Transcripts
1. Introduction: What's up, guys? And welcome
to a new industrial video. This time, I'm explaining
our latest drag with Ben and limited life
called I feel love. If you haven't heard
to try and get this is what it sounds like. So let's dive right
into the project.
2. Storytime: So first off, maybe it's
cool to tell you guys about the story of this track because it's quite an interesting
story, I think. So obviously, this track is a tech house kinda remake of the original I feel
loved by Donna Summer. If you don't know
Donna Summer original. It's produced by
Giorgio Moroder, which is like a disco legends. And the track actually was
one of the pinnacle tracks, one of the foundations of
electronic dance music. It was very popular. I'm a dance floor and
it kinda kick-started the whole electronic influence within music at that
time. Every old song. And how does Trent came to be is actually a really
interesting story because know-how or Bemba does strike was created with Ben and limited life, Noah and Lucas. And Noah was a patron
on our Patreon page. And he send me a direct
message on patriot and asking if he could have some feedback on this
track he was working on. So he was working on this track. I can show it to you guys. There you have it's dead
little synth hook right there. That was for me. Something I latched onto. Because the entire
track That's that whole since was
nowhere to be found. But that specific moments, there was just
this tiny snippets of the I feel love sin took. So I told Noah where
he cooled track. But you should try and do another version with
this, with this track. But then keep in the eye field loves track in the back
of your head and try to maybe make it tried to
recreate that five of bids. So this is the feedback I gave. And he started working on that. You had a new version. And then he sent that to me, which I then finalize into the
song that it is right now. And that's for me, was just a really cool story. Just to kind of show how
different each track is. If you're watching
this on Patron. This kind of stuff can come out of the feedback
sessions. I think.
3. Sample: So let's start off
with the sample because I guess you know, the original Madonna summer. And a little bit of a
backstory about the trunk, the focal Madonna
summer was a one-tailed or Georgia Moroder mates the
instrumental for this track. And then he asked, done a
summer to do vocals on it. And she did the whole
thing in one take. And if you listen to
the original acapella, which I have right here, you can hear that it's
really, really picky. If we throw that into the track. It's, it doesn't really work. So we Melodyne to
crap out of that. And maybe it's fun to show if we Melodyne the actual acapella of the original, I feel love. If I can just find Melodyne. There it is. You can just see
how patchy it is. So if we look at the
tonality right here, you can see that this
first long focal shout of hers is in-between a C
and the C sharp or D flat. And back in the days, old analogue
synthesisers, you know, they, they needed to
warm up and over time. And then like
synthesizers became, cuts, could become out of tune. So nowadays, everything is inside the box and everything
is tuned perfectly. But back in the days,
that wasn't the case. So this could have been in tune with the instrumental
by Giorgio Moroder, but nowadays, it's really
hard to work with. Of course you can,
correct, Correct. Pitch Center at correct
the pitch drift, snap it to even. But still, you
remain some of that. That's the tremolo,
which is in the, which is in the
original acapella. And still you can
try and fix that as well. With this one. Yeah, Modulation. Make it flat as
you possibly can, but then you will
take out some of the vibe of the
original vocal enough. So we tried to make that workable just for a demo
towards record labels. And then we marked it as well. Going slightly out
of tune there. But the handy thing is that if you've released
a song like this, you always have to clear it. Of course you have to clear the rights with the
original rights holders. And the easiest way to do that
is to clear it as a cover. And if you cover something, well, of course you
need to cover it. So we hired a sample
replay company, which did this amazing
replay of the vocal, which is a little bit different than than the original we think, but it's still very good. The fun thing is, of course, when you re-sync something, it's being sung to the instrumental that we
deliver it to dissemble, replay and company that's perfectly in tune
with each other. So in this case, we had to make something
that didn't work, work. We Melodyne to crap out of it. And then in the end, we gained a new version
of the vocal, which we could then use
into the final products. Well, It's also beneficial of having a sample being replay. It is that you have
all the stems. So the second voice, the choirs, all the athletes, you have them in separate stems. So if we yet again go to
the original acapella, there's a second boys in there. There's some kind of
choir pads in there. And that's all embedded
into one wave file into, well, it's actually
an MP3, I think. If you replay it, so you get
