How To Produce #1 HIT "Fortnight" by Taylor Swift | Billboard Breakdown
Summary
TLDRDans cette édition des Billboard Breakdown, l'animateur Bad Habit explore la chanson 'Fortnite' de Taylor Swift et Post Malone, analysant sa réussite et sa production par Jack Antonoff. Il décompose la chanson section par section, identifiant les instruments et les techniques utilisées, comme les synthétiseurs Roland et les effets de saturation, pour créer un son unique. Le focus est sur la réplication de l'approche organique et analogue, l'importance de l'humanité dans les performances et l'utilisation d'automations pour capturer l'essence de la chanson.
Takeaways
- 🎶 Le script détaille le processus de reconstitution d'une chanson de Taylor Swift intitulée 'Fortnite', produite par Jack Antonoff, qui a remporté un Grammy.
- 🔍 L'analyse se déroule section par section, soulignant l'évolution constante et l'ajout de nouvelles couches sonores tout au long de la chanson.
- 🎵 L'importance de l'approche organique et de l'utilisation d'instruments réels et de synthétiseurs analogiques est mise en évidence pour donner une texture unique à la production.
- 📊 La chanson a connu un grand succès, atteignant le numéro un du Billboard et se trouvant actuellement à la huitième place.
- 👤 Le script est présenté par Bad Habit, qui semble enthousiaste à propos de cette reconstruction musicale et partage son processus créatif étape par étape.
- 🎹 La base de la chanson est reconstituée en utilisant des sons de synthétiseurs comme le Juno de Roland, ajustant l'attaque et l'agressivité du son pour correspondre à la douceur de la chanson.
- 🔊 L'usage de l'automatisation est fréquent dans la chanson, modifiant les filtres et les coupures pour créer une dynamique et un espace pour les parties vocales.
- 🥁 La percussion est introduite avec des samples de machines à rythmes analogiques des années 80, comme la machine à rythmes Roland 707, ajustées pour un son plus profond et une réverbération plus grande.
- 🌐 L'ajout de textures et de couches supplémentaires, telles que des échantillons de voix, des cuivres et des instruments de guitare, enrichit la chanson et crée une profondeur sonore.
- 🔧 L'utilisation de plugins et d'effets tels que le saturateur, le fragmenteur et la réverbération Lexicon 480 est décrite pour apporter une analogie et une épaisseur à la production.
- 🎶 La chanson se développe avec l'ajout de nouveaux éléments tels que des percussions, des cuivres plus forts et des samples de vents pour créer une transition fluide et dynamique.
- 🔚 L'outro de la chanson est marqué par une augmentation de l'énergie avec l'ajout de plus de couches sonores et de l'élaboration des percussions pour un finale épique.
Q & A
Qui est l'interprète principal de la chanson 'Fortnite' que Bad Habit va décomposer dans sa vidéo ?
-La chanson 'Fortnite' est interprétée par Taylor Swift et Post Malone.
Quel succès a connu la chanson 'Fortnite' après sa sortie selon le script ?
-La chanson a connu un énorme succès, atteignant la première place du Billboard et se trouvant actuellement à la huitième place.
Qui est le producteur de la chanson 'Fortnite' et quel est son approche de production ?
-La chanson a été produite par Jack Antonoff, un producteur Grammy gagnant, qui aime adopter une approche organique en utilisant de nombreux instruments réels et des synthétiseurs analogiques.
Comment Bad Habit a-t-il décrit l'approche pour décomposer la chanson section par section ?
-Bad Habit a expliqué que la meilleure façon de décomposer la chanson était de le faire section par section, car il y a toujours quelque chose qui change, de nouveaux éléments apparaissant et évoluant tout au long de la chanson.
Quel est le premier élément musical que Bad Habit a identifié dans la section des versets de 'Fortnite' ?
-Le premier élément musical identifié dans les versets est une basse qui semble provenir d'un synthétiseur Roland, spécifiquement d'un modèle Juno.
Quelle technique Bad Habit a-t-il utilisée pour rendre la basse moins agressive dans la section des versets ?
-Bad Habit a utilisé la réduction de l'attaque et l'ajout d'une saturation pour adoucir la basse et la rendre moins agressive.
