Recreating Groovejet by Spiller1 Groovejet by SpillerThis will describe how to make up “Groovejet” by Spiller; the building blocks that you'll have are small sampled sectio ns taken from the original so ng, “Love is You”, by Carol Williams. No audio anywhere is take n from the Spiller version. You should create a new project in Cubase, and then create 5 new audio tracks (all of them stereo), and also create a Marker track– this makes it much easier to navigate through the song, and is good practice generally. Go to the bar for the beginning of each section shown in the table on page 2, and drop a marker for each one, making navigation easier and also help keep you in sync if you miss something out. Name your 5 audio tracks –I chose “whoosh”, “Sample”, “Kick”, “Maracas”, “Timbales”, although you can call them whatever you like. Now import the files from their current location using Pool > Open Pool Window and clicking Import. The audio files provided are: intro 2.aif stringy bit 2.aif harpy 1.aif kick.aif timbales.aif woosh.aif maracas.aif verse 1.aif verse 2.aif string bit e-g.aif stringy bit 1.aif Set the session tempo to 122.80 by de-selecting TEMPO on the transport bar, and then double- clicking and typing the new tempo on the transport bar. The table on the next page shows where to place the samples on the “Sample” track. This can be done by going to the Pool ( Pool > Open Pool Window or CTRL+P), and then clicking and dragging the required file from this window to the Projec t Window. It is good practice whe n doing this kind of work to colour-code the samples as you add them – this makes spotting different sections or samples quick and easy from almost any zoom level. For the initial placement of most samples, the grid should be set to Bar, but for some of the editing it will be necessary to change to ¼, 1/8 th and even 1/16 th notes (the table shows when this is the case). To start off, pl ace the samples where there are no “comments ” – these are just straightforward repeats; once you are comfortable with doing that you can then place and edit the samples on the following pages; it’s a good idea to leave Bar 16 until last as it is the most complex edit in the entire piece. The song plan given starts at bar 5 to give room to use the “woosh” sample to imitate the initi al sound on the original version; this will need fade in/outs, reverb and EQ applied to make it sound more authentic.
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This will describe how to make up “Groovejet” by Spiller; the building blocks that you'll have are
small sampled sections taken from the original song, “Love is You”, by Carol Williams. No audio
anywhere is taken from the Spiller version. You should create a new project in Cubase, andthen create 5 new audio tracks (all of them stereo), and also create a Marker track – this makes
it much easier to navigate through the song, and is good practice generally. Go to the bar for
the beginning of each section shown in the table on page 2, and drop a marker for each one,
making navigation easier and also help keep you in sync if you miss something out. Name your
5 audio tracks – I chose “whoosh”, “Sample”, “Kick”, “Maracas”, “Timbales”, although you can
call them whatever you like.
Now import the files from their current location using Pool > Open Pool Window and
clicking Import.
The audio files provided are:
intro 2.aif stringy bit 2.aif harpy 1.aif
kick.aif timbales.aif woosh.aif
maracas.aif verse 1.aif verse 2.aif
string bit e-g.aif stringy bit 1.aif
Set the session tempo to 122.80 by de-selecting TEMPO on the transport bar, and then double-
clicking and typing the new tempo on the transport bar.
The table on the next page shows where to place the samples on the “Sample” track. This can
be done by going to the Pool (Pool > Open Pool Window or CTRL+P), and then clicking anddragging the required file from this window to the Project Window. It is good practice when
doing this kind of work to colour-code the samples as you add them – this makes spotting
different sections or samples quick and easy from almost any zoom level.
For the initial placement of most samples, the grid should be set to Bar, but for some of the
editing it will be necessary to change to ¼, 1/8 th and even 1/16th notes (the table shows when
this is the case). To start off, place the samples where there are no “comments” – these are just
straightforward repeats; once you are comfortable with doing that you can then place and edit
the samples on the following pages; it’s a good idea to leave Bar 16 until last as it is the most
complex edit in the entire piece.
The song plan given starts at bar 5 to give room to use the “woosh” sample to imitate the initial
sound on the original version; this will need fade in/outs, reverb and EQ applied to make it