New work in progress remix

Have a new remix that i’m working on for the remix competition here

Need help in what I need to add and how original my remix is!

Here is the original: 


and here is my work in progress version : 

Let me know what you think!


Passion Pit Remix

My remix for the INDABA remix competition  I wanted to focus on personalizing the song but also maintaining the majority of its original structure. I mixed as if it would be judged by a professional engineer. There is again use of filters in the intro (becoming a trade standard). Filters also add a lot of the bass end, and the drums are parallel compressed because it make them sound awesome and personally I prefer it to side-chain gating. There is emphasis on the vocal licks in the intro so that it gets stuck in peoples heads. The most prominent tracks are the vocals, the bass and the drums in order to create drive and attention, however each track has a clear space in the stereo spectrum. I had to change the attack on the bass as there was finger noises from the recording which sounded messy. Also in doubling the drums and filtering I created some phase, so I had to fix that in areas. Lastly, none of the tracks clipped but the master output was so I added a limiter to reduce distortion. BUT im not sure if its finished or not!


Check out the ORIGINAL HERE:  


And check out MY VERSION HERE: 


Want opinions on mine, there is a $1000 prize for this remix and it would be awesome to win!





Voting Open

Feel free to vote for my Sam Sparro remix HERE.  ENJOY

Sam Sparro Remix

Check out my new remix on the Sam Sparrow track “The shallow end”, my primary aim here was to focus on the balance and the mix as a whole as opposed to restructuring it and  making it unique, have a listen:

Sam Sparro – The Shallow End Remix
My primary aims in this mix was to focus on the sound and balance of each track. On his most recent “Into the Lair” Dave Pensado discusses the top 10 mixing mistakes made, in which close attention was placed within mixing and remixing and the balance needed. I wanted to create a mix which had momentum and drive which would be ready for airplay. Here are the key areas in which I focused:

• Within the intro I felt that a catchy build was needed to grab the listeners attention and to give them a teaser of the chorus. Here I used filters to slowly move each track up the frequency sprectrum. The intro is the only structural change that I make to the song, which gives a more personal touch.
• There is also glitching and a filter sweep after the into builds
• Filters are also used on double tracks of the bass guitar and the drums, it is pre set to the lowest level on the drums to emphasise the bass and on the guitar it is set quite low to make it warmer at the chorus.
• Sidechain compression is used 4 to the floor on the drums to add punch and it is also used on the filter drum kick on the offbeat to continue the momentum.
• Echo’s have been automated within the vocals.
• Compression is used to bring the main tracks forward which are the vocals, bass and synth stabs.
• Close attention has been placed on the panning of instruments and their place within the stereo spectrum.
• I used amp designer on the bass and the synth, which allowed me to change the mic type and position and create a warmer feel to them.
• A large amount of reverb was used on the sax solo so that the listener is not overpowered and that the piece continues its momentum.
• After all the levels had been set some of the tracks began to clip so a limiter was used to bring down the gain so that the overall output track stopped clipping.
• Echo is automated onto the drums at the end of the sax solo when they fad out for 1 bar to add to the fade effect.

Top 10 mixing mistakes

So we all know how useful can be in terms of increasing our understanding of mixing as a whole and certain techniques that can be employed.  However the two most recent ITL (Into The Lair) videos that have been released are particularly useful with thinking about mixing and remixing tracks.  In particular this is useful to myself as I am currently working on remixing tracks for university and also because the top 10 areas highlights are highly similar to those that I will be assessed on for my submissions.

1. Energy and Emotion – Feeling and Vibe

  • Choose a speaker which takes away the energy, drive, vibe and hype
  • Make it sound exciting low it will sound exciting at any level
  • Play it on speakers which the consumer would listen to it on

2. Determine what Elements are Important

  • i.e vocals, guitar etc
  • These parts are where the “money is at”
  • You have to be careful to how you change these parts so that you don’t ruin their effect

3. Have a Focused Idea or Plan

  • Make sure you decide which genre you want the piece to be
  • Have a plan before you start mixing

4. When to be Inventive and when not to be Inventive

  • When being inventive it should not be to satisfy “your own ego” but to benefit the piece as a whole
  • i.e having a lot of glitches and echo effects on an acoustic piece would not reflect its original genre

5. Balance

  • You can EQ perfectly and still have balance issues
  • There must be a perfect synergy with all of the tracks at the right levels in order for your piece to be successful
  • often moving the levels of one of the main parts can achieve the right balance
  • Don’t set your levels to any predetermined point, set it by your feelings and emotions
  • Check you track in different environments this allows the elements to be easier to determine


  • Poor panning can throw the whole song
  • Panning is a technique that keeps your interest, it allows your ears to follow the musical canvas

