Sorry for the delay in getting this up everyone. 24 entries in total (thank you!), and I wanted to give everyone a thorough critique as I promised. Some outstanding entries, very diverse approaches and different skill levels, and I hope these reviews help all of you to some extent. Music is subjective, and please try not to take any of my criticisms as negative, I’m just trying to be honest and constructive, and share what I’ve learned with you. Picking a winner out of the group was definitely a challenge, and a decision that required a lot of listening, re-listening and criticism. In the end, I went with the remix that excelled most in the original criteria I mentioned and the remix that I would be most excited to play live. So congratulations Maxime and Romain aka WE GOT MILK, well-deserved!
WINNER: “Ready For This” (We Got Milk Remix)
We Got Milk… we got a winner! This remix is just awesome, and not only am I excited to play it (I did last night actually (it popped off hard)), but I’m very proud to endorse it. When I introduced this competition I said some of my main criteria were “originality, mix quality, live impact, use of the stems and overall structure” – and the We Got Milk remix excels in all of these areas. In terms of originality, it is somewhat of a Beataucue version and the “drop it” vocal mimicks the rhythm from “Senta” by French Fries, but there is so much more to the mix. When I was first listening to it, I was immediately struck by its clarity and aggressive groove, but the synth breakdown in the middle is what really took this to the next level. Total festival music. In terms of the mix, everything is extremely clear and the bass is tight. The waveform looks a lot like Beataucue’s mastering, looks quieter and more compact than it actually is. And in terms of live impact, it goes off, I know… first-hand. If you want to avoid the epic breakdown and keep it bassy and groovy, the remix is structured for a short little mix-out before then, and if you want to rock through the whole thing, the breakdown synths return to create a magical 3rd track if you mix the right track with it. In terms of use of the stems, the percussion and vocal samples are used very effectively, the percussion especially is reworked in a very interesting way that works for the track. The horn is used sparingly and tastefully so as to not interfere with the high-quality clarity of the mix, which is a smart decision. Simplicity is king. Not much more to say We Got Milk – creative, effective, and just overall huge remix, congratulations!
REVIEWS:
“Ready For This” (Fantohm Remix)
Whoa. Hard. Probably the hardest entry in the competition. Fantohm really turns “Ready For This” into his own song completely, which isn’t a bad thing at all, but if some of the samples were removed it could be a banging original in its own right! The mix-in is cool, and could work in some settings, especially as an intro track, but because it’s so noisy I know it would be difficult for a lot of DJs to work into their set. A shorter intro, maybe something that hinted at that Proxy-esque drop would definitely make this more DJ-friendly. Once this track is mixed-in properly though I can really see it going off. The overall track mixing could be improved, but when dealing with such a crowded arrangement that can be a serious challenge. The drums seem a little buried under the noise, and the 1/8th horn/noise shots make clarity difficult in the mix. But these are things that can be learned, and the creativity on this remix is REALLY impressive (original rap verse? Borgore, is that you?). Try removing all the “Ready For This” parts, take the time to find the right sounds that would complement your mix and turn out a hot original of your own – everything’s there to do it.
“Ready For This” (Big Blocks Remix)
Here’s another track that really took the stems in a different direction. Big house chords, snippets of the original synth line and vocals. The groove is simple and effective and every element of the track is clear and well-placed. The second drop would sound great live, but in order to carry that energy, I think the middle section either needs to be shortened or more time-based, progressive elements need to be added to give it a sense of forward movement. What I like most about this remix though is that it keeps to the bare necessities and generally tracks that do are the strongest and most memorable.
