56 Remix tips

We caught up with some of the greatest names in the remix world, from
Rui Da Silva and Timo Maas to Meat Beat Manifesto and Fatboy Slim's
right-hand man Simon Thornton, for their exclusive tips on remixing...
RUI DA SILVA
Rui Da Silva's mix album, Produced & Remixed By... is out now on Kismet Records.
01"Before you start loading your files to your hardware/software sampler find the original tempo of the
song as well as the original key, spend the first day just loading up the files and finding the right samples
that you might want to use. Decide on the tempo of your mix and move to timestretching if you need
change the original files. I personally use the built-in one in Logic and for some more serious work I do like
my old Time Bandit even tho' it takes a full night still on a fast G4."
02"Get the right groove going. Also start doing new overdubs and putting the original samples in. I do like
to use more than just the vocal from the original. Sometimes this can be a hook or any sound."
03"No matter what software you use I think one of the most useful tools is the rubber. Deleting should be
as easy as recording and always remember to save everything and that includes the samplers, effects, synths
and everything."
04"It's always good to run different takes of the remix with no vocals, and some parts muted. Once you get
the mixes on to the master make sure you label everything right and back up all the files to CDR."
05"About money, remember that if you play any of your own original material (samples you've created or
basslines/melodies you've written) you should be entitled to a share of the PPL income on that particular
remix, as long as your name is credited properly on the commercial release."

TIMO MAAS
Timo Maas works in the studio with Martin Buttrich. His new solo album, Loud, is out now on Perfecto.
06"Have no real techniques or secrets! We approach each track differently."
07"However if we are asked to remix a vocal track we will always start by layering the vocal on to some
beats, and see what fits. In truth I'm sure we don't approach this any different than most remix teams, and in
fact we probably use very traditional structures. What makes us different, I believe, is the sounds that we
use. Martin [Buttrich] spends a long time seeking sounds from every possible source, and we use Universal
Audio Blackphase and Manley compression, a lot of analogue effects and pay extra close attention to the
relationship between the beats themselves."
08"If the beats are right on their own then the rest of the track will fall into place from there."
09"It's important to retain the feel of the original track in some way, while still stamping your mark or style
on to it."

JACK DANGERS
Jack Dangers, otherwise known as Meat Beat Manifesto, has produced his own tracks and remixed others
for years. His remix album, Pro.File 1, is out now on Brooklyn Music (reviewed on p78).
10"A good cover version is one which surprises you, makes you wonder what is going to happen next. I try
to apply this to my remixes. Do the unexpected."
11"If it's a remix for clubs (as opposed to radio), give a good 32-bar intro or plenty of time for the DJ to
cue."
12"If your mix is on vinyl, always try to hear a test pressing. A lot can change in the mastering and cut of a
record. If you can, try to attend the cutting, and ask for an acetate so you can walk out with a disc to check
out on different systems."
13"You're only as good as your last B-side."

A1 PEOPLE
Simeon Bowering is one third of A1 People with Matt Early and DJ D-Zine, but also writes stuff under his
solo alias Pentatonik. A1 People have a single out in March on Hydrogen Dukebox called Casio Rock, also
the name of their club night in Brixton. Their new album, Freaky Deaky, is out soon.
14"When you receive the parts for a track, pick out the riffs and sounds that really grab you, don't get hung
up on details too early on."
15"Give yourself time to really get under the skin of the tune you're mixing. Remember it's your job to
reinterpret the feeling of the track you're remixing, not just write one of your own! Bear in mind that the
original artist will probably listen to the mix and want to hear at least part of what they wrote originally."
16"In A1 People we have a collection of grooves that we have written over the last few months, which we
often fly the remix parts over these to see if we get any happy accidents!"
17"Try and understand a bit about why you've been asked to do a remix. Different record companies want
different things, so if they know you for your electro sound, don't go and do an ambient mix (unless you
think it's absolutely amazing). However..."
18"...don't be afraid of experimenting. Plug-ins are a remixers best friend! Try them out on the main parts,
especially things like vocals where you can keep the original performance but change the context of the
sound."
19"Make sure you have fun. That's what it's all about in the end!"