Quel type d'instrument Bad Habit a-t-il utilisé pour créer l'harmonie dans la section des versets ?
-Pour créer l'harmonie, Bad Habit a utilisé un son qui lui rappelle les voix, probablement des échantillons de voix jouant une partie arpegiée avec les notes des accords.
Quel synthétiseur Bad Habit a-t-il mentionné pour reproduire le son des échantillons de voix dans la chanson ?
-Bad Habit a mentionné l'utilisation d'un Corg M1, un autre synthétiseur de la marque Roland, pour reproduire le son des échantillons de voix.
Quels sont les éléments de production que Bad Habit a identifiés comme importants pour la chanson 'Fortnite' ?
-Les éléments importants de production incluent l'automatisation, l'utilisation de textures et d'ear candies, et la performance en direct qui donne un sentiment humain et vivant à la chanson.
Quel outil Bad Habit a-t-il utilisé pour ajouter des textures supplémentaires à la chanson ?
-Bad Habit a utilisé le plugin 'Fragments' de Arturia, qui est un granulaire, pour ajouter des textures supplémentaires à la chanson.
Comment Bad Habit a-t-il abordé la création de la section du pont et de la sortie de la chanson 'Fortnite' ?
-Pour la section du pont et la sortie, Bad Habit a ajouté de nouvelles couches de pads, des sons de cuivres brillants, et a enrichi les batteries en ajoutant de nouveaux éléments pour augmenter l'énergie et l'intensité de la chanson.
Outlines
🎶 Analyse de la chanson 'Fortnite' de Taylor Swift
La vidéo démarre par l'annonce de la remise en forme d'une chanson de Taylor Swift, 'Fortnite', en collaboration avec Post Malone. Le présentateur, Bad Habit, exprime son enthousiasme à propos de cette chanson qui a connu un grand succès, notamment en atteignant les sommets du Billboard. Il souligne également la participation de Jack Antonoff, un producteur Grammy-remporté, connu pour son approche organique en utilisant de nombreux instruments réels et des synthétiseurs analogiques. Le but est d'apprendre de cette production et d'identifier des éléments à intégrer dans leurs propres chansons pour une sonorité unique. La méthodologie choisie est d'examiner la chanson section par section, en commençant par le verset et en identifiant les instruments de base tels que la basse qui semble provenir d'un synthétiseur Roland Juno ou similaire.
🎵 Détails de la production musicale et recherche du son parfait
Le paragraphe se concentre sur la recherche du son de base et les ajustements pour obtenir une sonorité douce, en réduisant l'attaque et en expérimentant avec différents synthétiseurs. Il est question de l'ajout de saturation pour enrichir le bas et de l'importance de l'harmonie dans la chanson, avec des sons qui rappellent les voix, probablement des échantillons vocaux arpegiés. Le présentateur partage également ses tentatives pour reproduire ce son à l'aide de différents instruments et plugins, comme le Corg M1 et Omnisphere, tout en préservant un sentiment 'live' et en automatisant certains éléments pour créer une dynamique dans la chanson.
🥁 Intégration des percussions et des textures dans la chanson
Dans ce paragraphe, le focus est mis sur l'ajout de percussions, en utilisant des machines à rythmes analogiques telles que la Roland 707, et la recherche de sons de guitares et d'autres instruments pour enrichir la texture musicale. Des effets comme le tremolo et la réverbération sont discutés pour leur rôle dans la création d'un son épique. Des techniques de mixage, telles que l'utilisation de l'EQ pour ajuster les fréquences et l'ajout de réverbération spécifique aux instruments, sont utilisées pour donner vie à la chanson et préparer la transition vers le chorus.
🎼 Développement de la chanson avec de nouveaux éléments
Le présentateur explore l'ajout de nouveaux éléments au cours du second couplet et du premier refrain, en utilisant des textures et des percussions supplémentaires pour créer une profondeur et une richesse sonores. Il identifie des sons spécifiques, tels que des échantillons de guitares avec des effets de tremolo, et utilise des plugins comme le granulator 'Fragments' pour ajouter des couches de texture. La section couvre également l'importance de l'automatisation dans la production pour imiter un sentiment de jam et de jeu en direct.
