Explaining our latest track 'New Millenium' (Spinnin' Records) - FL Studio

1. Introduction: What's up, guys and welcome to a new industrial video. Today, I'm going to explain our latest track in collaboration with Nicola for sono, Steve forest and Topaz. It's called New Millennium. And if you haven't heard it yet, this is what it sounds like. So I have two projects Ryan in front of me. This track is basically a remake from the earlier version of Topaz, new millennium. Let's listen to data first. So that's the original My tell pass. Right now, let's go into the samples that were used. 2. Samples: So in the original by TO pass, there's a couple of samples. There's the Crusaders, my lady, this sample. And if you speed that up, and if you then process that's, it's going to sound like this. And of course those two sounds are added. And the same goes for this sample, also from the same track by the Crusaders. Speed that up process that ended a trick. So those are the samples from the Crusaders mile AT, which were used by Topaz in the original new millennium. Now you also have this second sample, which is from Babe Ruth. Keep your distance is the track's title. And also this one. So with the Topaz track that's in the middle or in the beginning of the threat. And with our track. So those are all the samples that are being used in this track. Especially back in two days. The sampling was way more common. It was also really common to just use more than one sample in once reg, still is of course, but I think it was even more common back in the days, especially with the track like an enzyme from Enjoy. I think there are like five samples in that track. And nibbles just released, you know, kinda, I think, kinda feeling sorry for the people that needed to clear that. I'm feeling sorry for two people in the clearing departments of the label that needed to release that track or to publishing. Anyway, that's all the samples. Like I said, the toll pass original track is has the same elements but it is arranged way differently like the, the third break part is in the beginning. And of course, this is not really a track that you could play out in a club. I think. There's not really any definite arrangements. There. There's some weird parts which just don't really work in the dance floor nowadays. So yeah, this drag really takes all the best sentiments of that track and compresses it into a danceable arrangements. So that's, that's the strength of this track. I think. 3. Manual warping in FL Studio: So when working with samples from other tracks from the Crusaders, my lady, and also this one. It's always a hassle to make it fit into the rhythm of your own song. Like if we look at the sample right here, you can see that We didn't FL Studio. I did some manual rewarming. If you are not familiar with warping, it's a function I use mostly in Ableton, which makes you, makes it easy to stretch some things like for example, right here you can see that this little kick, yeah, that's a kick, is not exactly on the line. And if you're a nit-picky guy, you can fix that with warping. In this case with the sample. I did it manually. So what I did, maybe let's listen to the original sample first. So you can Herod really well in this parts like this, kick right here is nuts. It's not on the mark, I think so. That's what I fixed it with the manual rewarming right here. I was also really annoyed with the way the saxophone comes in a little bit too lates in this part right here. So that's also something I Fixed 3D minor things. I think they are really important because they make up for how well the trick is grooving. If there's a lot of misalignments in the groove like that. You're going to notice it, then it's going to take you out of the groove, especially on the dance floor. So for me, those were some really important alterations. I also, with the second sample, this one right here, you can already see it in the intertidal sample to warp. There. Of course, the original sample from roof is 12123. It's in a different tempo, then this track is. So there was a problem, of course, you want, in an ideal world, I'd want to have a guitar stamp on every four beats. So doorstep, next p-star. Now it comes here. So what I tried to do is I tried to fix that in Ableton. So let's start that up. 4. Warping in Ableton: So I always do my warping enabled them because you have markers and markers are just a lot easier for me. So you can just drag around different Whoppers, two different points. So if we listened to the warped guitar, I could have done that. I could have done that, but I think it's a little bit too rushed. And I also think that that would make that will take out some of the epiglottis of that break. So any ends, I actually didn't go with deaths. I went for the original guitar, which is up here. You can see the difference. Here's to the wharf guitar and there's the, the not warped guitar. So I went with the original in-depth parts, but it was also quite frustrated with the beginning of this sample. So disbarred. That was also not entirety. On beats. Maybe we can hear it a little bit better here. This is your regular. But it was also on a reading where it's DPM. So I did Indians warp deaths. So that's what this is. I looked a little bit. And then at the end. So it has, it has become a weird little mashup of a warped intro that is in sync with the widths are tracks BPM. And then also the not warped guitar that comes right after. So that's kinda weird. I think it's a weird mixture of warping and not warping. But it's quite fun for me, I think, to have made this work in debts in that matter. So in the end it sounds like this, so we have to drop. So let's kind of fixed assets from the original song, I guess you should say. So. I've been talking about the break, so let's talk about the actual drop. Although there's not really dead much to tell. I think. Of course we have the sample which is kind of making up for the entire drop. Now if we listened to it, the sample is doing all the work. So I cannot really tell you much about it other than that it's a sample which has been processed and crushed to death. And then also this little baseline that's underneath, which is not really debts recognizable in the mix, I think. Yeah. That's the drop guys. I'm sorry. I can't be much more help in that regard. 5. Break to build up: So if we now go back to that serve break, because of course the term break, the entire track is super cool I think. But the third break is what really makes it stand out and makes it a lot more different than a lot of other tracks. There's a psychedelic parts width with this deep male voice and some weird computer affects underneath is. But because I didn't decides to warp that sample in the nth. This track in terms of arrangements and musical rules, I should be eight bars are 16 bars of this and then 60 bars of data that doesn't apply in this break at all. Like if you look at this little thing right here, you can see that the bars here are a little messed up. There's one bar, two bar, three bar for like half a bar, and then also one extra step right here. And that's just there because it doesn't check out. The arrangement of the strength doesn't check out at all. If you start counting at the beginning of this track, you wouldn't you couldn't ends your accounts in a traditional way if we're talking about rules and dance music. So that's a fun thing for me. That's also what's making this drag really special. And this switch up from the term break through the build is also like how are you going to switch from a 3D, from a different BPM without a true rhythmic thing to it, to a sudden build-up. Well, I just took the last guitar step that was here and gave it a lot of reverb and then just started in the beat at a completely random moment. So if you're actually wondering how you can change this, how you can make it go in sinking. And you can see that the rest of the track is all just in sync with the start of a bar and stuff can just start in mu times marker. Call. It builds like I did. Then you can add a time signature right here. And if you do that, it will start over again from that point. So if I drag this, you can see that that is changing how your time measurements are being displayed. You're in your platelets editor in FL Studio. So that's how you can fix that. So yeah, that switch up is just we have this last part centered break and then just **** load of reverb and delay at the end of it. And then we go into the last builds or the second to last bill and actually have it. 6. Drums: So last, I should talk about the drums, I guess. Like I said, this entire trunk is all based on that toe pads track, which is all based on a sample, which is doing all the work and distractors. There's only a drum loop over it and some some bass notes. And also this female voice, which is also from the original by Topaz. And there's a house beats underneath there. So if we go to the actual drum loop, here's the kicker clapping opened I ads and a little top loop. And that's it. You know, that's, that's what is making this track. I think. Of course, if you're a patriot and support or university tier, you get the drum samples for free. So go check that out if you haven't already. We can go through them one by one. We have the cake. Guys. That's this track. So I'm actually really excited about the strike. I think it's a really good track and I think it could be played by a lot of difference. Dj's, so of course the tech, how she polymer, but also the more tropical sides, I guess. I think it's an excellent summer trick and I can't wait to play it out on a big festival stage. What does sunsets and partying people? I'm really looking forward to this track and playing it out at all our gigs. I hope you like it too. If you do consider streaming, it's on Spotify or buying it on before even. And that's all I can tell you about these trends today. I hope you learned something and I hope to see you again in another video. See you.