Transcripts
1. Introduction: Name and starts yo itself. Everyone. Welcome to a new in
the studio video. This time I'm going to
explain our latest drag Genesis in collaboration
with Gamow. Sorry. If you haven't heard it, yes, this is what it sounds like. Morning columns. C. Let's dive right into it. Sets this track is made with Gamble story after stems right in front
of me right here. Maybe it's fun to tell you the backstory
of this track first. So initially this
track was going to come out at a
much later deaths. But as it happens, we had these other track nets has a sample in
it and of course, samples always need clearing. And we thought that's the track. The sample was completely clear. It's bads. Like three weeks
before the release, we actually gained new
information and new debts. The sample was not
cleared entirely. Yes, there were still some
territory's in the world where we couldn't use
that sample in a track. So what we did is we push that track back later in our
releasing schedule. And it was very unfortunate, but it was the only way
we could work with. Instead, we distract Genesis
and put it up front. So this track was
almost entirely done. We fall, we had more
time to complete it, but in the end we needed
to kind of rush it. I'm going to talk about
that later in this video because there's
some things that I think could be
better in district. But yeah, that's the backstory. So it's always fun to see a
little behind the scenes. I think.
2. Vocal: So about this truck? Yeah. I have it right in
front of me right here. Of course, one of the
biggest parts of this track, maybe even the biggest
part is the vocal. The vocal is done by Roffey and it's really cool
vocal. I think. The fun thing is about a vocal is that if it's over your drop, that means that your vocal kind of becomes your
main instruments. Let's just listen
to the focal first. Don't want before we
go tell me your name. Me. One morning comes. You'll see when morning comes. You'll see that this
could be, you will know, when throwing vocals
over your drop, this kind of puts you into a comfortable position
as a producer because this means that all your
instrumental that's lying underneath that focal doesn't need to be debt special. That unique thing about
this drug is not how hard it drops or what kind of special sounds are
being used in the drop. But it's about dead
vocal being on top of the drop and working
together with instrumental. I will remove that vocal. It's still a pretty cool drop, but it's not nearly as cool
as width of local forests. You had a focal,
really cool, I think. Like I said earlier, we had to rush it. So there are some words
in the vocal that I think could be pronounced
a little bit better. One morning. You'll see that this love right there that could be pronounced a little
bit differently. I think. Again, like I said, we had to rush it a bit. The vocal. Yeah.
She also recorded these other parts which we getting used in the
ends because I fought. It was going to be a little bit too much of a vocal
track that way. So it's this part. Just take a step, come see me. I just took that
out and took back in the earlier parts
before the first drop. This is all happening
in a second break. Yeah. Of course want this to be a dance
record is a dance track. But if you're using
too many vocals, you're also kind of overloading, I think the
listener's attention. Oh, there's another vocal parts. Oh ****, I have to
remember that as well. Well, remember it's, you want the track to
be an ear worm. For attracted be an earworm. You need to have a
lot of repetition. Repeating that
photo right there, Wilson writes, call it think.
3. Melodics: So now I want to talk
about melodic because there are a lots of
melodic in this track. Let's just go through
some of them. Of course, we have the
main base right here. With main base, we have this little sustains
base as well. That's not hitting all the
same notes as the main basis. Then we have the little Oregon
based later in the drop. Then we have some of arpeggiator and also to mean arpeggiator. So it's this one. That one we also have
this arpeggiator, which is most prominent
in the second drop. Then we have some pads
right here and we have little bleed and we
have to break string. We also have to bats. Just like the most basic paths, I think like everything
that's made in silence is for me like kind of nostalgic thing to the beginning of
my producing career. Because all the sounds that
are in here are remembering, remembering them as some of the first sounds I've played with. So the same goes for the
break base, for example. It's also a patch from
Simon's still loving silence. All those melodic elements
and there are some, they are all there. But I don't find
them debt annoying. What's our previous release? Mistakes. There were also
a lot of melodic elements, but these melodic
elements in this drag, they are kind of embedded
into their own space. And they are not like
they were a mistakes. Put there to fill out
some kind of folates. They are the melodic
elements and just drag are there at their rides place, I think I hope that makes sense, especially if you've seen the
other video about mistakes. You probably know what
I'm talking about. What also really helps in
that matter is the fact that the arpeggiator from
the arpeggiator is maybe more of a lead. Debts is working to get her with the bats in the
seconds break as well. So if we play that together, That's kind of makes
it into a nuts, not as singular
melodic elements, but as a complete harmonic
bumble, I would say. That's also the difference
with our outer track mistakes. In that case it was
just, you know, first you have to courts
and the courts are done. Then you have the
arpeggiator and they weren't working
together in any way. So that's a big difference
