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In this course, author Josh Harris demonstrates constructing a remix using only a pre-existing vocal track as a starting point. The course shows how to time-stretch vocals, offers suggestions for establishing a musical direction, and explains how to audition and layer Apple loops. The course also covers programming beats using synths, generating vocal samples, arranging the remix, and creating master-quality final mixes.
For the purposes of this movie, I have muted the lead vocal, leaving only the vocal samples and the rest of the track. And as you can see, the arrangement is built up quite a bit from where we last left of. One of the things that I like to do prior to the mixing stages is to actually sit and listen to the track as almost an instrumental. I generally will leave the vocal samples in, because I do consider them to be transitional sounds. And I like to listen to the track from start to finish, and make sure that the track as an instrumental has the energy that I'm looking for, Ebbs and Flows; in the arrangement is paste well.
The only way to really feel out the arrangement and decide if it makes sense from start to finish, is to actually sit and listen to it several times through and make sure that there is not pockets of unnecessary 8 bar or 16 bar sections, you really only want to have in your arrangement, what you need. You don't need to make it an eight minute mix, if it doesn't need to be an eight-minute mix. So let me take you on a brief tour of what I've done as I have finished out the arrangement. I've copied and pasted the vocal samples in the various parts of the arrangement, mostly in the intro and the outro here.
And I've copied and pasted the crash cymbal pretty much every eight bars throughout the entire song. And I've added a second drum fill which is colored in red and a third drum fill which is colored in green. So I have used the color palette tool so that it will help me differentiate between which drum fill is which, as I went ahead and copied and pasted. So what we have here is essentially a finished arrangement; a DJ drum intro, the body of the song, verse 1 here, chorus 1, the post-chorus verse 2, chorus 2, post chorus 2 and a section that I like to refer to as the drop.
And essentially what I've done is dropped out everything, but a couple of elements. And I will just play this instrumental section and you can hear when the track kicks back in, how the energy picks up. (Music playing) You'll also notice that on the master fader, I applied a channel strip setting simulating mastering.
I will explain this further as we get into the mixing portion of the course. So let's just play the outro, because we did spend a few minutes several movies ago listening to the intro, or the intro under construction. So I've got the post-chorus happening here in the vocal samples filling in the holes and then the arrangement breaks down and ends basically off of 16 bars of drums. (Music playing) And it ends at the end of that phrase with a crash cymbal on the downbeat.
So I also added one more transitional sound which you heard here as we were playing through measure 152 into 153. And I actually switched the Piano sounds. So you will notice that there's a different Piano preset under the EXS24 Piano. And that is an overview of what a finished arrangement looks like. You should have an intro and outro that builds in the intro, builds into may an 8 bar hype section, full instrumentation and then it breaks down into verse 1, the body of the song, some sort of an 8 bar or maybe even the 16 bar drop, which is what this section is over here, where everything breaks down, except for a few keyboard parts.
We slam back into the track for a strong chorus and post-chorus and outro, and the track deconstructs at the end, ending on a crash cymbal. So I hope this tour of the final arrangement gives you insight, into how to finish off the arrangement that you're working on. Fill in the holes, and come up with a very solid five and a half minute to six and a half minute mix that makes sense. There is no extra fluff in this arrangement. There are no 8 bar sections that don't need to be here. It's very important that you listen to the track all the way through to make these final decisions as to whether a section should stay or go or if it needs to be extended or shortened.
These are all things that you can't really make decisions on until you sit and listen to something in an almost finished state.
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