Transcripts
1. Introduction: What's up, guys and welcome
to a new industrial video. This time, I'm going to explain our latest track with some Boudin called pork death. If
you haven't heard it yet. This is what it sounds like that there. So let's get right
into the projects. So Tom and I have known each other for I think maybe
longer than six years even. And we've tried collaborating
over the years, but there was always
something in a way we had this track
would assembling it, but the clearance
didn't came through. Or we have clashing releasing schedules, always
something like that. But now we finally
created something together and we bounce over
to stems a couple of times. Right in front of me
is the final projects. And I think it's a bang
or, you know, it's, I think the most
unique thing about this track is that there's
a lot of elements in there, but nothing really stands out
as much, you know, track. Its unique thing is
to track itself, not like this little synth who are it is little focal
or this little groove. It's everything
combined to get her. There are quite a few elements. There's a vocal,
there's some baseline, there's a synth hook, there's a level of weird sounds. That's a bit much. And in the original
mixture to extended mix, which is four minutes
and 12 seconds long, we have we have the time to introduce every
elements one-by-one. But in the radial
edit, for example, we didn't have as much time
because the radio edits is two minutes and 24 seconds. So I had to cut some corners
there in making death edits. Um, but yeah, let's go over
the elements one by one. And then in the end,
I'll show you guys how I managed to introduce all those elements in a somewhat acceptable way
in the radio edits as well.
2. Hooks: So let's start with the vocal. The vocal is pretty
cookie cutter. The amount of times there has been some kind of work debts, vocal in a dense track. I think it's well into
the ten thousands, but the original vocal is, let me find it right here. Now. Bada, bada, bada, bada. Bada worked at bought it. I bought it worked out body. And if you updates
tree semitones. Yeah. It worked. It worked. You. Of course, it's higher up, but it's also kind
of indistinguishable if it's a male or
a female vocal. So I think that's quite funny. And of course the
focus has been cut up. And I've shown this
tons of times already. But if you throw like the actual vocal into a slicing program
like this one, but you can simply start cutting it up
in a way you like it. So that's the way
the cuts are made. And there's quite a few cuts. So we have this one which
is the main one that works. We also have this one worked at. And there's also like
small vocal chops, which are right here. They're all just cuts
from that sample, which is pitched up
to three semitones. And there's also
later and attract a lot of little effects. Liken to throw drop. We have this crazy that vocal and a couple of more those effects that I'll get into that
a little bit later. But it's a Vogel,
OK, it's just a simple, nothing too interesting. What is kinda funny is that
we have interrupt break. We have some Tom's actual voice singing these little
vocal right here. Sometimes. It's actually done. And if i will do That's my English wouldn't be
as good I think so. His voice is perfect there. It's also makes up for a little
variation there that it's not only that Vogel
which are getting thrown at your ears the
whole time, you know. So nice variation. Then
we have the baseline. Typical, fairly fast
repeating tech. How's baseline? And this is throughout
the entire track. You can see the
render right here. Once it starts in
the first break. So if any intro, which is all beats
baseline there, once the baseline
comes in there with, without its low frequencies, it just continues throughout
the entire trick, except for it is a little
part before the teardrop. And that's typical
of tech house. You know, there's
always a baseline going and there's
always a beef going. Even here at the beginning
of the term break, they're still kick the English. There's no offices in the drums except for this
little predrawn here, which we'll get into a
little bit later as well. This is just typical tech house. You know, if he wants to
create a tech house trick, just makes sure that
the drums are to baseline or even both are always throughout
the entire trick. That's what's giving,
giving it its groove. I think that's what's
happening right here. So that's dependent
on the baseline.