with this track. I think. It's also funny in that matter, is that, for example,
the arpeggiator, it has some bass
notes that are nuts, 100% correct widths, the media information
from the courts. They are not entirely in
tune with each other. And if you listen to those
things without the filtering, this is the automation
clip for the filtering. You can already hear. Not greedy, it's already
working, not working. I'm like split between the two, but just taking out some
of the low frequencies, it's making its fit into those bass notes
from the courts. That's funny. Because you could
also of course, take out denotes from the
specific arpeggiator. But in this case that would make the sound a
little bit less fool, so I decided to do that. But what's funny to me is that you can have
harmonic information, note information that is
clashing with each other, but still it sounds
nice in the mix. And it's another good
example of that is actually some kind of
adds atmospheric shots. We have it's dish this shot
right here. Also normalized. See here too. That's also not entirely
in tune with the drop. It's kind of clashing
with the baselines that are doing different nodes. You will know. For me that's also
a fun example of harmonic contents not being entirely in tune
with each other, but still that it's sounding
nice in the mix in the end. Another example of that is this string staccato
melody right here. If you hear it in the mix, it's following the
melody of the vocal. And if you hear it
in the mix, you can't really hear a debt goods, which is fine because I
think it's an ugly sounds. But yeah, in the mix with the vocal sounds like it's
a layer of the vocal tract. The vocal has been
transposed or forming shifted in a way
that's a nice bumble. Barely there. What's also cool to
me if we're talking about melodic is that we have two drops and they are both completely different
because of the, because of the added RP
that's in the second drop. So in the first row,
vocal plus base. And then in the second drop, we have this arpeggiator
that's over, over to track, over to drop. And then we also have this eerie since that's also over to drop. That makes the trick much more
eerie and dark and moody. And it makes it much difference
than the first drop. It's also funny is
that, that's that Oregon melody that's in the second part of the
first drops or this one. I just decided to completely leave it out of the
second drop to keep debts. That's moody vibe going throughout the
entire second drop. That's it. That's
all the melodic.
4. What I'd do differently now: So now I wanted to
talk about what I do differently now
because as I said, it's the struggles
a little rushed. So we were like me and Gamble story where 95% happy
with how the truck turnouts, but still there were some
things that could be better. I've been making a
lot of these videos and I'm always struggling to. What can I sell to you guys to make you learn something
about distract? Because i've, I've been
talking about sound design, synthesis for a lot
of videos already. I think learning from my
mistakes or mistakes. Well, there are no
mistakes in music. I think learning from
things that I think are, or could be better
about the strike is one of the most
helpful things. Let's talk about
death. I think in this trunk There's a couple
of things it could be better. Like I said, some of the vocals, some of the words in the vocal could be pronounced
a little bit better. But yeah, we simply didn't
have time for that. I would also change is in the second part
of the first drop, you have the arpeggiator that's the most prominence
in the second drop. So this sounds it's pretty low in
the mix right there. But I think I'm splits
between two things. One thing, you once the arpeggiator that's very
prominent in the second drop. You want that to be
introduced earlier into song. That's just nice to bring your whole trick to
get her theme wise. But it's also making that second bit of the first
drop a little bit crowded. And that's what
I'm split between. You have, you have to choose between introducing
an arpeggiator and melodic elements
earlier into track, or let it come as a surprise
in the second drop. And I'm still split
between that. I wouldn't necessarily remove this if I remade
this drug right now, but I'm still a little
bit annoyed by it. So I will maybe,
maybe change that. Another thing that
I will change now is the second interpretation
of the vocal, or the second repetition
of the vocal. There's a low-pitched
vocal on there as well. And I think that's just
a little bit bossy, like it's been done. I will remove that as well. But yeah, it's not
a big problem. Still. I will change that. So those
are the two main things, are the three main
things actually that I would change about this break.
5. Drums: Now lastly, I want to
talk about the drums. The dumps are not
really special again, but if you're a patriot support or university patreon supporter, you get these drum samples
for free on our Patreon page. So this is the loop. Some gushing in their gig. It's uploaded with Open
AI, it's in there. Some percussion shouts. That's the drum loop. Throughout the entire trend. There's also some snaps. The first break, some minor
variations on the loop, but I think that's all the
contents there is from wise. Yeah, guys, I think that's it. I think that's everything I can tell you about this trick. I hope you learn something. I'm a big fan of this drug. I think it's really,
really cool. It has a dark moods, but still it's a beets
and very danceable. Yeah, I'm loving it. I hope you like it as well. If you do streaming on
Spotify, belong before. And I hope to see you guys
again in another video. See you later.
Mr. Belt & Wezol, DJ/producer duo from the Netherlands
