words: MICK WILSON
TECHPRODUCER
MIX DOCTOR
Every month, we pluck a track from our
We reveal some handy tips and tricks to help you on
forums at
djmag.com and our Mix Doctor
gives it a medical. For your check-up, surf to
the road to wicked productions...
the Pick ‘n’ Mix section and check out the
Mix Doctor sticky for instructions.
KILLER SOUNDS
BEYONCÉ ‘VIDEOPHONE
ANDY GREEN
How t
o creat
e the fr
eshes
t sounds
(DOMAN & GOODING REMIX)’
‘AVALON’
on the dancefl
oor...
soundcloud.com/mixdoctor
Taking elements of deep house and techno,
PRODUCTION DUO Doman & Gooding Andy Green is a producer who seems intent
have been beavering away in the studio on merging various genres in search of a
of late and smashing out some tasty unique sound. With ‘Avalon’, Green has
tunes. Their fi rst single ‘Runnin’ was defi nitely nailed a nice crossover vibe
released on Positiva to critical acclaim thanks to the hypnotic groove and strong
and they’ve recently remixed the likes tech infl uences, but there’s room for
of Beyoncé, Cheryl Cole and Will.i.Am. improvement.
Their new album will be fi nished soon,
but we tracked them down to unveil the Overall the balance of the mix is quite nice
secrets behind their recent Beyoncé and the sounds have plenty of space, but
remix. more variation is needed — especially in
the drum department. Some subtle changes
“When we were asked to remix Be- to the hi-hat pattern and drums will keep
yoncé’s track ‘Videophone’ we decided the interest going. It would also benefi t
we wanted to do something special from adding a few drum or snare rolls to
to the track,” explains the duo’s Pete create a little drama.
Gooding. “We wanted to play with the The drop itself defi nitely needs to create
various different sounds and get them more atmospheric tension. Some slight
to work in the mix. They all needed bass modulation could help remedy this, as
space, which is very important when could adding a sub or some mild distortion
working with such a strong vocal. to make it growl. The kick and drum also
“The Azzido Da Bass-style synth that need to open up a bit and gain some extra
runs through the mix is brought to life power, so they punch through and
through the right amount of distortion “Using Logic’s sample delay gives brilliantly on Beyoncé’s vocals and command the dancefl oor.
— we added delay and reverb to get great spatial enhancement to the the pads. We took care not to over
the right balance to the sound. We also sounds in the mix. Basically, the use this on the kick or bass, because Because the track is quite sparse, Andy can
used a side-chained compressor to give plug-in allows you to move a specifi c we wanted these coming through the afford to play with the sounds that are
the kick that pumping feel. sound in the stereo fi eld and worked centre to give maximum punch.” there. Some extra modulation and fi ltering
is the key and would give the track that
SAMPLE TANK: ‘SM15 DUBSTEP AND GRIME’
extra sparkle.
DUBSTEP is at tipping point right now. With its
infl uence seeping and cross-pollinating into so many
genres, there couldn’t be a better time for Sample
Magic to unveil their ‘Dubstep and Grime’ pack.
Here is a sample pack with a distinct urban fl avour.
The loops on offer are great for dubstep and grime
productions, but can be used in any genre if you’re
feeling adventurous.
The sounds are fat and typical of what you would
expect from this genre. There’s a hefty selection
of dirty pulsating basslines that can instantly be
transformed into speaker-ripping tracks — a good
sign from any sample pack. And the drums and beats
PRICE
on offer defi nitely lend themselves to the harder edge
£46.95
of the genre.
CONTACT
Within such a niche genre, you might expect the
samplemagic.com
sounds to be similar, but instead the pack is full of va-
riety and usable sounds with a good spread of strong
synth stabs and music loops, as well as useful FX and
even affected vocal hits. The samples are available in
VERDICT
the usual formats covering every studio need.
This is a download-only package, but is a good invest-
ment for both dubstep/grime producers and produc-
4/5
ers after something a bit different.
112
www.djmag.com
DJ481.tech_producer.indd 112 30/11/09 11:00:59
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132