Analysis of S2E02: InsideInfo – Remix of Hybrid Minds "Meant To Be" (AUG 2014)

Viewing 0 reply threads
  • Author
    Posts
    • #83736
      ,Harry
      Moderator

      Note: Rewatched this in June 2019, almost five years since this was originally released. InsideInfo’s tools and approaches have changed a bit, and I’m hoping to ask him about what has changed now that he’s doing Season 7 of Sample Genie. Some of the techniques he describes here may have been refined or dropped altogether. He also did a one-off video in Season 5, and I think a Computer Music video around the same time.


      WATCH NOTES

      – Works quick, doesn’t normally groups tracks
      – 32 bar intro ➡ 16 bar breakdown ➡ drops at bar 49

      04:45 – was given two weeks to do this remix
      – This is actually a longer time than most remix specs

      06:00 – creates a folder to keep original parts, edits, and variations

      06:30 – compares getting remix parts to getting a sample pack

      07:30 – starting with the kick
      – Made from two layers: main kick (with Pro-Q and Alloy2 on inserts) and a more organic sounding kick
      – Kick pattern is a 2-bar Universal Project pattern, likes it, has used a bit, describes it as kind of clinical sounding

      08:45 – kick goes to a drum bus

      09:00 – snare is made of a few layers
      – Layer 1 ➡ punchy, not much low end, more of a mid-range sound, only has Pro-Q on insert
      – Layer 2 ➡ more low end
      – Layer 3 ➡ snappy and has high end
      – Layer 4 ➡ sharp hit, nice transient
      – Layer 5 ➡ low end, muddy sound
      – Layer 6 ➡ E-Phonic Drumatic VST to create a low end snare transient
      ○ Combine with a more organic or sample-based break drum, can add a bit of low end punch, with full control over pitch
      – Says EQ’ing was a little loose, but wasn’t too concerned

      12:00
      – hats, various layers, for frequency spread & energy
      – Most have low end rolled off

      12:55 – crash cymbals with some panning, rides, some sidechaining to move percussion out of the way of the main drums

      14:30 – explains wide hat sound, was used later in track to add some variation to the drums

      15:05 – quick look at drum busses, specifically Drum 1, which has a CamelPhat to keep drums from clipping, and a send for a parallel compression bus
      – Compressor and some tube distortion to add some more excitement to the sound

      17:00 – Drums 1 and the parallel compression busses then go to a bus called Drums Main
      – Alloy2 ➡ CamelPhat ➡ Pro-Q
      – Alloy2 used for the transient shaper module, to give more punch at 200 Hz. Likes Alloy2 for making drums more punchy.
      – CamelPhat so transients do not overload the master output
      – Pro-Q to roll off low end, slight cut at high end

      19:00 – explains A/B’ing a little bit
      – Usually starts tracks with drums to get a rhythm going

      20:00 – intro drums, just for DJ’ing, filtered version of the main drums

      21:30 – looking at melodic parts
      – Kept original sounds, but a little extra processing
      – Reverb so the piano “tails off nicely”

      22:05 – kept original pads, for the intro

      22:30 – arp made with D16’s Lush101 soft synth

      23:30
      – reversed some of the original keys, to transition between sections

      24:55 – looking at the bass, starting with a sine wave playing out of Alchemy (Camel Audio version, now a native Logic instrument), going through effects, and another track playing white noise that is distorting with the sub

      26:15 – explains how this is achieved
      – White noise is going in to a bus, “the fizzy top layer,” going straight in to that bus
      – Fizzy has an EQ ➡ a limiter that is smashed really hard ➡ EQ (just has highs) ➡ CamelPhat ➡ sidechain compression ➡ Pro-Q ➡ Ozone4 ➡ Pro-Q ➡ CamelPhat ➡ Compressor
      – Sub bass has a send also going to the fizzy top layer bus
      – Also demonstrates moving the EQ band to demonstrate the different types of sound you can achieve

      28:50 – sub frequencies are also split in to a sub bus, and a mid bus

      30:00 – there is also a cymbal going in to the fizzy bus

      30:25 – bass is sidechained by a kick control track (a.k.a. ghost kick sidechain)
      – Demonstrates how this control track can effect the rhythm of what is sidechained

      32:07 – simple two note bass
      – Longer bass notes, about 1.55 of 2 bars in length, alternating between the notes of C# and F
      – Quick mid bass fills as well, made from Lush101 and Razor

      33:40 – another mid fill, from a CM Sample pack he made
      – CM 194 from 2013, if interested

      35:00 – vinyl crackle to add a sense of warmth

      35:30
      – melodic stab base on a wah-wah-ish sound from the original song

      37:45 – flute stab

      38:25 – the vocal

      40:00 – main lead, using Alchemy for its granular sampler module

      46:00 – explains his white noise riser
      – Needed something bringing energy up, but not in a big obnoxious “woon-woon-WOOOON” LFO way
      – Just a white noise with a filter sweep

      46:45
      – looking at the two sounds layered to make the fast “ya-ya-ya-ya” sound
      – Lead from the original with a transient sound layered under it
      – Using same sounds as the original, but in different ways

      "Knowledge kept is knowledge lost." - Bobbito Garcia

Viewing 0 reply threads
  • You must be logged in to reply to this topic.

Sign In

Sign into your account below and get your hands on May's amazing content.

Forgot Password?

Find out more about our service:

Free Membership Full Membership Your Basket (0 items - $0.00)