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In this course, author Josh Harris shows how to create radio and club arrangements, and a radio edit of a club mix. He utilizes four different digital audio workstations (DAWs)—Pro Tools, Ableton Live, Logic, and Reason—and shows how to build different arrangements from the ground up, by adding guitars, drums, bass, and synths. Each DAW explores different types of arranging scenarios. Plus, learn how to add ear candy and take your arrangements to another level.
Just like the chapter on creating a radio mix arrangement, it's time to import our stems. In the case of this song, we only have one stem, as you can see in the Audio folder to the left, Dry_Vocal_128 bpm. Before I import that stem, I will remove the original version of the song, and I will hit the Stop button, which will return the cursor to measure 1. Fortunately, in this scenario, the BPM of the vocal was provided for me. Again, referencing my course Remixing and Techniques: Time Stretching, this vocal is the end result of changing the vocal from 6/8 time to 4/4.
Ableton automatically turns the Warp marker on as I import the file, and I'm going to turn it off, pull my Start point all the way to the left, and this will allow me to listen to the raw audio file. It says it's at 128 BPM and I will change my Tempo to 128.00 BPM, turn on the metronome, and just have a listen, making sure that everything sounds in beat. Hitting the Stop button to return the cursor to measure 1, and here we go. (song playing) Everything sounds in beat so far.
I'll hit the Tab button, go back to my Clip view, and I am going to turn this up a little bit. The vocal feels a little quiet right now. Hit the tab button and I am back. And I'll scan further up into the song, just to make sure that everything stays in time over the several-minute duration of the song. (song playing) Excellent! Everything seems to be in order.
The vocal is truly locked to grid at 120 beats per minute. I'll turn the metronome off, and I'll scan around the song just to listen to some of the peaks and valleys of the vocal performance and begin to think about what I would like the musical direction of my club mix to be. (song playing) So you can tell by looking at the waveform, even if we didn't listen to anything, there's a lot of space around this vocal. There are no background vocals; it's just a solitary lead vocal.
As I listen to this, the first thoughts that come to my mind are something spatial, somewhat textural, not anything that's too hard or anthemic, but something that just has a nice almost melancholy-type texture to it. And those are the first musical ideas that pop into my head. Much like working on a radio mix taking inventory of the provided audio files, as well as being 100% certain of the BPM of the stems that were given to you, is extremely important.
You always want to have a musical game plan before you begin working on your sketch arrangement.
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