![]() A crossfade wasn't necessary the end of 2 cut straight to the beginning of 3, and the common tempo made for a smooth switch. Because the ritardando suspends a sense of timing, when the song came back, I upped the tempo to 118 bpm and extended the end to create a suitable transition into 3. There's a section toward the end of 2 with a long ritardando (for info on doing this in Cakewalk, go to /tips.html and search for 'time trap'). I cheated for the transition from song 2 to 3. ![]() Harmonically, crossfading from the first song's tonic to its flattened seventh worked out well, because the music was sparse. I then extended 2's intro by remixing pieces of the song to create a new, eight‑measure intro, and crossfading to complete the transition. I opened up 1 and extended the song by 20 measures, which meant grabbing bits of clips from the original song and creating a remix with tempo-sync'ed echo to add texture. Song 1 had originally ended with a hard stop (no fade‑out) and spillover reverb, so there wasn't anything rhythmic to crossfade. Songs 1 and 2 had the same tempo, so they just needed a good crossfade. This required going back to the original songs, and essentially doing a remix for at least the beginning and/or end - for example, extending the cut, adding a new introduction, and/or ramping up a tempo change so a song could transition smoothly from one song to another. Any transitions created to 'glue' the songs together had to reference the songs, not the timeline. Because the songs had different tempos (and one had a tempo increase), it wasn't possible to assign a tempo to the timeline without constant tempo map re-tweaking. The first step was placing all the final mixes on the timeline. (Rather than use the actual titles and take up space, I'll just number them.)Īlthough the tempo differences between songs weren't huge, you can't get away with crossfading songs even a couple of bpm apart. But when it was time to do the actual album assembly, I realised that there needed to be an intermediate step between finishing the songs and creating the final master: a little 'multitrack assembly' in Cakewalk.Īs to the album's structure, the song tempos dictated the order, because I wanted the tempo to increase over the course of the album. I figured I would just put the cuts and some transitions into Studio One's album assembly page, use the LUFS metering, add the needed crossfades and PQ codes, and be done. My album project for 2018, Joie de Vivre (stream it from /thecraiganderton) consisted of six individually recorded, rock-meets-EDM songs that I'd hoped to combine in a continuous mix. ![]() But what if you're creating a project from scratch in Cakewalk? Several effects and additional parts were added to this transition, which ended up making a complete song that led into the next song (lower right track).Ĭakewalk has all the tools you need to put together a seamless DJ‑style album.ĭJ mixing is a pretty established art: you beat-match different tracks, crossfade them, sometimes pitch-shift them so you don't have jarringly untuned sections, add effects, and so on.
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