“Ready For This” (Conway Remix)
If you’re going to download this track and give it a listen, please put on headphones or use speakers or else you just won’t get it. Conway gets pretty deep on this one, and the bassline on the first drop bounces perfectly. That sound is exactly the kind of stuff I’m playing these days, and I know how much it would get a dance floor moving. The samples are expertly chopped, the FX are used just where they’re needed, making this a really professional production. The half-time dubstep breaks are cool, but personally, I wish that bouncy tech-house energy continued throughout. I know Conway plays a lot of dubstep, and staying true to the music you love is where it’s at, but damn, if that first drop @ 1:00 was expanded on, I would be playing this all the time. Can’t stop putting that little white diamond on iTunes back to 0:30 so I can hear that bassline drop, again… and again… Nice work Conway.
“Ready For This” (Yaxley Remix)
Listening to the drum intro, I was expecting some next level weirdness from Yaxley, but the drop back to the original bassline kind of left me unfulfilled. The rolling, effects, reverses, sampling on the intro that build the foundation for the track are really well done, and I wish they played a bigger role in the track. The mixing (especially when the bassline enters) needs some improvement, but some very original ideas here and producers can only hit a ceiling with mimicry, so just keep doing you and getting weird Yaxley, looking forward to your future work.
“Ready For This” (Shantaram Remix)
A somewhat tribal, housey take on the original. Some interesting chopping and original percussion, but there’s a lot missing to sustain this remix for 6 minutes. Making subtle music like minimal, tribal, retro house requires more understanding and mastery of dance ideas than more in-your-face, loud stuff like electro. Some of the sounds like the old-school snare and kick are great but without a real planned structure, the remix doesn’t quite come all together. Keep studying this kind of music, listen to more tracks in your style and try to pick out all the elements, how they sound in the mix and how they play off each other and you’ll improve very quickly!
“Ready For This” (Dr. Wobble, Kusto!, and MostlyGhost’s “Titty Shakin Remix”)
If this competition was being judged on naming the remix, this would hands-down, without a doubt be the winner. I’m not sure if these are actually three separate people, but I can only imagine how much this studio session would’ve been. But to the serious question – would this remix shake titties? I think so. The kick needs a little more in the intro, but once this track gets down to business, I can really see it going off. The big 808s and snare are pretty ghetto, in a good way, and when the other drums are added back in, it seems to all blend really well. I think if the intro was adjusted a bit to make the drop make a bit more sense without losing the strength of its unexpectedness, this track would feel a lot more complete. But great work guys, titties will definitely shake to this.
“Ready For This” (Gooffee Remix)
I’m really not a fan of dutch house, but when it’s done well, it’s hard to deny its effectiveness. Gooffee really does a proper job with the portamento saw and big kicks on this one. Everything in this track makes sense and works together. Nothing here feels forced or comprised in this adaptation from the disco-electro original. I know how hard that first drop would go off live, and the cymbals are great touch. My one concern with this remix is the breakdown at 3:15. Especially when the white noise FX fade, this very quiet, filtered part might kill some of the dance floor energy that the first part created. Very catchy lead line and dynamic placement of the original samples. Definitely making me re-evaluate my opinion on Dutch house. A+ remix, Gooffee.
“Ready For This” (Dert Cheep Remix)
Really well mixed, deep, grooving remix from Dert Cheep. It uses the disco sample pretty constantly and without much variation from the original, which is most often a safer bet than reworking something completely new. The question with this remix is whether it needs all 7:15. A lot of house, tech-house aren’t shy to these lengths, but that’s usually because the mix-in and mix-outs can be around 2 minutes each. The effects and mixing are so well done though, this remix becomes very appealing to play live. I think the tensions and releases in this song could be better developed to really create a big impact from the drops. By getting the bass, drums and percussion to interact better this track could get a huge boost. Just by layering drum and perc loops on top of each other, there is bound to be some clash and as a result the groove is somewhat static. That said, lesson to aspiring producers out there, because this remix is so well mixed, all elements are clear, loud without clipping, it stands a much better chance of getting supported and played.