FILA BRAZILLIA
Steve Cobby is one half of Fila Brazillia with Dave McSherry, and they've produced remixes for many
artists including Radiohead, Busta Rhymes, Sneaker Pimps, Lamb, Freakpower, the Egg, Fluke, DJ FOod,
UNKLE, Moloko The Orb, Simple Minds, James and Soulstice.
20"Remixing a track you don't actually like can sometimes be a lot easier than remixing one of your
favourite bands. If you get handed a track you really love, you end up thinking, 'Well, what the hell can we
do with this?' But if it's a track you're not so keen on, you can immediately get stuck in."

JUSTIN ROBERTSON
Justin Robertson has remixed hundreds of artists under his Lionrock alias, and his new album Revtone is
out now on Nuphonic.
21"Often there will be time restrictions, so if an idea isn't working, f*** it off!"
22"A remix should complement the original but don't be afraid to follow your instincts and radically
change the original."
23"Over-using the latest techniques in an obvious way may date your mix quickly."

SIMON THORNTON
Simon Thornton is studio engineer for Fatboy Slim and has worked on countless remixes. He's currently
working on his first solo single, Move To The Moon.
24"It's very tempting, with remixes especially, to try to cram in everything possible. You've got all the
original parts, plus all the new bits you've worked so hard on but every now and again just check you
haven't overdone it. Take everything but the drums and vocal out and see what you really need to add back
in. You might be surprised how little you actually need."
25"Many remixes do away with the original chord structure of the track and add in a new set. Do make sure
they actually fit in a reasonably pleasing way. If you have some doubts, try to find a friend who has a
musical ear and play it to them. If they make strange faces when certain chords are under the vocal line, it
might be wrong."
26"If you're doing a remix for a client, for real money, don't forget to run of an instrumental version too.
You might think there'd be no real use for it, but you'd be surprised how useful it can be. Many a radio edit
has been glued together from both a vocal and instrumental mix. For another six minutes of your time, it'd
be silly not to run an instrumental off."
HOWIE B
Howie's new single, Skelf, was released in in January, and he's set to do a gig at the Barbican in London on
5 April.
27"First I usually decide whether a remix is going to be for the club or the bedroom. If it's for a club, it has
to get me moving. If I don't move with it, no one else will!"
28"If there's a voice involved, don't bring it in before 40 seconds."

MJ COLE
Following the massive hit with Crazy Love, MJ Cole has been in demand worldwide.
29"The end goal is to make a record that the original artist could be proud of."

TOM HARDING
Hard house DJ Tom Harding used to write for Future Music but now DJs round the world and has a
residency in Amsterdam. His new single, written with Chris Hampshire, We Are Coming For You is out
now, while his remix of Ferry Corsten's Dance Valley 2001 Theme is out on Tsunami.
30"Always refer to the original. Don't simply make your own record with a token part from the original
'tacked on'."
31"Try and use some trademark sounds which will mark the remix as your own. I usually try to use
percussion or bass sounds for this."
32"Be realistic. There is little point in trying to do a techno mix of an R&B track."
33"Try and be creative with each remix. A formulaic remixer is as boring as a
formulaic producer."

CHRIS HAMPSHIRE
Chris Hampshire, owner of Interflow Sounds label and studios, is currently working on a techno-inspired
track - Two Pound Coin - with The Energy UK DJs. He wrote and remixed Story Reel by Interflow
featuring Anna Robinson to be released in April.
34"Get as many of the original parts and samples as you can. MIDI files are excellent as they let you
quickly and easily alter the pitch and sound of any original riffs you choose to use in your mix."
35"Find out what parts you are getting before you agree your fee. Time is money, and if you're expected to
'reinvent the wheel' it should be reflected accordingly."
36"Find out what type of mix is expected from you. Unless you are an A or B list producer, you have
probably been asked to do the mix based on one or more of your previous productions. Find out what it is
they like about what you do. This is especially important if your repertoire covers more than one style. If
you get it wrong you'll either have to re-do it or it won't get used and you won't get paid."
37"Insist on a remix agreement. This can be as simple as a letter confirming agreed deadline dates and the
usual clauses indemnifying the label against the use of illegal samples."
38"Try to push for 50 per cent of the fee to be paid upfront."
39"Make sure you either like the track you are mixing or that it at least inspires you. Early on in your career
it is tempting to take everything you are offered but if you hate the tune, it'll come across in your remix. A
bad remix released with your name on is worse than no remix at all."
40"Concentrate on your own material. Once you start having regular releases, even more remixes will start
to come in. Pushing out promotional copies of your tunes to people you would like to do mixes for does
help. People have to get to know you exist before you will get offered anything!"
41"Should you do remixes on spec? That is, should you ask to remix something for no money on the
assumption that if you do a great job and it gets released that you will get paid then? This is a difficult one.
Obviously it can be a foot in the door if it gets used. On the other hand though, if it's not used, you have
spent time and energy that you could have been spending bringing one of your original pieces up to a
standard that will bring in remix work anyway. If the potential benefits look worth it then go ahead, but be
careful of chasing rainbows. Remember, if your material is good and you work hard to put it out there, you
will get noticed and the remixes will come."