🌟 Amélioration de la chanson avec des instruments et des effets supplémentaires
Ce paragraphe se concentre sur l'ajout de plusieurs couches de pads et d'effets pour enrichir la chanson, notamment avec des sons provenant du Juno et d'autres synthétiseurs. L'accent est mis sur l'ajout de textures et d'ear candies, ainsi que sur l'utilisation de l'automatisation pour varier les paramètres des instruments pendant la performance. Des instruments comme le towel et le Oberheim sont mentionnés pour leur contribution aux couches sonores de la chanson.
🚀 Finalisation de la production avec des ajustements fins et des effets de mastering
Le dernier paragraphe décrit la finalisation de la chanson avec l'ajout de couches supplémentaires, des ajustements de mixage et l'application de techniques de mastering pour assurer une bonne cohésion et une qualité sonore optimale. Il est question d'ajouter des compressions légères aux drums, d'utiliser des effets de reverb et de delay pour créer un environnement sonore immersif, et de finir avec une touche de compression sur le master pour éviter les clippings et unifier le morceau.
Mindmap
Keywords
💡Taylor Swift
💡Post Malone
💡Jack Antonoff
💡Billboard
💡Synthétiseur
💡Roland
💡Arrangement
💡Harmonie
💡Automation
💡Textures
💡Mastering
Highlights
Taylor Swift 和 Post Malone 的歌曲《Fortnite》在 Billboard 上取得了巨大成功,排名第一并保持在第八位。
歌曲由格莱美奖得主、年度制作人 Jack Antonoff 制作,他以使用真实乐器和模拟合成器的有机方法著称。
通过逐节分析歌曲,可以学习到如何使歌曲听起来独特并应用到自己的作品中。
歌曲的编曲被详细地映射出来,包括 Verse, Chorus, Bridge 和 Outro 等部分。
在 Verse 部分,主要是为了突出 Taylor 的声音,伴奏相对简单,以 Bass 线和和声为主。
Bass 听起来可能来自 Roland 合成器,特别是 Juno 系列,提供了一种非常通用的声音。
通过调整合成器的攻击和饱和度,可以改变 Bass 的声音质感,使其更加柔和。
在 Verse 中使用了类似人声的和声,可能是采样的声乐,以琶音的形式演奏和弦的音符。
Corg M1 合成器被用来创造类似人声的和声,通过插件可以重现这种声音。
在歌曲中,自动化处理用于调整声音的亮度和混响,以适应人声和其他乐器的变化。
80 年代的 Roland 707 鼓机被用来增加歌曲的模拟感和复古感。
Lexicon 480 混响插件被用来模拟 80 年代歌曲中常见的巨大混响效果。
Chorus 部分引入了新的 Bass 声音,使用 Minimoog 合成器来增加低频的丰满度。
在第二段 Verse 中加入了额外的纹理和打击乐器,增加了歌曲的丰富性。
桥段和 Outro 部分引入了更多的 Pad 层和自动化,为歌曲增加了戏剧性和动态变化。
使用不同的合成器和效果器,如 Omnisphere 和 Towel,来创造独特的声音纹理。
在 Outro 部分,歌曲的能量和强度逐渐增加,使用了更多的合成器层和打击乐器来强化效果。
最终混音阶段使用了 Fairchild 压缩器来增加鼓的凝聚力,并轻微地压缩了主轨道。
整个歌曲的制作过程强调了现场感和不完美性,这是其独特魅力的一部分。
Transcripts
guys the day has finally come today
we're going to break down a song by
Taylor Swift it's fortnite and it's
going to sound like
this all right guys my name is bad habit
I'm so excited about this billboard
breakdown because so many of you have
been asking me to remake a Taylor Swift
song and today is the day we're going to
remake fortnite with post Malone and the
song is having an incredible success
since the release it was number one on
Billboard it's currently in number eight
and it's being produced by Grammy winner
producer of the Year Jack Antonov and if
you know him you also know how much he
likes to keep this very organic approach
with these Productions with like a lot
of real instruments a lot of analog
synthesizers and that's why it's going
to be very interesting to break this
down there's a lot to learn from this
production and many takeaways that you
can apply in your own songs to make them
sound unique the best way to break this
down is going section by section because
there is always something changing
always new things coming in evolving and
that's why I already have my Arrangement
mapped out right here with the Verse
Chorus Verse Chorus a bridge and outro
so we're going to start from the verse
and the verse is release trip down to
make room for Tailor's vocals there's
not much happening there the first thing
that we can hear is definitely a base
and some sort of Harmony that we're
going to cover in a second but let's
start from the base and the base sounds
to me like it's coming from a Roland syn
and my mind goes straight to the Juno
because this is a syn that I know very
well I've got the real one behind me but
it could also be something else you know
it's a very generic sound which we can
for example in this plugin all of these
1982 patches are the original patches
inside the Juno the same ones that I
that I have uh in mind so we can start
from this base let's see
[Music]
the sound is not there yet but this is
the right
Baseline the only thing I'm not really
happy about this sound is that the whole
song to me sounds very soft and this
sound is a little bit aggressive Maybe
by reducing the attack a little
[Music]
bit maybe um another idea I had is
trying this different synth which is
another synth from Roland very very
similar to the Juno also like the
patches in this one are very similar to
the Juno and sometimes I use this when
the Juno feels a little bit too
aggressive to me I don't know if it's
just you know Placebo it's just
something in my mind or if it's actually
true but sometimes this can sound a
little bit more gentle to me so like
even if we just shape this sound a
little
[Music]
bit this is not bad
I just like the sound of this a little
bit better this has like harder
