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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 those of you who may not be familiar with the term Ear Candy, it refers to the flourishes and supplemental parts that are found within a musical track. I like to think of them as the parts that make the track feel finished or complete. As we think about Ear Candy for the synth parts of this remix, I'd like to call these parts Synth Candy. They might be one or two note high parts on a chorus that gives the chorus a lift or a part that floats around the lead vocal on a verse. I'm going to add two synth parts throughout the course of this movie, and I will start by bringing an Apple Loop onto the arrange window, this part right here, Electro Emotion Synth.
I drag this part out onto the Arrange window, and close the Audio Bin by hitting B. Let's take a listen to this part before we dive into editing it. (Music playing) Okay, as you can hear, it's just one four-bar keyboard part that repeats. It's actually in the same key as our trance travel synth part was when we originally brought it on to the Arrange window, and that is the key of C. I'm going to move this track down so that these two Apple Loops are right next to each other, and much like editing the trance travel synth part I will use the scissors and cut this Apple Loop and paste it over, so that we have a full eight bars.
Now since this is in the key of C, I'll go ahead and enter in my transposition numbers. We want to bring it down to B, which is the first chord, so -1, and we can double check it against the Trance Travel synth, that's -1. The second value is -5, so let's go ahead and change this to -5, and the third value on the Trance Travel synth is +4, I'm actually going to leave this at -1. So essentially, the first and the third set of chord changes are the same notes on this keyboard part, after it's transposed.
And then on the last part I will go ahead and enter in +6, because that is the same value that we have up here. So let's take a listen to this 8 bar phrase with just these two parts playing together. (Music playing) So as you can hear, what we basically did was take a two bar repetitive keyboard arpeggio, transpose it to follow the chord changes of our remix, and now we actually have a very interesting keyboard line that adds a lot of tension, especially on the second chord, when we put everything in the Mix, the second set of chord changes right here measures 67 to 69.
There is a nice bit of tension that enters. (Music playing) I'll also back down the Master Fader another dB or so, because we're starting to get into the two to three dB range of the red right now.
And although, there is no audible distortion, as we add more parts, we'll find ourselves pulling the Master Fader down so that we are not maxing out at 6 dB in the red. I'm going to add one more part, it will be from the ES2, and I will close the Parameters window here in the Inspector window, add Software Instrument, select ES2, and I'm going to choose Analog Bass clean.
This is a situation where I'm going to use a bass sound and actually play some notes higher up in the register. (Music playing) This is our sound. I'll move it up a couple of dB so we can really hear it as I'm playing against the track. (Music playing) And I know going into this part I'm looking for something that's a little bouncy, something to help pulse the track along a little bit more. So let's play around for a minute before I actually record the part. (Music playing) I think that's going to work really well, It's a little bit bouncy, which is nice, and I will record it right now, so I don't forget it.
(Music playing) Let's quantize it, and let's take a quick listen. (Music playing) So we've added two more keyboard parts to our track in this movie, and both of these parts have quite a bit of movement, but not too much movement, and the track is not feeling crowded, it's actually feeling just right.
There is a lot of motion in the track, but you do have to take caution that as you add parts, and add parts, and add parts, the amount of space that each part lives in become smaller, and it's very easy for things to sound crowded and cluttered, and we haven't even begun to add reverbs and delays to our synth parts. At this stage of the remixing process you will most likely need to do a little bit of self editing. It's very important that you keep the parts that enhance the mix. Don't marry yourself to parts, even if you come up with a really cooler part, and it's not working and it's not working, don't be attached to your ideas, make sure that they are adding to the sum of all parts and complementing the vocal.
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