ANDY PICKLES
One half of the infamous Tidy Boys, Andy Pickles founded the Tidy Trax label and does loads of remixes
for various artists.
42"It's not always what you put in, it's what you leave out, don't overcrowd a track. In hard house, clubbers
dance to the kick and bass. People try and pile a lot of stuff on top, but keep it simple and effective."

DJ SPOONY
DJ Spoony is one third of Radio One's The Dreem Teem and has remixed Shola Ama and All Saints among
others.
43"The temptation is to remix everything you can get your hands on and get as much money as you can.
However, it pays to be selective so you don't overkill your sound or lose the spirit or essence of what you
do."

ALAN BRANCH
Alan Branch is a professional engineer and in his time has produced remixes for Death In Vegas, Depeche
Mode, Lee 'Scratch' Perry, Dub Syndicate Primal Scream, Eternal, The Cure, De La Soul and loads more.
44"Use Sonic Foundry's ACID to help decide the final tempo, as a vocal can be stretched in real time while
trying out different beats. For finished quality timestretching, we use Wavelab or Logic."
45"When a lot of samples are being timestretched, use the batch processing function from Wavelab. Work
out the original tempo and the new tempo, select all the samples, set up the timestretch process, and the
computer does the work."
46"As the bassline is what the remix is going to sit on, a firm foundation is very important. The bass will
determine the feel and pace of the track and therefore the sound of the whole remix."
47"Once I've loaded a selection of beats and noises in my sampler, I concentrate on the nitty gritty of the
song, laying out all the original audio parts in Logic's Arrange page and seeing if any processing with plug-
ins or outboard is needed. I'll try anything, from disguising the vocal with a ring modulator to phasing the
piano."
48"With a good mix, all the sections should tie together, and usually vocals are the most important part.
Keep it exciting and make sure it'll work sonically in a club or on the radio. Use some CDs for comparison,
to give an idea of how bright it is or how much bass you want pumping."

JOEY NEGRO
Joey Negro has done some classic disco remixes of Diana Ross, Lionel Richie, Artful Dodger, Sheena
Easton and more.
49"To make sure I haven't been getting tired ears, I always take CDRs home. I then try to check a remix by
comparing it with something I've done before that I'm happy with, preferably something from a different
genre."

ALEX JAMES
Alex James has just released a track with Simon Eve called Old Skool Beat on Fevah Records, and The
Last Laugh on Feersum Records. Alex is also working on a top secret "radically different funky house
project that should have New Order fans bouncing all over Ibiza this summer." He said it!
50"It's possible to do a remix using none of the original parts and just reproducing melodies on synths, but I
wouldn't recommend it."
51"Before you even start making decisions, load up all the samples into the digital domain and name them.
Even if you don't plan to use them all, it's always useful to have them. You can guarantee you'll suddenly
decide to use that brass stab... then realise you binned it."
52"In the interest of good time management, I'd suggest that effects are best left until the track is pretty
much written."
53"If you really want to layer on the reverb on a lead line, EQ some of the bass out of it. You won't lose
any of the effect, but you will keep your mix clean."
54"When it comes to the full mix, there are two types of sound: those that blend into the sonic landscape
from which to build, and those that grab your attention. Remember this when setting levels and EQ, so you
don't end up making every sound stand out in the mix."
55"Parametric EQ can target specific frequencies. Use the Q control to make targeted and less intrusive
adjustments."
56"It's controversial, but when mixing down, steer clear of exciters, compressors and graphic EQ, leave
that to the experts. Even if you ignore this advice, at least record one version with and one without, so the
pro engineer has a choice."
Taken from Intermusic.com