“Ready For This” (MDMC Remix)
MDMC turns “Ready For This” into a distorted banger with plenty of variation. Some very unique techniques here, I really like the reworking of the sample @ 0:45, makes for a really cool breakdown. The one thing that really hurts this remix is the mixing. The saw basslines are cool, but sound a bit thin. By layering with a sine wave you can really give it some body. As well, try stereo-imaging the bass so it fills more of the full left-right spectrum. In terms of structure, it has everything there to make it a club banger, but without all those elements coming through clear and strong, it won’t have a great impact live. This is just a skill that comes with time and more production. EQ, compression, limiting, reverb are all essential elements of producing, but often you can avoid overusing these instead you take more time with picking sounds that gel together and designing the right sounds for your track. Very cool ideas though, just keep listening to more tracks and how they sound on your speakers/headphones and these skills will come naturally.
“Ready For This” (Beatfeet Remix)
This one got me moving. Nice, focused groove in the intro. I think that B-more break might need a bit fatter, longer kicks, more 808-ish if you’re going to isolate that pattern by itself. The sample is also re-chopped really effective, working with the rest of the instrumentation. Very Digitalism to me. This much musicality and effort really deserves appreciation. This remix really takes the original in directions the way only real musicians can, and I’m impressed by how grooving and steadily building the track is. I think some of the keyboard pieces are introduced somewhat abruptly for a dance track, but would totally make sense live. And I hope you guys perform your music live and not DJ, because you definitely have the chops to do that. Excellent work.
“Ready For This” (New Kind of Naked Remix)
A pretty straight-to-the-point remix, using the sample in the intro and then the bassline and some effects for the body of the track. Re-structuring the stems like this isn’t necessarily a bad thing, some of the best remixes ever sound like edits rather than wholly new versions, but there just needs to be more planning and sense of how this would sound to a dance floor. What hurts this track most is the drum programming, simple kick-snare drums can work great (ie. Justice), but only if they’re removed and re-inserted at the right times and the rest of the track agrees with the pattern. The re-editing of the main bassline after 2:00 is pretty cool, but should probably happen sooner to avoid the repetition of the original bassline. If your re-edited bassline was used more instead of the original (which was written to more rhythmic, B-more style drums), the Also, using FX like reverb, delay, and even some more filtering in the right places could help this track maintain energy. Solid effort, just keep practicing.
“Ready For This” (Mike Spliff Remix)
Deep, driving bassline, and some unique reworking of the sample. A really cool remix that just keeps building and building. Each new element added seems to fit the track and the more you listen to more it develops into a complete product. I think this track could definitely benefit from using FX to build tensions and add more substance to the release (ex. increasing reverb, delay, etc.). If the bass was cut in more places or high-pass filtered before drops I think it would hit much harder, although the one @ 3:46 hits quite nicely. While the steady progression of this track is nice, I would’ve liked for some of the final elements to be introduced sooner. For me the first 2:15 or so would act as more of a mix-in because I would really want to play this final drop when I play this track. The mixing in this track is very clear and crisp and really helps its playability. Nice job Mike.
“Ready For This (Einsnull Remix)
I started feeling this one right from start from the way each element was introduced. The use of FX make the transitions smooth and gradual and the remix club ready for the most part. I love the FX used on the vocals in the middle section. Really creative way to maintain interest and energy and the groove really remains constant throughout. The one problem I have with this track is the second drop. The triplet horns really clash with the great groove you already built. Going kind of offbeat like this can sound really bad-ass if done properly (ex. Proxy “Dance in the Dark”), but it comes a little unexpectedly here and has more of a crowding effect on the track. This also makes the mix-out very difficult for DJs. The bass is really nice and fills out the track, nice work, just keep the DJ in mind and how this would sound to a dance floor.
“Ready For This” (TKO Remix)
A sharp, clean production from TKO. The drop @ 1:35 is really, really nice. The added elements are understated and fit the groove very nicely. I like some of the FX work on the sample , but too much decay on the reverb of the horn can crowd the track and take away from the groove. The new vocal samples fit nicely and don’t feel forced at all. I think the track could do without the added synth melody as it just doesn’t quite fit for me. Varying the drums and percussion or hinting at re-introducing the horn might help to maintain interest while avoiding that new synth. Overall, a very playable track with great mixing, just needs a bit more detail and focus to push it over the edge. Dope stuff guys.