7. Poor Understanding of EQ/Compression on a Stereo Bus

  • Often people can put things on the stereo bus and it does nothing for the piece
  • Successful compression and EQ can glue the mix together, this does not necessarily mean to make it louder or softer
  • Don’t EQ just because you are “supposed to”, often it can do absolutely nothing
  • If you are EQing make sure its for a reason, and make sure its rooted in energy, emotion and drive

8.Use of effects for no reason

  • i.e reverb, chorus, delay etc
  • make sure that your effects contribute a feeling to the piece
  • You don’t want people to hear the effects but the performance

9.Compression for no reason

  • Don’t over compress your snare or stereo bus

10.Compete by standing out

  • Figure out a way to make things stand out
  • Over exaggerate things by 10%, because you did it you know its there but often other people can miss it

I think that these guidelines are really useful in assessing a mix and I plan on employing these in future with my mixes in order to achieve the best result.

Here are the videos:

Having taken this on board I decided to put all of the advice above into practice within my next remix which would be The Shallow End by Sam Sparrow:

In order to avoid the top10 mixing mistakes, I first of all mixed the piece on my Shure SRH 840 headphones in order to fully hear the sound spectrum.  Then once I had the majority of the remix done, I played it on iPod headphones and through my car speakers, as I was aiming to create something that would be suitable for airplay and direct listeners of the radio would be using either one of these listening devices.  Lastly I played the track on my universities studio audio monitors so that I could see how the track would sound in a professional studio environment.  In all of these tests I focused on making sure that the song had drive and momentum on low and high dynamic levels.   I decided to make the drums, bass and vocals the most prominent tracks throughout as  this is commonly done within the pop genre and having recently remixed a track in which I completely restructure the song, I felt that I should focus on the overall sound and delivery in this mix.  As advised I decided to make subtle changes to the tracks, like adding faint echos to the vocals and re mixing the bass EQ. Great emphasis was placed on “gluing the piece together” with the compression as opposed to making things louder or softer and specific attention was placed upon creating a space in the EQ spectrum for each instrument.   Finally to make this track stand out a different intro was added to personalise and truly make the track my own. Here are the session screenshots:

Sam Sparro Screen 1Sam Sparro Mixer 1Sam Sparrow Mixer 2

Email Success…

So in this day and age with all the corporations and evil conglomerates, the underdog (me) emails Bon Iver’s UK managers: “Middle West Management” asking for the audio stems to the epic song “Wash”.  Doing so, merely on a whim, and not expecting to hear anything positive back…


I just received this email:

Hey Daniel,

Yes, here is a link to download the stems for Wash.
Yes, please send us the remix. We would “own” the song, sort of speak, so you could not release it publicly w/o our permission, but seems like a non-issue.
Let me know if you have any problems with the download.
Who would have thought…
Oh and here is the song in question, in case you have not heard it:

Advertise like shameless whores

Im going to employ the message of this song:

and advertise like a shameless whore

Please vote for my Boys Noize remix on beatport. There are loads of entries that have been up-voted because they have whored out themselves to everyone else (which i refuse to do (to a extent)) If you don’t believe me look at the comments on my song!

Anyway go here AND VOTE!!!!!

The Police?

Whilst listening to Radio 1 yesterday afternoon, they played a song (surprising right?), which basically sounded exactly the same as a classic song from the band “The Police”.  Ok, if your not familiar with the police, which you should be… seriously, or if you need a little reminder then check this out:

The main features clearly being the “wash” guitars with their wah effects, the prominent bass, choppy drum fills and distinct singing style from Sting.  Now listen to Bruno Mars’ new song  “Locked out of Heaven”:

Bar the chorus, it sounds exactly like “the police”.  So is this coincidental?   Apparently not, Mars fully admits the songs similarities to the classic band, in an interview with MTV he states “Hell yeah! You try to write a Police song!” he laughed. “I grew up listening to the Police, I grew up performing in bars, singing Police songs. … I remember performing a song like ‘Roxanne,’and you play those first couple of chords, and you hit that first note, and you watch the whole bar ignite. And as an artist, as a songwriter, it’s like ‘Man, I want to write a song that makes people’s eyes explode the first chord!’ ” LINK

With almost 16 million views on YouTube and prime-time radio airplay, this song further highlights that there is no specific genre to which people will have a hit, as long as the song is well produced and catchy it can be successful.

Anyway enjoy having this stuck in your heads… your welcome.


What you want remix contest open for voting

the contest i entered is open for voting, if you can take the time to register then feel free to vote!

What you want – Boys Noize Remix

So when searching the internet for audio stems yesterday, I cam across this website called, which has a section on remix competitions – http//  One of which still open for submission is a remix of the Boys Noize track “What you want” so I decided to have a little go at it, have a listen!

I chose not to add any new instruments but instead to play around with the structure and sound of the piece.


Oh and here’s the original track:



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David O'Leary

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