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Sample question

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KharBevNor:
There's a reason most mash-up people work with pop music.

Hint: Karaoke CDs.

Also, with the way remixing works as a cross-promotional tool nowadays, people are giving this shit away. If you have some cachet as a producer labels will be bombarding you with remix kits containing neat, stripped instrumental and vocal tracks. Girl Talk probably can't move for all the shit he gets sent. Even if you don't have the cachet, it is not impossible to get hold of these kits, especially for big name pop artists.

Touch Me Im Sick:

--- Quote from: KharBevNor on 13 Jul 2009, 15:48 ---There's a reason most mash-up people work with pop music.

Hint: Karaoke CDs.

Also, with the way remixing works as a cross-promotional tool nowadays, people are giving this shit away. If you have some cachet as a producer labels will be bombarding you with remix kits containing neat, stripped instrumental and vocal tracks. Girl Talk probably can't move for all the shit he gets sent. Even if you don't have the cachet, it is not impossible to get hold of these kits, especially for big name pop artists.

--- End quote ---

Never thought of that (the karaoke CDs thing)

and you mean like with "Love Lockdown", where the stems were released for free?

Hat:
Yeah in my limited knowledge you can do a lot to isolate certain parts of songs simply fucking around in a wav editor although even after reading a detailed explanation of how to create an acapella in Audacity I still don't really know how to do it, and as far as I can tell, unless the vocal line or whatever you're trying to isolate is pretty distinct, you still have to the hide the traces of the removed sounds in other samples.

Paging Dovey to this thread can bring your knowledge

KharBevNor:
The main problem in creating a cappelas is generally the percussion, and any instruments that have a similiar pitch to the vocals (I don't know if pitch is the right word, I know nothing about music except how to make it). You can quite easily turn the percussion down to a warbly murmur though, and then bury that. I might be speaking out my arse here, but one of the things I've started to do, which really helps with the sampling, is to whack a very low, almost subsonic white noise oscillator under the entire track, like quiet, even record hiss. It works in kind of the same way as a wild track for doing film audio; stops samples jumping out of silence at you and buries background noises. Another thing that works sometimes if you're just interested in the vocals is whacking on a certain (fairly small) amount of reverb, which won't affect vocals as much as it will other sounds. I mostly work with non-music samples and drum-loops though, and as I have said, my theoretical knowledge is laughably small. I just press the pretty sound buttons.

celticgeek:
Paul Hodges should also have considerable knowledge in this area.  Try a PM to him.

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