“Ready For This” (JSK Remix)
Big drums on this one from JSK. That kick is so fat, it totally makes the track. Definitely a standout in terms of originality, and the mixing is superb. This is one where, if a lot of the samples from “Ready For This” were removed or replaced, it could stand on its own as a dope original production. I’m not sure how well the main line fits with the vibe of the original tracks, but its definitely unique as are many of the other synths and FX used. It kind of has fun, bouncy vibe to it that makes the last drop a little bit of the change-up. Something about this remix reminded me of the Martin Brothers (ie. Duckface). A great production altogether, but I think the energy of the disco sample and the sound of the lead doesn’t really mesh that well. But like I said, remove my samples, develop this track more and it would make a very nice original. If he shows the same quality and quirkiness on more productions, originals especially, I’m very excited to hear more from JSK.
“Ready For This” (LEXI Remix)
The drum intro got me really excited for this one because of how detail and clarity of the groove, but once it got into the main drop, the track really suffered from a dominating distortion lead. Although you really want to make your lead line the focal point of the mix, its really drums that drive any dance track, and making both shine equally is what makes a really hot track. Experiment with panning the distortion lead and other elements of fill out your mix rather than crowd everything in the center. If mixed differently I could see that drop going off in a Les Petits Pilous kind of way. Great ideas, especially with how you re-arranged the bassline in the second drop, fitting in those little modulated parts nicely, but a better mix would really help the final product. Be careful with that mix-out, dropping out into straight silence can be dangerous for DJs. The original “Ready For This” is unorthodox in this way, but having a gradual rather than abrupt fade will make DJs a bit more comfortable if they miss their cue.
“Ready For This” (Harrison Grant Remix)
A pretty aggressive take on the original. A lot of chopping, different elements and sections. I can tell a lot of work and effort went into this one, and an experience with editing and production is evident but there’s just way too much. Sometimes it’s better to reduce a track to only the necessary elements rather than throw in the kitchen sink. An artist like Harvard Bass does this very well, and pretty much of all of his recent releases have been huge and widely supported because of it. When producing try to always have a focus or a vision of how you want the track to sound instead of doing something then hearing how it sounds later. Spend more time on how your sounds work together and planning out the overall structure, instead of always trying to add. The drop @ 2:14, for example, is pretty cool, but because there are so many different drops and ideas in the track its hard to feel the impact of each because they’re so constant. Definitely some hard work and time spent on this one, so respect, just be very critical of every part and if whether adding it will help or hurt the final product.
“Ready For This” (Baadu Remix)
Baadu gives the original a more tribal groove. The simplicity is nice here, but at time it’s so simple that it doesn’t help strong enough tensions to really get a dance floor excited. The bass is nice and really suits the groove, but the low-pass filtered vocals in the drop @ 2:00 kind of crowd that frequency and hurt its impact. I think using some reverb and delay could really help fill out the production. When you listen to more minimal and tribal tracks, the FX and automation are what really give them substance beyond their grooves. Also remember to use the limiter to boost your tracks to full loudness without serious clipping. All the rhythms are pretty clear, but there needs to be more or quicker changes to maintain energy and interest throughout the track.
“Ready For This” (Vader and Stavro Now or Never Remix)
Another Dutch remix with some really big sawtooth riddims. The sub kicks hit really hard and the mix is super loud and clear, definitely attractive to play out if you’re a lover of Dutch house. Some really professional touches here: the shortening of the sub kicks in the beginning, the nicely placed drum section in the middle for DJs to either mix the track in late or mix out early, that little reverse swell before each drop. Vader and Stavro definitely have a nice handle on what works well live on a dance floor and why. The rhythm is never compromised by excess. My only criticism of this entry is originality. No doubt that the Dutch sound is one of the most effective dance floor fillers, but no one can be better than Afrojack at being Afrojack, or HighBloo, Sidney Samson etc. What’s important is putting your individualized touch on your music, even if its Dutch-influenced. I say this because you guys definitely have the skills to take it to the next level, but your uniqueness and creativity are the qualities that will really separate you from the rest of the pack.
