVERYOUv…hSWEARITSDÏJÌVUv ■ *AY :h)USEDTORUNBASSv…hSTANDBACKv ■ "EYONCÏh"ABYSEEMSLIKEEVERYWHEREv…hCOMPARENOBODYTOYOUv ■ "EYONCÏCHORUSh9OUKNOWTHAT)CANTGETOVERYOUv…hSWEARITSDÏJÌVUv ■ *AY :h(OVASmOWSOUNUSUALv…hNODÏJÌVUJUSTMEANDMYv ■ "EYONCÏh)MSEEINGTHINGS)KNOW)CANTBEv…hITSLIKE)MLOSINGITv ■ "EYONCÏCHORUSh9OUKNOWTHAT)CANTGETOVERYOUv…hSWEARITSDÏJÌVUv ■ "EYONCÏCHORUSh9OUKNOWTHAT)CANTGETOVERYOUv…hSWEARITSDÏJÌVUv
!SYOUCANSEETHEREMIXFOLLOWSAMOREREPETITIVESTRUCTUREWHICHWORKSWELL FOR THE FORMAT OF THE REMIX CLUB TRACK BECAUSE IN GENERAL CLUBMUSIC ISNT ABOUTCHALLENGING THE LISTENER TOKEEPUPWITH THE TWISTSAND TURNS )KNOWIT MIGHTSEEMLIKEASWEEPINGGENERALIZATIONBUTINGENERALPEOPLEINCLUBSLIS TENTOTHELYRICSLESSINTENTLYTHANPEOPLEWHOARELISTENINGONTHERADIOORON THEIR-0PLAYER/FCOURSETHEREAREVOCALHOOKSTHEYWILLSINGALONGTOINTHE CLUBINWARDLYOROUTWARDLY BUTITSMORETHEMELODICNATUREOFTHEVOCALTHAT PULLS THEM IN RATHER THAN THE CLEVER ARRANGEMENTOF VOCALS!ND ) REALIZE THAT THISMIGHTSEEMLIKE)AMADVOCATINGhDUMBINGDOWNvTHEREMIXESBUT)HAVE TOSAY)HAVEHADTHOSEEXACTWORDSSAIDTOMEBYARECORDLABEL7HEN)SUBMIT TEDAREMIX)WASWORKINGON)WASTOLDh)TSAREALLYGREATREMIXANDWELOVEIT… BUTISTHEREANYCHANCEYOUCANDUMBITDOWNABIT)TSABITTOOCLEVERATTHE MOMENTv
/THER THAN THAT ) REALLY LIKE THE DYNAMIC CHANGES IN THE ARRANGEMENT 4HE BUILD UPSAREGENERALLYQUITESUBTLEWHICHGIVESTHESONGITSELFALOTOFROOM TOBEINCONTROLWHICHISTHEWAYITSHOULDBEWITHTHISKINDOFREMIX)THINK THATONEOFTHEBESTLESSONS)HAVELEARNEDOVERTHEYEARSISHUMILITY)TMIGHT BE DIFFERENT IF YOU ARE DEALING WITH UNDERGROUND REMIXES OF UNDERGROUND TRACKS BUT IN THE COMMERCIALWORLD THE SONG REALLY IS KING AND EVEN IF YOU HAVEBEENEMPLOYEDTOBRINGTHESONGINTOATOTALLYNEWMARKETANDEVENIF YOUARE ABSOLUTELY AT THE TOPOF YOUR GAMEAND INDEMAND ) THINK IT IS STILL
GOODTOREMEMBERTHATTHEREMIXSHOULDBEABOUTTHESONGYOUAREREMIXING NOT JUST ABOUTYOURPRODUCTIONAND REMIXING CHOPS.OTEVERYONEWILL AGREE WITHTHATBUTREMEMBEREVENIFYOUDOTAKEABACKSEATYOUWILLSTILLBENElT GREATLYFROMTHEMARKETINGBUDGETSSPENTONPROMOTINGTHERECORDSOTHEREIS SOMETHINGTHEREBEYONDJUSTTHEREMIXFEETOMAKEITWORTHYOURWHILE
