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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.
What you're looking at are the exported stems from the club mix that was created in Ableton Live. I decided to export the stems and create the radio edit of the club arrangement and logic because over the years I've had projects come across my desk where an artist needs to club mix edited for radio and they feel confident in their own abilities to do it, so they reach out for outside help. In other words, don't feel that you have to be in any specific DAW to create a radio edit from stems that were created in a club mix in another program.
As long as you have all the files starting at the same point and you are able to line them up in your DAW of choice, then you simply go in and edit, as we are about to do with this song. I'll double-check and make sure that everything is lined up in measure 1, and right away I realize that this hype main sound is 1 bar off, so I need to adjust that. And I'll zoom in on the Lead Vocal track so that I can see where verse 1 starts: measure 33. I'll place the playhead there, shrink the screen, and I will insert an edit point using my Scissors tool.
What I am doing is identifying where the song starts, and I'll do the same at the end here where the vocal ends: 161. Shrink the screen, highlight, and there we go. So this is our outro from the club mix and this is our intro from the club mix. And I like to take advantage of color coding things, so I will do that here.
As you can see, the blue is the body of the song, and that's essentially what we are going to be working with for our radio arrangement. If I place the playhead here at measure 33 and I look down at the transport, I can see that the song is already 1 minute in, and as a place the playhead over here at 161 and I see that that time is 4 minutes and 55 seconds, I am working within almost a four-minute window for a radio edit. It's a little bit on the long side, but remember that a radio edit of a club mix takes on a little bit of a different feel than just a radio mix.
So next I'll mute these regions on the intro and outro, and I simply play the song, starting at measure 33. Now I know this edit is not clean, and I'll need to create some sort of an intro or a lead-in before verse 1 starts, but that's okay. I'll come back to that in a minute. The point of this movie is to identify where the intro and outro start and end and look at the duration of time that you're able to trim off by muting them and taking a look at the body of the song. Now, I'm leaving the body of the song at measure 33 and I'm not moving it yet, because in the event that I need to go back to any of these regions or do any additional editing to clean up my edit points, I want to be able to take advantage of the full stem of the file.
In other words, if I get rid of this and I shove all of this over to the left, I am merely going to have to move all that over to the right to create my intro. As you'll see in subsequent movies, as we begin to dial in the final arrangement for the radio edit, I will move the body of the song over to the left and closer to the start point of the session, so that we can get a more accurate handle on how long the radio edit is in length. But for now, let's leave all of these files as they sat in the full, longer club arrangement.
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