Via con me, Paolo Conte: Remix part two

I added four different bass samples and duplicated two of them to make a Sub bass. During the track, I alternate between them. On the standard Bass, I have just applied an EQ that cuts the low and high frequencies to delineate the range of the bass, a compressor to sidechain it for the kick for a pumping EDM effect. I did this to all the other basses as well. For the Subs, I cut the high frequencies so that only the lows remain, and I also used a compressor with the same tweaking. Apart from that, I put it in mono because it’s one of the central elements of the track.

The Kick also needs to be the central element; after this, I added the drums, which I usually do, but I wanted to experiment, so I tried adding four samples that will be alternating throughout the track. I then mixed them with the kick I had previously. On the kick, I applied an EQ with a slight boost on 60-100 Hz, a reduction at 250 Hz, and a boost on 1-5 kHz, following a guide from an article about mixing a kick professionally.

On the drum samples, I added EQ, Compression, a Noise Gate, and reverb. All tweaked following guides.  

I re-mixed the vocals to make them more cohesive with the track’s energy, so I added a de-esser, compressor, and pitch correction. I also duplicated them and layered panning one to the right and one to the left, following a guide about mixing vocals in house remixes. A new technique that really opened my mind is compressing the sidechain to the kick, with effects such as reverb and delay on the bus. It makes a big difference in the energy of the vocals.  

I continued mixing the lead melodies, adding tape delay automation before the drop and during the buildup. The same was done for the reverb, which I sent on a bus with an EQ high-pass filter.

I also automate the EQ high cut frequencies on the chords with the same purpose as the lead.  

I ultimately added the FX before finishing the construction of the remix, which are samples used usually before the drop to build up anticipation.

I decided to double the vocals to make the track longer, as it was too short for a house remix. So, I can have another drop with some variations from the first one.

Finally, I arranged more elements for the new duration of the track and did some automation as before.

I can say that I could’ve mixed the lead more, but I was happy with how it sounded, so I kept it as it was. I did some tweaking on the mastering assistant tool in Logic and got some help with Ozone Izotope 11 and bounced the track.