transients I think I'm going to keep
this one for
[Music]
now yeah okay starting from a sound
that's this soft now I want to add a
little bit of saturation I'm going to go
for this
one I can enable
[Music]
this it's helping especially here in
this lower range I'm happy with the
Basse I think we can move on and like
focus on the harmony of the song because
there's a lot happening in this song but
like it all sounds underwater you can't
really tell what's happening with like
the chords at least until like the end
of the song where a lot of new sounds a
lot of new SCS are coming in we're going
to do that later in the video but one
thing that I can definitely hear in the
verse is this sound that reminds me of
like vocals so it's probably sampled
vocals that play this sort of like
arpeggiated part with the notes of the
chords so let me show you what I mean
first of all we got to find the right
sound and I think I know where to find
it for two reasons first of all I've
watched a lot of videos of Jack konov in
the studio and he has a corg M1 second I
have it too it's it's back there but
unfortunately it's broken so yeah I got
to repair it but anyway I've got the
plugin and I'm pretty sure that I've
heard the sound like that before in the
M1 so we can start from
that well it's definitely not a vocal
order
[Music]
so you know something like this but this
is not the right
sound okay getting
close is it is it this
one I think it's this one there is no
intro the song starts with the verse but
we go into the verse using this sound
this
way and from here they just play this
sort of arpeggiated part with the notes
of the chords so basically this stays
underneath very filtered in the whole
verse but you have a sense of what's
happening with the harmony because of
this
[Music]
layer yeah so by me and as you can see I
wasn't too worried about quantizing this
perfectly because I wanted to leave this
live feeling and also the velocities are
playing an important
role some ghost notes here and
[Music]
there you know this feels human and in
this song it's All About that you're
going to see that later too when we go
like towards the chorus and the outro
it's all about you know that live
feeling that live performance and about
live per performance one of the things
they do in this song is a lot of
automations this sound we hear it pretty
bright in the beginning but as we go
into the verse to leave space for
Taylor's vocals they filter it
down yeah so you have it but it's in the
background and when we come back to
this the filter opens just for a second
because she's not singing there and then
we close it again and a similar
automation happens on the base towards
the end right here we have the cut off
opening a little bit so we can do that
easily I mean easily we got to find the
cut off in here maybe it's not that
easy and I also have the feeling there
might be a very very subtle pad like
super quiet in the mix playing the
actual chords of the song and this super
dark pad I just added a little bit of
decapitator because I wanted to enhance
the analog feeling that we're looking
for in the second half of the verse we
have some drums coming in and these
drums come from an analog drum machine
from the80s again from Roland it's not
the 808 it's not the 909 it's the 707
and we have so many options to do this I
have the actual plugin from Roland I
have a lot of like individual samples in
all of my folders I also have machine
which I have right here so this time I'm
going to go for this one because the
sounds are very very simple we just have
a very basic 707 kick and a 707 snare
that's
[Music]
it on the snare we have to work a little
bit because I think they tuned the snare
a little bit lower they pitched it down
a little bit and also it has a huge
Reverb maybe we can bring it like two
semi tones down something like that to
make you know the body a little bit
bigger and one thing that we could do is
actually add the Reverb directly inside
machine it's very convenient sometimes I
do it but most most of the times I like
to just have the Reverb as a plugin
anyway we can
try it's pretty cool
though but since we are going for this
80s sound I actually want to try to use
a Reverb as a plugin and I want to use
this legendary Reverb the Lexicon 480
that together with the 224 this one
right here these two reverbs are the
ones that you hear in most of the 80s
songs where you can hear like that huge
snare you know drowning the raver these
are the ones but if I put it right here
now the Reverb is also going to be on
the kick you know because I put the
Reverb on the whole kit after a machine
this is not what I want so there is a
solution to this I'm just going to
create two audio tracks and I'm going to
send the kick and the snare out of
machine separately into these two audio
tracks send the kick to number two for
example and the snare to number three so
