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Now it's time to talk about arranging. This is one of the most critical parts of the remixing process. If you don't have a great arrangement, your track will most likely fall flat, especially if it's being played in the club by DJs. So I will disengage the loop setting here. I highlighted all these tracks. They are just looping till the end of the song right now. I will hit the L key and turn them off. I will click-and-drag, copy-and-paste, and I'm just copying-and-pasting, and copying-and-pasting, because the way I like to start building my arrangement is to actually copy-and-paste sections and then mute arrange or deconstruct on the fly.
So I am pasting drums all the way across here, all the way across. I know that this remix is going to wind up being between 5 and 6 minutes long. So that's why several movies ago, I went ahead and moved the vocals to start at measure 41. That gives us 40 measures of intro, DJ intros I like to call it for someone to mix the record in from the previous record that they are mixing out of. So I always like to start with drums, and I don't want to play all of the drum loops at the very beginning.
So what I'll do is maybe delete the first 8 bars of the top drum loop and just start the mix like this. (Music playing) I'm not sure yet. I like to play around with these ideas before I actually start really building up the arrangement. As we think of the arrangement, and how important it really is, you want to have ebbs and flows in your track.
It needs to breathe. Ideally, I like to have elements coming in and out every 8 bars, so that the ear picks up on things happening. I generally break the track down in the similar fashion as I build it up. There might be a 32 bar or a 40 bar intro and subsequently a 32 or 40 bar outro with the body of the song happening generally from here to about here, that's about measure 41 to maybe a measure 161. All these arrangement principles will make more sense as we start to build up our remix and the song takes on a more definitive form.
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