Overall 4OME THISMIX IS A SHINING EXAMPLE OF HOW TO TAKE A POP RECORD AND TURN IT INTO A CLUB RECORD THAT SITS PERFECTLY ON THAT BOUNDARYBETWEEN A BIG CLUB TRACKANDARADIO FRIENDLYCLUBTRACKWITHONEFOOTlRMLYPLANTEDINEACH4HE MUSICAL CONTENTWORKSPERFECTLYANDACTUALLYBRINGSOUT THEBEST IN THEVOCAL TOTHEPOINTWHERE)THINKTHEVOCALSSOUNDBETTEROVERTHEREMIXCHORDSTHAN THE ORIGINAL CHORDS BECAUSE THEY SOUND LESS REPETITIVE ANDMORE EMOTIONAL 4HESOUNDSANDPRODUCTIONOVERALLAREVERYWELL BALANCEDANDIFANYTHINGARE SLIGHTLYONTHE LIGHTSIDE"ECAUSENOTHING ISHEAVILYCOMPRESSEDYOUARE LEFT WITHTHEIMPRESSIONEVENATVERYHIGHVOLUMESOFSOMETHINGTHATYOUCOULD LISTENTOFORHOURSONENDWITHOUTITBECOMINGFATIGUING
,ISTENING TO IT QUITE A BIT AS ) HAVE DONE HASMADEME REALIZE JUST WHAT A GREATREMIXTHISISONPRETTYMUCHEVERYLEVEL)TISDElNITELYAGREATCHOICETO ILLUSTRATEWHATCANBEDONEWHENTHEREMIXINGBRIEFISTOKEEPASMUCHOFTHE ORIGINAL SONG INTACT AS POSSIBLE AND AIM FOR A COMMERCIAL RADIO FRIENDLY YET DANCEmOOR FRIENDLY REMIX 4HAT IS ALMOST THE EXACT BRIEF THAT ) GET FOR ABOUT OFTHEREMIXES)WORKONANDITISNTANEASYTHINGTODO/FCOURSEYOU MAYNOTHAVEMUCHOFAN INTEREST IN THESEKINDSOFMIXES THEYMIGHTBE FAR TOOCOMMERCIALFORYOURTASTESBUT)THINKTHATNOMATTERWHATYOURTASTESARE ANDWHATKINDOFMUSICYOUMAKE IT IS STILL IMPORTANT THATYOUCAN LISTEN TO OTHERGENRESANDBEABLE TOAPPRECIATE THEIR TECHNICALQUALITIESEVEN IF YOURE NOTPARTICULARLYINTOTHEIRSTYLISTICONES
2EMIXVERSIONwww.youtube.com/watch?v=BroNPS0uuNM
Tempo Change 4HIS TIMEAROUND THE TEMPOCHANGE ISEVENMORESIGNIlCANTˆFROMBPM TOBPMTOGIVEAhDOUBLETIMEvFEELATTHEREMIXTEMPOOFBPMˆBUT) DONTTHINKITMATTERSTOOMUCH4HISREMIXWASMADEINSOTHEQUALITYOF THETIME STRETCHINGAVAILABLEATTHETIMEWASFARINFERIORTOWHATWEHAVETODAY 4HEVOCALSUSEDINTHISREMIXAREMINIMALANDAREMOREOFAhFEATUREvOFTHE TRACKRATHERTHANTHECOREOFITSOANYTIME STRETCHINGARTIFACTSARELESSIMPOR TANTANDLESSINTRUSIVE