“Ready For This” (ShuffleShame Remix)
No shame in this guy’s shuffle. The drums on this on are so on-point, at times the best of the entries. Overall this is such a professional production and was a serious contender from the first white noise shot. ShuffleShame really does nothing wrong with this remix, the drum mix-in and mix-out are perfect and DJ-friendly, the drops and breakdowns are effectively placed and the remix progresses nicely. The only weakness I saw in this mix, which isn’t a weakness at all, is that, its so clean and professional sounding that it lacked a touch of personality to me. Great tracks have that hook, a little, unique part that gets stuck in your head, and while does the mix does everything by the book – and perfectly, at that – there wasn’t that one element that kept me coming back to press play. I think if the drop was a bit more imaginative, or groovy (like the drum intro), this remix would really benefit. I’m really curious to hear more from ShuffleShame because it seems like that got all the fundamentals and concepts mastered. So please guys, send me some originals!
“Ready For This” (Dica Sey Remix)
At first listening to this, I was thinking “okay, a nice little sample re-edit”, but then out of nowhere “Drop…acid” – love it! Then Dica Sey just goes to town on the acid, awesome. Acid is just one of those sounds that no one can dislike. A few suggestions on this remix though. The intro is cool, but just so busy and the groove is so undefined that mixing this in would definitely be a challenge. I think the more you stripped this one down, the more the remaining elements would shine, and with acid work like that, you really want that to have the biggest impact. Even by using some of the elements in the drop (except the acid) as a drum intro to introduce your groove first, this remix would become more playable and I think the acid drop would be even stronger and more natural. Also, be careful not to limit too hard on the master, although the audio is evidently clipped, the waveform is a little narrow and could be increased in overall loudness. Great work Dica Sey.
“Ready For This” (Ryan Wags Remix)
Ryan Wags turns “Ready For This” into a side-chained pitch-bending electro banger. Its good remix, some of the different synth lines are quite cool and the samples are chopped in an interesting way, but I’m not sure there’s much in the way of originality here. Its effective, and for the right electro audience, I could see this going off, but it will take a bit more to distinguish yourself as an artist. I know you said in your e-mail that you didn’t have to master it, so that’s something you already know to improve, so no harm done. As well, for anyone downloading, this is a shortened version of his full 4-minute version, so if it seems like you didn’t get the file, that’s why. This is good work though Ryan, reminds me of some of my earlier work. My advice is just keep listening to music, digging deeper into more dance genres, broadening your horizons and really find that unique sound that defines you.
“Ready For This” (Messy Club Remix)
Oh, we’re wobbling now. Usually I’m not a fan of this style, but Messy Club executes it very well. The different basslines complement the groove nicely, making this feel like a really complete product. The B-more influence is evident here and the vocals help to give it that overall ghetto electro feel. There’s a lot going on in this one, but I never feel as though its crowded, every element comes in naturally and adds something to the mix. The groove is aggressive and this is perfect, versatile club music for the average dance DJ who probably plays a combination of electro, b-more, Dutch… My only criticism of this one is the second drop, it just seems to try too hard to bang. You have this great ghetto bassline vibe going on, and the second drop tries to take it to “12” when you’re already at “10”. Just going back to the first drop, maybe with some added elements would make this one feel much more consistent and wouldn’t disturb the great vibe it sets up. Excellent remix Messy Club.
Thank you to all who entered! I hope making the remixes was as fun for you guys as listening to them was for me. I’m sure I’ll be doing something similar again in the near future. If you have any additional comments or questions, don’t hesitate to comment on this thread, Facebook, Twitter, etc. I hope the reviews are helpful and good luck to all of you with your future productions!
-John