all this stuff's separated. So we have to vocal right here. We have the background vocal. Down here we also
have the choir pads. And this way you can mix all
those things a little bit differently so it fits better into the total
mix of the song. So that was really an advantage of having sample
cupboards as well. One thing or one small
little problem I had with the focal when
building it up was debts. The focal, especially with
this repetition parts. It's wants it to. A vocal of course
has all kinds of frequencies and all
kinds of harmonics. And the harmonic of this
repetition part right here, it's shifted towards an a, an, a and the a on the
keyboard, the nodes a. And since the drop
doesn't drop into an a, it's kinda fell off. So to fix that, I went
to the effects chain. And I have, I think
it's this one. So in fact, filters pro Q tree. You can turn on or turn off
the keyboard right here. And you can just take
the notes that you find annoying into the song and
decreases in this case. So it was more of a C nodes. And the c node works well
with the genomes in a drop. I'm not sure why that's the
case, but it's the case. So if we play the song
and watch the automation, you can see the decreasing. So that's how I fix that. It's a minor thing, but still like that
function of having the keyboards in the FET filters procure tree is really handy. I didn't know of its
existence until recently, So maybe you didn't
know that as well? I think that's about
it for the vocal. Of course, there's some
vocal shops as well, which are also really
important for them, the kind of filler
for this track. And in the original vocal debts, little vocal chap was
taken from one of the tails of the reverb. So let's go to the
poeple. Here it is. I think it's maybe here. That's there. I think it's this
one right here. And then process, of course. Of course in the
replayed version, we didn't get that sale. So I had to manually
recreate that by putting a **** load of
reverb, the specific vocal. Then exporting dense,
and then taking out a little bit of detail to create that vocal
chap right there. So that's what this
vocal chap is. Just a reverbs version of
the last bits of the vocal. Then I bounced dads and
took out some little cuts. So that's how I kinda
recreate a debts. Let's now continue
to the metallics.
4. Melodics: There's a trends going on within electronic
music right now, which I find quite annoying.
It's not my thing. It's the trends
of using samples, then showing that sample just
before the drop and then dropping in something completely different and irrelevance, I think it's kinda sounds
like the mesh ups of five years ago are now the
original mixes of today. And in this case we did
something that's not deaths. We did something I think that's paying in
an actual Omar SSH to the original, I feel love. That's because the sins, of course, is playing
over the drop. And that's this
sound right here. And if debt wouldn't
be in there, it would be the trends that everything that
everyone's doing right now. That's irrelevant. That's not a that's not the original mix. That's a mashup of,
I feel love with some kind of tech house
track to scenes right there is what's
combining the drop and to break into one solid track. So that's from the original
Donna Summer as well. Obviously, the whole
main lead here is just that same
pattern repeating. And actually the second
pattern is the same as well, but it ends on a low nodes. So that's what's
happening there. Then in the seconds really
tiny break, this one. There is a slight variation
going on with that since hook debts and who is not in the original
as far as I know. So that's just
manually recreate it to kinda give some kind
of breed drop fill. Then I bounce it out
to get the timing. Ryan's because it's supposed
to be a little bit sketchy. And that's the case right now. Then we also have
those brass things, which I can't really
say much about. It's a cool filler
instruments, I think. Um, and then of course
we have the baseline. The baseline. Baseline is just a Gino's
sliding up and down. It's the most basic
baseline there is. The pattern is
something like this. That says it's just a
genome shifting up and down. That's the whole baseline.
5. Drums: Then of course we
also have the drums and the drum loop. I
have it right here. If you are a pigeon supporter of a university tier or higher, you get these drum
samples for free. So consider subscribing through our Patreon page,
the university here. I can show them one by one. That's it for the drums. Yeah, I think that's
about everything I can tell you guys about this track. Again, it was a really
fun process with Noah and Lucas to create this track. It's fun to see how
something that's originated from our Patreon
page has actually become a track that has been released on
spinning records. And now I'm explaining this trick to you guys
on patriot again. So for me that's really fun. Like it's gone full circle. I hope you guys like to track. It's doing well in terms
of charting right now, if you like to track, consider streaming
or buying it on beat boards even and help
us get into the charts. And that's about it guys. See you next time.
Mr. Belt & Wezol, DJ/producer duo from the Netherlands