Groove Change 4HIS IS PERHAPS EVENMORE OF A RADICAL CHANGE THAN THE "EYONCÏ REMIX WE LOOKEDAT7HILETHE"EYONCÏMIXFEATUREDACHANGEFROMFUNKYTODISCOTHIS REMIXGOESFROMAHALF TEMPOALMOSTDIRGE LIKEFEELTOADRIVINGBOUNCYAND RELENTLESSCLUBGROOVE4HISISOFCOURSEMADEEASIERPERHAPSEVENMADEPOS SIBLE BYTHEFACTTHATVERYLITTLEOFTHEORIGINALVOCALISUSEDINTHEREMIX(AD THERE BEENMORE USE OF THE VOCAL THEMORE STRIDENT FEEL OF THE REMIXMIGHT NOTHAVEWORKED THATWELLWITH THEMORE LAID BACK FEELOF THEORIGINAL VOCAL PERFORMANCE/NETHINGCOMMONTOBOTHTHEORIGINALVERSIONANDTHEREMIX THOUGH IS THEVERY REPETITIVENATUREOF THEGROOVE WITH THEEXCEPTIONOF THE BREAKDOWNOFBOTHVERSIONS ! LOTOF THEMAGICOF THE REMIXVERSION COMES FROM THE REPETITIONOF THE GROOVE AND THEBASS LINE(AD THEREBEEN A LOTOF CHANGESHAPPENINGINTHEMUSICALBEDOFTHEREMIXVERSIONTHEN)DONTTHINK THEREMIXWOULDHAVEBEENANYWHERENEARASGOOD
,ISTENINGTOTHEACTUALSOUNDSANDFEELOFTHEGROOVETODAYITISSURPRISINGHOW UNDATED IT FEELS/F COURSE PRODUCTION STYLES HAVEMOVEDON SINCE THENBUT YOUHAVETOREMEMBERTHATTHISREMIXWASDONEIN7HENYOUCOMPAREIT TOALOTOFOTHERREMIXESFROMNEARLYYEARSAGOTHISONEHASAGEDESPECIALLY WELL )NFACT )AMPRETTYSURETHAT IFYOUWEREA$*ANDYOUWERETOPLAYTHIS NOW ASSUMING OF COURSE THAT ITWASNT TOTALLY OUT OF CONTEXT FOR THEMUSIC YOUPLAY THE CROWDWOULD GO CRAZY!BIG PART OF THAT IS PROBABLY ITS hCLAS SICvSTATUSBUT)THINKTHATINSOMECASESTHEREISMORETOITTHANTHAT4HEREIS SOMETHINGFUNDAMENTALLYCATCHYABOUTTHISGROOVEWITHITSOUTRAGEOUSLYFUNKY BASS LINEANDBOUNCYDRUMSANDPERCUSSION )N FACT ) THINK THISWOULDHAVE BEENAHITWITHPRETTYMUCHANYVOCALPLACEDOVERTHETOP4HEFACTTHATITUSED ARELATIVELYUNKNOWNTRACKGOESSOMEWAYTOWARDPROVINGTHAT4HENAGAINTHE CHEEKYANDEXCEPTIONALLYNEAR THE MARKVOCALSAREPROBABLYCONTRIBUTING FAC TORSASWELL3EXSELLSASWEALLKNOWANDTHEINNUENDOINTHISTRACKPROBABLY MEANT THAT THEREWEREMANYSUGGESTIVEDANCESGOINGONALLOVER THEWORLDAT THETIMEOFITSRELEASE
/NElNAL THING TONOTE IS THAT THE DRUMS ANDBASS WHICHMAKEUP A GOOD MAJORITYOFTHEREMIX HAVEVERYMUCHAhLIVEvFEELTOTHEM)IMAGINETHATTHE BASS LINEWAS A SAMPLE OR A RECORDING AS IT STILL HAS THE FEEL WITH ALL OF THE INTRICACYDYNAMICSANDDETAIL OFSOMETHINGALIVEDRUMMERANDPERCUSSIONIST MIGHTCREATE
