Explaining our latest track 'Body Rock' (Spinnin' Records) - FL Studio

1. Introduction: Okay. Yeah, What's up, guys and welcome to a new industrial video. This time, I'm explaining our latest trig with many, few called body rock. If you haven't heard the track yet, this is what it sounds like. Let's dive into the project. So first off, let me tell you guys the story behind this drag. So we actually got an email from someone asking us to do something with distract ribs into minutes by a VSB. And this is a very old 1998 speed garage classic. And if you listen to the track. So we actually got this track and from the original rights holders asking us yo make remake of this track. 2. Sample: We, and then if you, we tries Jacob and Victor are the names of many of you. We try it, but the only real elements we could use in the ends was the vocal. And the vocal. And this track is sampled itself. That's from Amanda's make my body rock, which is another song. So this track sample that song. And we were asked to sample this song. So we tried to actually incorporate other elements of this track as well, like the thing, not to incorporate debt as well. And there's also a little simpler. But in the end, it just didn't really work out. The only thing that did workouts was the acapella by Jumana. So that's what we use in yens. And because we only use debt parts, it didn't make sense for us to sample this track, so we sampled the original budget Amanda instead. So we worked with that vocal, which is of course replace the original sees one. Put me on the moon. And this replayed vocal. And when many of you and we worked on this track, there were a couple of core progressions that came along. I can show you guys those as well. So this was the first version. One version. So she listened really closely. You can hear to our crew vocal from the original AVE is B track just before the drought. It's very, very, very low in the mix, but it's there. So we skip that, the Indians, those chord progressions where okay, but they didn't really due to vocal any justice. I think that's the sampling in this track. Let's now go into the melodic stuff. This track. 3. Melodics: So like I said in my earlier video, there's an annoying trends going on right now, which is kinda transforming mashups or five years ago into original mixes of today. In other words, the drop of most drugs do not have anything to do with the brakes off the tracks. I think that's lazy producing rare cases it works, I think. But in most cases, cases, it just sounds a little bit cheap. So there's some kind of hip hop sample. And then before the drop it says, you'll, you'll, you'll the beaches in the money. And then it drops into a tech. How's drop? Then? The vocal comes back every now and then. It's just being used as a, as a vocal. It's not being samples or really anything interesting going on. There's not some kind of homage going on. Oh my gosh. Going on to the earlier track, I find it annoying in this trunk. That's not the case because the drop the drop has a focal chop which is taken from the acapella. So that's kinda combines to drop and the break into one track. The vocal chap is, of course replay it because that's from the sample to so you have to replay that as well. But the original Photoshop is done in a really easy way. Actually, we can try to recreate it right now. So let's take the, take the vocal replay. Why not? Let's create a slice x and that's created a job fits. Let's trow. Yeah, That's wrote a replayed focal inside this class. X automatically slices up your, you are whatever sample you throw in there, then you can out of slices. Now it's kinda outage slices. It's some kind of algorithm which computes for you What's, is supposed to be a word or what's supposed to be some kind of foul or something. So we can just remove everything. That's one could be one. I think that could be one thing that's the other one. So if we go back to here and go to market 22, whoa, whoa, whoa, whoa. I think death could be one. Oh, yeah. 22000. I think this is the pattern. Oh, oh, oh, oh, I think that's it. And the 28. Well, and it's a little bit more around here. There you have the original vocal chap or to replay it focal Chubb. And if you then just draw dads and you track, gave it some reverb reverb, ride home, maybe take out the base. Then also maybe give it some delay. Just for the heck of it, decreased feedback, get some ping pong. Then maybe compress debts, use that cheap as focal ones. And then take some kind of LFO to give it some side chain. That's about it. We would throw this into the track. Let's see how much different it is. So this one is not there, this one's out there. This one's out there and dead one is there. Listen. So there you go. That's how you creates vocal chops and droughts, the whole track their son. So focal chops, That's just one of the poker chips that's being used. Of course you have the more obvious vocal chops. Beat up, beat up. Not sure what she's saying. You have that one. You also have this one that's also somewhere in the Vogel. And then you also have this one. Something like this. So I'm just altering between the originals and they're replaced focal chops. So that's one of the interesting parts of this track. I think the parts of the acapella are actually going or continuing throughout the drop, which is it's binding it altogether. I think gluing it all together, I should say. So. Yeah, I think that's one of the more interesting things of this track. It's really euphoric. The whole track. It's really something I see played a huge festival stages. And the vocal and the vocal job are what are most importance of this entire track. Because the core progression of the piano, which is right here, It's just really a standard nineties rave kinda piano courts pattern, which kinda has an M1 piano vibe to it, but it's not entirely the same. I think that's just there because it's it's euphoric and it's, it's adding onto the vocal job I think. But it's not really that interesting on its own. Then the baseline is also really just a saw wave. Width notes that are following the bass notes of the piano with some delay on their tiny bit of reverb as well. In terms of melodic. That's about it. I think. Of course there's also, in the second break there's a path going on. And that's just simply following the, the courts of the piano, but then with long nodes. So that's pretty basic as well. Of course you have to arpeggiator going on. Just as serum sounds. Cool. That was actually pretty hard to mix because there's so much going on there and there's a piano. You need to hear the piano, which is kind of the same frequency range as the vocal, which is also there. And then you also have an edit arpeggiator. So I think right here, the fab filter is having some dynamic EQ and going on its own in those high frequencies of bits. So there's just enough room for everything in the mix. It's really close. You know, it's almost too much, I think. 4. Drums: Another actually interesting thing about the baseline is that's the kick. I'm just making the jump to the drums right here on the kick is so huge. It's such a long pattern. If we just record, that's all right. It's not a long pattern, it's a long sample. You can see there's just not that, not that big of a gap between the kicks and it's really sub-e as well and the kick. So the baseline in response to that doesn't really have to be debts. Big or impressive because the kick is really carrying the low frequencies. If we listen to it's combines the base, It's kinda just filling, that's pretty small gap between the cake. And that's it. It's not carrying the song in any way. It's just if you remove the base, it's of course you miss it, but nuts. As much as usual in tracks. And again, because there's so much frequency stuff, myth, high-frequency stuff going on already. The drums are not that complicated. It's just the kick with a little top loop, which has everything in it. Clap open hi-hats, of course, and some small close tie heads that are in-between there. That's it. That's it for the drums. If you're at patreon supporter, university tier or higher, you get these Trump's samples for free. And I think that's about everything I can tell you about this trick. I think it's quite an unique trick. It's hard to play out sometimes because like I said, it's attracted does really well on a big festival stage. But of course you want to play your own tracks at club events as well. I'm not sure if it does the trick as much justice as on a big festival stage. If you'd like to track, please consider buying it or streaming it on Spotify. I really like it. And the collaboration with many fewer was also really cool. I like those guys, Swedish guy, Scandinavian guys are always really nice. I hope you learned something today and I hope to see you again in another video. Bye.