How To Produce #1 HIT "Fortnight" by Taylor Swift | Billboard Breakdown

Summary

Dans 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

00:00

🎶 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.

05:00

🎵 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.

10:02

🥁 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.

15:04

🎼 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.

20:05

🌟 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.

25:06

🚀 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.

Keywords

💡Taylor Swift

Taylor Swift est une chanteuse et auteure-compositeur américaine célèbre pour ses succès musicaux internationaux. Dans le script, elle est mentionnée comme l'artiste principale de la chanson 'Fortnite', qui est à l'honneur de la vidéo. Le terme illustre le thème musical et l'approche de production de la chanson.

💡Post Malone

Post Malone est un artiste musical et producteur américain, connu pour son travail dans divers genres musicaux. Il est mentionné comme étant en collaboration avec Taylor Swift pour la chanson 'Fortnite'. Le terme 'Post Malone' souligne l'aspect de collaboration entre artistes dans la production musicale.

💡Jack Antonoff

Jack Antonoff est un producteur musical et musicien américain, reconnu pour avoir remporté un Grammy. Dans le script, il est identifié comme le producteur de la chanson 'Fortnite', mettant en évidence son approche organique de production musicale avec un usage important d'instruments réels et de synthétiseurs analogiques.

💡Billboard

Billboard est un magazine américain dédié à l'industrie musicale, connu pour ses classements de ventes et de streaming de musique. Le terme est utilisé pour décrire le succès de la chanson 'Fortnite', qui a atteint le numéro un et se trouve actuellement à la huitième place des charts.

💡Synthétiseur

Un synthétiseur est un instrument de musique électronique capable de générer des sons synthétiques. Le script mentionne plusieurs types de synthétiseurs, comme le Juno et le Minimoog, utilisés pour créer les bases sonores de la chanson 'Fortnite', reflétant l'importance des instruments électroniques dans la production musicale moderne.

💡Roland

Roland est une entreprise japonaise connue pour ses instruments de musique électroniques, y compris les synthétiseurs et les machines à rythmes. Le script fait plusieurs références à des produits Roland, comme le Juno et la machine à rythmes 707, qui sont utilisés pour la production de la chanson.

💡Arrangement

L'arrangement musical fait référence à la structure et à la disposition des éléments musicaux dans une composition. Le script décrit l'arrangement de la chanson 'Fortnite' en termes de couplets, de refrains, d'un pont et de sortie, montrant comment la structure contribue à l'évolution de la chanson.

💡Harmonie

L'harmonie est l'aspect musical qui résulte de la combinaison de plusieurs sons à la fois, créant une texture sonore riche. Le script mentionne l'harmonie comme un élément clé dans la chanson, où des sons comme les accords joués par des vocaux échantillonnés contribuent à la texture musicale.

💡Automation

L'automation dans la production musicale fait référence à la modulation automatique des paramètres d'un son au fil du temps. Le script parle d'automatisations sur différents éléments, comme les filtres et les coupures, pour donner une sensation de dynamisme et de performance en direct à la chanson.

💡Textures

Les textures musicales sont utilisées pour décrire les couches supplémentaires de sons qui ajoutent de la profondeur et de l'intérêt à une chanson. Le script mentionne l'ajout de textures pour enrichir la chanson 'Fortnite', en utilisant des effets comme le granuleur 'Fragments' pour créer de nouvelles couches sonores.

💡Mastering

Le mastering est le processus final de réglage du son d'un enregistrement musical, visant à assurer une qualité cohérente et un équilibre entre tous les éléments. Le script conclut avec l'étape de mastering, en appliquant une légère compression et un limitation pour assurer que la chanson soit bien équilibrée et ne déborde pas.

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