3. Melodics: So half the lead sounds, which is this one. And also to render here. And later we also
have a variation. And if you've created
a future house in your producing career, you know that this sounds is created by adding sevenths
through your leads. So right here we have the
media of the original leads, like the main leads,
call it the mainly. If you've copied
it and move it up seven semitones,
which is 1234567. You get that seventh effects, which is, which is here. Here. This is a great way to make variations in your relief without
actually changing. You just add a
layer on top of it. I've found that it was
a really good way of keeping it interesting without adding a entirely
new melody to it. So those three things, the vocal, the baseline, and delete, are the big
hoax of this track. And as I said, they're not that interesting
by themselves, but if you combine
them into the tray, I think it makes up for, for a perfect in-between track. And of course there's
a level of difference. Little sounds That's keep
the track interesting, like sounds like
this, for example. The teardrop, we have
a couple of more. Those kinds of sounds can be made with a variety of plugins. I mainly use direct wave and see if I can show
you guys real quick. So in direct way, if you can, it's basically a sampler which has a couple
of effects building. There's tons of plug-ins like these lipid tails,
sampler or contexts. They all, each have their
own built-in effects. But simply said, you can
load settles into here. And you can simply play with the settings
of those samples. So right here. So you can play
with those kind of sounds the entire time. And let's just let your recording software
and just run a recording. Loads Edison or something. Simply press record and
start recording this. Just load up a few sounds at some reverb and
there you have it, some interesting sounds. So I think you can do the exact same thing
with the vocal. And if we go down here, you can see that this, for example, is a
render like that. This is just playing
with sounds. So deadlock, for example,
that one sound of goods, so that one ended up in a
trick, and it's right here. It's the exact same thing
is done with the vocal. So right here, if we go to
this render right here, you can see that there's
just these kinda sounds. Yeah, I bought it worked. There's one, for example, that it's kinda like
a volume LFO that is just before the end
of the term builds. So those are all little things that keeps the
track interesting, I think. And it's just really
fun to play with. Because, you know, you're just messing around with the synth. And I'll just, you know. Ninety-five percent of
its sounds like crap. That 5% is can, you know, it's usable
in your trick. That makes it a little bit
more interesting. I think. The same with this one. So the teardrop put this
into the second drought, would just go through
all the drops. The first graph is simply the baseline in
its full effects. So in first break, you have to baseline disrupt just the baseline,
the full thing. Then in the second row,
we're introducing deletes. Every now and then, and also
some, some crazy cells. Edited tear drop where
introducing even crazier sounds. So that's the way they're all a little bit different
from each other. So that's how we kept
the trick interesting throughout the entire trick. So another fairly
interesting thing of this track is
that it's a little bit more unconventional
than most dance tracks. And that's because of this
little pre drops section here. So this entire term break, it's built up to
this big climax. And it's supposed
to drop right here. But we've chosen to just extends the
buildup until the ends, then give it this big
payoff and then it drops. So this results in your
guts feeding telling you, oh, now it should drop,
but then it doesn't drop. And then it does drop. So it's like an extra
layer of pleasure. I think when listening to distract, especially
on the dance floor. If you will throw this
part's right here. It, Let's just not be as
powerful because you know, where all programs to know
when to expect certain things. And this is pre drop here, breaks with that tradition. So it's more powerful
when it drops. So that's just a little
Bill thing we did to make it more interesting. Yeah. As you can see, there's a ton of little small semi melodic
elements in here. As I said in the beginning. There is, this track is
long enough for minutes. And for Spotify, you don't want a track to be
four minutes long, it's just simply too long. So in radio edits, there's, we cut a couple of corners to make make the track
a lot shorter. For example, we
just introduced the vocal by doing a reversed
reverb and beginning. That's still in the baseline
is immediately to the hair. And also the lead is
here, but it's filtered. So it doesn't take as
much of your attention, sort of introduction
of the actual leads. It starts here, but
you can only hear it in full when first
grout comes in. So this breaks with the
original mix entirely. There's just two drops, which is also different
from from the original mix. And just the
introduction of parts. It's just a lot different
than in the original mix, which was absolutely necessary. Because else if you listen to a district
for the first time, you'll be like, well,
there's so much going on in verse 15 seconds already. You wouldn't be able to keep track of every single
individual elements. And that's what's, that's what's important in radio edits. I think. After an added skips, immediately to disturb break, skips the second drop entirely. Yeah, that's that's
Spotify, I guess. And then it goes through
the break or threat drop. And that's just the same as the entire tour drop
off the actual track. So that's a radial edits.
4. Drums: The draw lumps. If you are patriots support or you get
these drum samples for free. So university to your
end up right away. So if you're interested
in that, go check it out. The drums are there's
quite a few loops in here. And they're all not really
doing their own thing, but they're just
actually layers. So if we listen to determinant of a couple of elements
like this one, like a little close higher
there or these ones. Like the knob half-step beats that actually make
up for the groove. And the rest of it
is mostly layering. So there's a little high and
this is an open hi-hats. This one also has opened I as it's all just
layering but nuts, individual elements but loops. While creating this groove, it's just a matter of knowing
when it's too much and knowing which parts
make up for the groove and which parts are
actually layering. So we can listen to the
individual elements one by one. Running, reload, doing them up for
group layering, layering, layering as well. So as you can hear, it's almost everything
is almost layering. Nurses, a couple of elements
that make up for the group. I think that's
quite interesting. This drag has a lot
of drum loops in it, but it doesn't sound
overwhelming or something. I think that's
about everything I can tell you guys
about this track. It's an interesting trick. I think it's one of our
more techie tricks. So I hope you guys
dig that as well. A lot of crazy sounds in
here and we'll be playing this track in our sense
a lot. Definitely. Especially this works
like a charm every time. So that's it guys. I hope you learned something
and I hope to see you guys in the next video later.
Mr. Belt & Wezol, DJ/producer duo from the Netherlands
