The layered Standard tuning part was left in, but extra tempo-synched echo for both were cut. So was a layered, Nashville tuned guitar track, because the high frequencies stood out too much. The tracks Lead Vocal and Smile (some ear candy) were muted. 1, subtracted events are filled in with white for clarity. Figure 1: The events in white were part of a song-but not part of a soundtrack. Then I render the mix, and compress the heck out of it-not to win the loudness wars, but to maintain a constant level that can happily sit -12 to -15 dB or so below the narration or dialogue. I just take a song, and remove anything with a human voice, lead lines, some of the layers in layered parts, and most ear candy unless it complements the visuals (fig. So, I use subtractive arrangements to create soundtracks. But those “static arrangements” are actually ideal for… wait for it… soundtracks.Ī good soundtrack fills space behind visuals or narration, but always plays a supporting role. Why? He didn’t like how this technique created static arrangements. This time, it did get attention, to the point where the inevitable “Why I Don’t Use Subtractive Arranging” appeared in someone else’s blog. But over 20 years later (!), a blog post called “Subtractive Arranging-Novel Production Method from Danny J Lewis” presented the same technique. In 1992, I wrote an article called “Subtractive Sequencing” for Keyboard magazine that described filling a piece of music with loops, and then cutting out sections to make an arrangement. ![]() YouTube videos, podcasters, corporate presenters, educational videos, and local businesses doing radio or TV ads all need soundtracks. But soundtracks are a much broader topic now. When people think “soundtrack,” images of Hollywood scoring stages come to mind. Who reading this wouldn’t want to make a little more money from their music? Okay, dumb question.
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