)TSVERY IMPORTANT TOTAKEINTOACCOUNTTHElNERPOINTSOF THETRACKYOUARE REMIXING WHEN CONSIDERING STYLISTIC CHOICES /BVIOUSLY YOUR OWN PERSONAL PRODUCTIONREMIXINGSTYLEMIGHTNOTALLOWFORAhLIVEvFEELBUTTHEREARESTILL WAYS OFMAKING SOMETHING FEELMORE ORGANIC IF THE ORIGINAL TRACK HAD THAT FEELTOIT)FONTHEOTHERHANDTHEORIGINALTRACKWASMORESYNTHETICTHENIT MAKESSENSE FOR THEREMIX TOECHOTHAT/FCOURSEYOUDONTNEED TO FACTOR THEDETAILSLIKETHISINWHENYOUAREREMIXINGBUT)HONESTLYBELIEVETHESMALL DETAILSMAKETHEDIFFERENCEBETWEENAGOODREMIXERANDAGREATREMIXER
Musical Change 4HE ACTUAL CHORD MOVEMENT IN THE ORIGINAL VERSION OF THE SONG IS RELATIVELY SIMPLEWITHTHEMAJORITYOFTHEVERSESBEINGQUITEREPETITIVE)NSOMEWAYSTHE REMIXDOESNT CHANGE THIS REPETITIVENATURE7HAT ITDOESDOHOWEVER ISMAKE THE BASIC REPEATING PATTERN A LITTLE MORE INTERESTING 4HE BASS LINE THAT DRIVES THEREMIXSHIFTSBETWEENTWOIMPLIEDCHORDSANDTHEEFFECTOFTHISISTOGIVETHE WHOLEREMIXANICEMELODICPATTERNTHATRUNSTHROUGHOUTEVENTHOUGHTHEREIS VERYLITTLEACTUALMUSICALCONTENTOUTSIDEOFTHEBASSLINE(ADTHEBASSLINEBEEN A SIMPLERPATTERN THAT STAYEDONONE IMPLIEDCHORD THROUGHOUT ITMIGHTHAVE BEENNECESSARYTOINTRODUCESOMEMOVEMENTTHROUGHTHEUSEOFOTHERSOUNDS )THINKTHISWOULDHAVESPOILEDTHEGROOVEOFWHATISHAPPENINGHERE
4HE ACTUAL KEY OF THE SONG HAS IN EFFECT REMAINED THE SAME 4HE SECOND IMPLIEDCHORDINTHEBASSLINEISTHESAMEASTHEMAINCHORDTHATHOLDSDOWN THEVERSEINTHEORIGINALVERSIONOFTHETRACK4HEREISNOMAJORRELATIVEMINOR OR MINORRELATIVE MAJOR CHANGE HERE AND NOTHING CLEVER OR FANCY HAS BEEN DONE IN TERMS OF AMUSICAL CHANGE OR SHIFT 4HE SHIFT IN TONE AND EMPHASIS INTHISREMIXHASHAPPENEDCOMPLETELYTHROUGHTHECHANGEINTHEPRODUCTION STYLEANDTHEGROOVEOFTHETRACK4HEREARETIMESWHENAREMIXNEEDSAMUSICAL CHANGETOBEEFFECTIVEBUTEQUALLYTHEREARETIMESWHENNONEOFTHATISNECES SARY AND THENEWGROOVE ANDPRODUCTION AREMORE THAN ENOUGH TO CARRY THE NEWVERSION
Sounds and Rhythms /NCE AGAIN ) lNDMYSELF IN A SLIGHTLY DIFlCULT POSITIONWHEN ANALYZING THIS REMIXBECAUSEREALLYTHEREISSOLITTLETOIT)WOULDGUESSTHATAGOODOR SOOF THE REMIX ISMADEUPOF SIMPLYDRUMSPERCUSSIONANDBASSANDEVEN THEN THE REMAINDER ASIDE FROM THE VOCALSOF COURSE ISMADEUPOF SOUNDS THAT WHILEMUSICAL ANDMELODIC IN NATURE ARE ALSO BORDERING ON BEING &8 4HERE IS A SCHOOLOF THOUGHT THATMOREMINIMAL TRACKS SUCHAS THIS ARE ACTU ALLYEASIER TOMAKEANDMIXBECAUSE THERE IS LESSCHANCEOFELEMENTSlGHTING WITHEACHOTHER FOR SPACE IN THEMIX7HILE THIS IS TRUE TO SOMEEXTENT THERE AREOTHERISSUESATPLAYWHENCREATINGMOREMINIMALPRODUCTIONS!NDINCASES LIKETHISWHERETHEMAINELEMENTSCANBECOUNTEDONONEHANDTHEPROBLEMS YOUREFACEDWITHAREMOREABOUTlLLINGUPSPACERATHERTHANMAKINGIT