now we can take these two and uh this
one is going to take from two this this
one is going to take from
three exactly so we have the kick right
here and the snare right here so at this
point I can just take this Reverb and
put it only on the snare of course we
don't want the mix to be at 100% but
instead of putting the Reverb in
parallel like I usually do to keep the
dry signal of the snare in this case I
might want to keep it like that just as
an insert because I kind of like the
fact that having the Reverb directly on
the track makes it a little bit softer
and like I said in the beginning this is
a song that sounds soft to me the drums
are not Punchy the drums are not hitting
hard so I actually like uh to keep the
Reverb like this okay now I like it I
like the sound of the Reverb and also to
make it even softer I eqed the snare and
as you can see these are the frequencies
where the snare was
hitting you know so I just reduced like
a Deb very happy with the sound of the
snare now
yeah woo okay we can move on to the
first chorus because it's basically it
for the verse and not much is changing
to be honest we can just take all this
that we have in the second half of the
verse and the only new thing I'm hearing
in the course is a new base which
actually just supports the base that we
already have it feels to me like in the
course the base is becoming a little bit
bigger a little bit soer we need a
fatter sound so I might want to try the
minimog
[Music]
this could be
good this has a very very big low end
which might be what we need together
with this one you know so without
it but you
know yeah okay that was easy verse two
we don't have many new things happening
here some textures some ear candies and
some percussions that come in and I'm
going to start from that thing that goes
it sounds like I don't know to be honest
I don't really know what that is it
reminds me of some sort of like guitars
sampled with possibly like a tremola on
it I want to go for omnisphere I don't
even know why I thought of omnisphere
but what I know is that so many of these
presets just if I type guitar are
already like layers of guitars and other
things which is exactly what I'm looking
for you know I'm not looking for an
actual guitar so I don't know here it's
just about finding something
[Music]
so this is a cool guitar sound that I
found I just filtered it and added a
little bit of delay but I think the main
thing about this sound is that it has
that sort of like tremolo effect so I
might want to try to add uh a
tremolator you know that's what I
mean listening to this there might also
be some sort of like brass like a
trumpet maybe even from the Juno I don't
know
[Music]
trumpet maybe horn and I also added this
sound doing the exact same thing with a
different preset this B electric guitar
so
wow yes there's also a very subtle
texture evolving in the verse especially
towards the second half of the verse two
it sounds a little bit like a whistle
you know and this is what I found some
sort of like whistle uh the only
interesting thing is that I was playing
it live and I played a little bit with
the pitch band you know so you can you
can definitely hear
it this is very interesting and I was
hearing something like that in the
original song so I did it a couple of
percussions happening here and there in
the verse I kind of hear some sort of
like clap in a triangle with like a huge
Reverb I'm going to find uh some analog
claps um I'm thinking of like lindrum
claps so maybe let's see you know like a
very classic clap like
[Music]
this we have just something like that
but on the triangle we can do something
a little bit more interesting Instead
This is the sample that I chose we're
going to add a big Reverb to this like a
huge
Reverb but I just had an idea since the
song is all about textures things
evolving coming going why don't we use
uh a plugin like fragments from artoria
it's basically a granulator this might
create some additional textures you know
when that triangle plays and then maybe
the textures are going to keep playing
for a little bit and then they're just
going to go
away okay this is a little bit too
much this is nice this is nice you can
hear like this
tail yeah I love that it moves from
right to left speaker you know it makes
a lot of sense with the approach Jack
Antonov used for this
production and now the other texture
coming in super
interesting yeah and after verse two we
go into chorus number two which is
followed then by some sort of like
Bridge chorus number two and the bridge
are actually very very similar just some
things are coming and some things are
going but the bulk of it is pretty much
the same but in the second chorus new
drums are coming in and these are
acoustic drums so like a real kit that
we can try to find in Addictive Drums we
need a very very simple pattern kick
snare and possibly a little hat okay
