Andres Campo talks us through his superb new remix on RUKUS

One of the most exciting artists of the moment Andres Campo crosses another massive label off the bucket list, joining Matador’s RUKUS with his brilliant rework of Lorenzo Bartoletti’s ‘Monasterio’. Remixing is always an art in itself, and an interesting process – what parts of the track do you want to use, what direction do you see it going in… and its something very much individual to each artist. Here, Campo gives his advice on how to approach a remix, along with talking us through his version of ‘Monasterio’. Andres describes the process below…

Understanding the remix parts (and not necessarily listening to them)
I actually try not to listen to the original track when I’m doing a remix. This way I can reinterpret it without any rules, and I’m not influenced by the original ideas. I feel freer this way. I check all the parts, and select the most significant, or at least the ones that I feel have more to say, analyse the tonality, and start to work on them.

Kick & Bass
These are the first parts where I start to work. For the kick I usually work with Ableton Simpler and layer some elements; for ‘Monasterio’ I used two kicks, one full of subsonic frequencies and another one for the “click” sound. I also used Ableton’s Utility Plugin to avoid phase cancellations and added some reverb chained just for the low frequencies. Once the kick is done I write a bassline. For this remix, I used some heavily filtered toms and lots of EQ and Sidechain just to leave the kick some space on the mix.

The Pad
For this remix, I took the main pad of Lorenzo’s MiniMoog and pushed the tone one octave, then used the same one an octave lower for that bass effect that walks with the pad. At the end of the break, I turn up the pitch gradually; for that, I always use the SoundShifter Pitch plugin from Waves.

Effects
I use tons of fx on each channel I just separate them in two objectives. Some are just for dynamics and with mixing finalities (eq, compression, delays for stereo separation, overdrives, etc) and others are just creatives (auto pan, reverb, delays, and other strange chains), then for the master, I only use a limiter. Here is a tip; I always push the limiter 8db on the master, so, when I need to send my premaster file I only need to quit that limiter and my track will be around -7db.

Composition
When I paint my track I work in a different way than most other artists I know. I put all the clips deactivated all over the track, then I just activate or deactivate them on the fly (0 its key shortcut) so it’s easy to try some parts on the mix using this way. Try it, some mates told me this, it’s quicker and this way you’re less likely to get stuck on your final process.

Lorenzo Bartoletti ‘Monasterio’ EP, including Andres Campo, Darius Syrossian & Russell Remixes is available now on Beatport.

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About the author

Director and DJ, Ian French (Naif) is passionate about every genre of music from Breakbeat, to Drum & Bass, to Techno and Progressive House. If he was to describe his preferred style of music he would probably describe it simply as electronic music. Besides his love for music and DJing his other passions are fine cuisine, wine, and travel.

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