$RUMS AND PERCUSSION SOUNDS CAN lLL UP THEWHOLE FREQUENCY SPECTRUM ON THEIR OWN BUT BECAUSE OF THEIR PERCUSSIVE RATHER THAN MELODIC NATURE THEY ARENT ENOUGH TO SUSTAINOUR INTEREST )N ADDITION TOlLLINGUP THEPERCUSSIVE SPECTRUMWENEED TOlLL UP THEMELODIC SPECTRUM )N A TRACKOR REMIX SUCH ASTHISWHERETHEREISFORTHEMOSTPARTJUSTABASSLINETHATCANBEINCREDIBLY DIFlCULT! hLIVEvBASS SOUND SUCH AS THEONEUSEDHERE CANHAVE EVENMORE DIFlCULTYlLLINGUPTHATSPACE7ITHASYNTHBASSSOUNDITSPOSSIBLETOCREATEA SOUNDTHATHASHARMONICINFORMATIONTHATREACHESWAYBEYONDWHATWEWOULD CONSIDER TO BE BASS/F COURSE THAT HARMONIC INFORMATIONWILL BE RELATIVELY SPEAKINGMUCHLOWERTHANTHEBASSFREQUENCIESBUTATLEASTITISTHEREANDWE
CANCHOOSE TOBOOST ITWITH%1ORBRING ITOUT INOTHERWAYS"UTWITHA LIVE BASSSOUNDTHATUPPERHARMONICINFORMATIONSIMPLYISNTPRESENTORATLEAST NOTINANYAPPRECIABLEAMOUNT SOEVENIFWECHOOSETOBOOSTTHEHIGHERFRE QUENCIESITWILLPROBABLYHAVELITTLEORNOEFFECTASTHEREISLITTLEORNOTHINGTO ACTUALLYBOOST
7ITHTHATINMINDITWOULDBEEASYTOTHINKTHATTHISREMIXMIGHTSOUNDALITTLE hEMPTYv4OMYEARSONAPURELYTECHNICALLEVELITDOESINSOMEWAYS"UTWITH THEADDITIONALSOUNDSPRESENT THISEMPTINESS IS REDUCED TOASIGNIlCANTEXTENT %VENTHOUGHONATECHNICALLEVEL)FEELTHERESHOULDBESOMEADDITIONALMUSI CALPARTSTOlLLUPTHESPACESOMEHOWWHENLISTENINGTOTHEREMIXWITHOUTMY TECHNICALMIXINGHEADONITGETSAWAYWITHIT4HEREAREAFEWPOSSIBLEREASONS FORTHISBUT)THINKTHEMAINONEISSIMPLYTHATPEOPLEHAVEBECOMEACCUSTOMED TODANCEMUSICANDTOALESSEREXTENTOTHERFORMSOFMODERNMUSIC BEINGhSIM PLERv/FTENSONGSWILLHAVEHEAVILY REDUCEDMUSICAL CONTENTDURING THEVERSES INORDERTOALLOWABIGGERLIFEINTOACHORUSTHROUGHTHEUSEOFADDITIONALINSTRU MENTATION)NTHISCASEHOWEVERANDEVENWHENWETAKEINTOACCOUNTTHEADDI TIONAL SOUNDS THAT COME IN INPLACES THERE STILL ISNT REALLY ABIG LIFT 4HIS IS A PRIMEEXAMPLEOFHOWAGROOVE BASEDCLUBSONGCANWORKINWAYSTHATONPAPER ATLEASTDONTSEEMFEASIBLE