this is pretty cool this is a very
simple pattern like the sound is
definitely not the right one but the
pattern is good going to move this up
this up this up so this way every time
the kick and the snare are playing the
high hat is going to be a little bit
more open so you have
that and now we can worry about the
sound
okay let's try to find first of all a
kit that sounds close I think I'm going
to go for something like vintage dry
this is cool because the snare is
blending in perfectly with the
707 yeah and this is helping it's
bringing the energy up for the second
chorus going towards the end of the song
which becomes even more epic but since
this drum kit is pretty dry and I want
to leave it this way I actually had an
idea I might reset sample the whole kit
and then try to like distort that one
and keep it at a very low volume so let
me show you what I mean I can just
create a new track and the as an input I
can just take Addictive Drums so now I
can just record this in
audio and now that I have it I can just
distort it real bad with some very cool
plugins there's one plugin from uad
which is called
[Music]
raw I think I like this preset yeah so
dry raw woo and one more thing we can do
on this layer to make sure it's not in
the way of the main drums is compress it
like real hard so we're basically
creating some parallel compression and
some parallel
Distortion this is cool like not as much
lowend and of course this has to be very
quiet in the mix but when you play it
together with the other
drums if I just mute it you notice it
immediately so it's a nice addition to
have in the back and these drums they
stay till the end of the second chorus
but in the beginning of the bridge they
just go away and we go back to you know
the 707 kit but then in the second half
of the bridge leading to the
outro the kit is coming back so between
the second chorus and the bridge a few
more things are happening we have a
couple more layers of pads that probably
come from the Jun again and one of these
is a very Plucky sound that we can
recreate pretty easily probably the
filter opens a little bit towards the
end again we have all of these
automations on the cut off you know
making it brighter for a second and then
it goes dark
[Music]
again something like that and then every
now and then we can do some automations
to the filter you
[Music]
know yeah the course we have more ear
candies and there's one that's very
noticeable coming from the Juno but this
time I want to use a different plugin
for the Juno I'm going to use the towel
I think I'm going to just do it myself
because this is a very easy patch so we
start from something like that of course
like the chor has to be enabled who's
even using the Juno with no chores I
mean
what so enable the
envelopes the attack has to be
long okay
[Music]
okay so this is what it's doing but we
got to do some automations here because
this is all part of them playing in the
studio just jamming around like the
whole production of this song is based
around the concept of just you know live
playing it's like they were just hanging
around and they just started jamming on
the instruments and the song came out
and maybe maybe that's what happened I
mean we don't know but it's possible so
we gotta uh do it by automating some
things that they probably played live
with the knobs no attack till this note
right here so this final note it has
attack at
zero exactly exactly and we can also
automate the cut off a little bit
because I think this first part has the
cut off a little bit more closed
[Music]
I also want to hear the delay
[Music]
more perfect remember when we added
fragments before to like create more
textures I think we can do the same
thing for this layer right
[Music]
here this is very
cool oh listen to this I love it but
what about what about the preset that I
used before past lives it was this one
[Music]
yes uh yes I I actually like this one
better I added two more things real
quick this like wind effect that they
used as a transition to go into the
second course that sounds like this and
the original sample I started from was
this one but you know if you just pitch
it down like two octaves you boost up
the volume stretch it and now it's going
to sound like this and in the original
track it sounded to me like there was
some sort of like water effect like
water uh dripping I found this loop I
quantized it in eighth notes so it's
[Music]
like okay and then I just added a little
you know Reverb to make it sound like
it's in a cave or something like that a
little bit of delay nothing special and
to create some movement I just um added
ELO tool so you have
[Music]
this okay we're almost there but we're
missing some big SCS a few big layers
that come in towards the end of the song
the song becomes bigger and bigger and
the outro sounds like there's 50 people
playing at the same time and these