7EHAVEESTABLISHED THEN THAT THERE ISVERY LITTLE TOWORKWITH IN THISREMIX BUT WHAT OF THE SOUNDS THAT ARE USED 4HE BASS SOUND ITSELF IS OBVIOUSLY A MAJORPARTANDYETISSOSIMPLE)DONTKNOWIFTHEACTUALBASSLINEWASASAM PLEORSOMETHINGTHATWASPLAYEDSPECIlCALLYFORTHISTRACKBUTITSTHETONEOF THEBASSTHATSIMPORTANTHERE)TSOUNDSLIKEITWASPLAYEDQUITEHARDANDQUITE AGGRESSIVELYBECAUSE THATSLIGHTGROWLCANBEHEARDCLEARLY!NELECTRICBASS IF PLAYED SOFTLY HAS A LOVELYWARMTH AND SMOOTHNESS TO IT BUT IF PLAYED QUITE HARDTAKESONAMOREMID RANGEFOCUSEDSOUNDWITHMOREhDRIVEvTOIT)THINK THAT IS CRUCIALHEREBECAUSE IF THEBASS LINEHADBEENWARMEROR SMOOTHER IT SIMPLYWOULDNT HAVE BEEN ENOUGH TO SUPPORT THEWHOLE TRACK )N ADDITION THEEDGYQUALITYOFTHEBASSSOUNDALSOATLEASTTOMYEARSMAKESITFEELMORE URGENTANDACTUALLYHELPSTOMAKETHEBASSLINEFEELALITTLEFASTERTHANITIS
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)TISNEVERTHELESSATRULYGROUNDBREAKINGREMIX)THINKITPROBABLYHELPEDTHAT !RMAND 6AN(ELDENWAS GIVEN COMPLETE FREEDOMWITH THIS ANDWAS IN FACT PRETTYMUCHTOLDTODOSOMETHINGhOUTTHEREvANDUNLIKEANYTHINGELSEAROUND ATTHETIME!LTHOUGHITMIGHTSOUNDALITTLEDATEDTODAYITWASVERYMUCHAHEAD OF ITS TIMEWHEN ITlRST CAMEOUT-ANYOF THE REMIXESYOUHEAR TODAYOWEA LOTTOTHISPIONEERINGREMIX3OTECHNICALLYITMIGHTNOTBETHEMOSTINTERESTING REMIXITMIGHTHAVEVERYLITTLEGOINGONANDITMIGHTBEONLYLOOSELYRELATEDTO THEORIGINALBUTIFYOUWANTPROOFOFHOWGOODITISPLAYITONTHEDANCEmOOROF ACLUBINSOMEYEARSAFTERITWASMADEANDJUSTSEETHEREACTIONITGETS
*USTASAQUICKDIVERSIONANDTODEMONSTRATEANOTHERREMIXTHATISONLYLOOSELY BASEDON THEORIGINAL SONG THERE IS ANOTHER REMIX ) THINKYOU SHOULD TAKEA LISTEN TO )T IS A TRACKBY2OGER 3ANCHEZ CALLED h,OSTv AND THE ACCOMPANYING 2AMIREZREMIX
2EMIXVERSIONwww.youtube.com/watch?v=CVIJ38lEa_8
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)N CASES LIKE THIS YOUMAYBEWELL ADVISED TO TALK TO THE CLIENTBEFOREDOING ANYTHING SO EXTREME BECAUSE IT IS ENTIRELY POSSIBLE THAT HE WOULD BE OF THE OPINIONTHATYOURREMIXISNTANYTHINGTODOWITHTHEORIGINALTRACK,ABELSAND ARTISTSTHESEDAYSAREMOREOPEN MINDEDABOUTTHINGSLIKETHISBUTITSALWAYS WORTHCHECKINGESPECIALLYIFYOUAREWORKINGTOATIGHTDEADLINE