bright sints are just the easiest sound
possible because this is the first patch
of the
[Music]
Juno
okay and some Reverb very
nice this was only one of the layers
that we need because going into the
second half of the outro where
everything is really like exploding the
energy is going up we need something
bigger and again I'm thinking of like
brassy sounds very bright like this
one something like that very aggressive
you know and these are the two sounds
that I use one which is a very simple
profit brass uh I use the delay on it
and the second one comes from the
oberheim from artoria and so when you
play them together with this long
release listen to this
[Music]
yeah and from here we're going to have
to enrich the drums as well some new
symbols are coming in we're going to do
that in just a second but before doing
that what I'm missing now for this final
part of the song are some like sustained
chords with this approach sonically so
we need some sounds like these ones like
bright you know super aggressive there
are just
[Music]
sustain yeah
I found four
layers let me show you what I did so
this is a very very simple layer coming
from the Juno this is actually a patch
from the original Banks it sounds like
this and actually for this one I also
copied it in the first half of the outro
and when we get
[Music]
here something similar is happening with
this one down here I automated the
filter cut off
[Music]
on this one I just wanted a little bit
of distortion and again one of these
from
Repro oh my God I love these s these are
so cool okay only two more things are
missing the real drums are becoming
busier here we have more
symbols like that with some like
velocities go
like I think I'm also hearing this one
and like eight notes
[Music]
then we have a crash
here okay and to really make sure the
outro was taken off I added a few more
layers one which is just you know
another like
symbol same thing I wanted it to really
explode and so I went for a
Gong you know this is I don't know if
it's in the original song but it sounded
good to me you know when you get to this
part and the little
[Music]
Shaker at this point just more ear
candies are left and uh I have an idea
to make this little transition into the
bridge We have basically those bright
scents that we used before right
these you can create a new audio track
and resample them and then just work
with the audio
sampling I can just do something like
this we don't have
attack yeah and in the braid there's one
more little thing that I think I can do
Again by resampling these bright strings
so again same thing something like that
and I think I'm going to reverse it and
then move it so now it sounds like
this which is pretty cool but again I
want to add that fragments once again
because now I have a different idea so
basically what I'm thinking is using
fragments to create some sort of like
texture that we're going to keep
throughout the whole song freeze this
one so now when we blend them it's going
to sound nice but we can also use these
waves you know for the rest of the song
especially like here in the outro it's
going to be nice to have but maybe we
can introduce this starting from Chorus
2 it's there it's definitely doing
something you know listen if I mute
it I'm going to reorganize the session
apply a touch of mastering just a little
bit of compression to the drums and then
we're done okay just a touch of
compression on the master a little bit
of limiting just to make sure we're not
clipping so this final section is so
cool I just want to add a little bit of
compression to the drums and we're good
to go we're good to go and this time I
want to use the fair child but you know
pretty lightly let's see if we can find
something okay I'd like this just really
really subtle
but you know I wanted to compress a
little bit those kicks and those snares
together especially because they're
coming from the 707 and from the real
kit so this way we have a little bit
more
glue and you know I think I'm not going
to do anything else it
sounds pretty
good
wow so
nice and and here we have it guys this
is fortnite by Taylor Swift and post
Malone I hope you guys enjoyed it
because it was so much fun for me and
for this breakdown we had a slightly
different approach we needed to keep a
lot of this real feeling a lot of things
coming and going a lot of playing live a
lot of imperfections in a way and that's
the cool thing about this production
it's what it sets it apart so as always
if you have any questions or if you have
any song requests leave it in the
comments because yes I'm reading them if
you want to see more billboard
breakdowns make sure to check this
playlist right here and you can find
more remakes on my own channel now don't
forget to like the video subscribe to
the channel and I'll see you in the next
build breakdown
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