Last year, house music artist and DJ MYRNE his popular album, ‘Wandering‘. After some time away from clubs, MYRNE has adapted two of its tracks, ‘Sleeping On My Own Again’ and ‘Superstructure’, as an homage to live show performances.
Always striving to make sure his music has longevity, MYRNE constantly adapts his music with his gaming influence by tweaking his work and ignoring conventional measures of success. We invited him to break down his rework for the latest installment of How It Was Made.
Words and photos by MYRNE
When I’m working on a remix for another artist, there’s generally a loose series of steps I take to get an idea going – import tracks, see which elements are important, reharmonizing, start removing tracks, and adding my own, et cetera. When it’s my own music I’m remixing, I found my old ways to be insufficient. Since I’ve never really tackled anything like this before, I intended to turn the track on its head and really place all elements of the song in a different light.
The original was written as a haphazard, bedroom jam, with sampler-inspired drum rhythms carrying most of the song once the vocals fade away. My musical philosophy is that music is usually the soundtrack to whatever I’m doing in my life because all creative works thrive best in context. From a technical perspective, this exemplifies itself in a large focus on pads, foleys, and accidental studio recordings to ‘place’ a song in the world. With the Reimagined series, I wanted to carry that theme onward, through the use of lots of hardware synthesizers, stretched pads, and large, reverbed vocals.
The entire focus of this track – Sleeping On My Own Again (Reimagined) – was the driving, flitting bassline, which provided a great foundation for all sorts of wacky delays, synth stacks, and vocal pads to float on top. Contrast is really important to me when I make music, and having that never-changing element (bass) gives me some anchor to appreciate the gradual changes that go with the song.
Roland Boutique JU-06
The JU-06 is something I use almost every day, either as a starting point for ideas or as the finishing embellishment to a track. In here specifically, it plays a nice root-5th pad that lasts the
entire song, while I fiddle with the cutoff/noise controls. I love how it sounds, usually, because it’s not exactly the cleanest of synths – there’s plenty of cable noise, and the filters sound rough and warm. In electronic music, everything is so clinically quantized already – there’s no need for every element to sound perfect. I usually record the straight audio output of my synths, not MIDI, because I like the fact that every single take is unique and can’t really be repeated.
Sylenth1 was one of the first synths I’ve ever learned to use, and it’s one of my go-to’s when I need a fast, simple sound. The patch here was the rolling bass that’s present in the last chorus and it’s a quick, warm sound that excels in its modesty. My rule of thumb is that: if you find yourself coming back to edit how a synth sounds every now and then, it’s way too complicated. Works 90% of the time.
Favored among lo-fi enthusiasts, RC-20 is a nice all-in-one problem solver for anyone looking for a warm effects chain on a sound, buss, or mix. I personally use it for its destructive capabilities mostly, because they have very interesting distortion algorithms. Plus, the drop-outs from the magnetic filter is something I’ve never really been able to recreate, so this plugin is a regular choice in my workflow.
Trans-X Wide, Waves
Bonus mention – the one transient shaper you will ever need. This was the main driving effect of the vocal cuts you hear in each chorus. It made an otherwise dull vocal loop into plucky, dynamic chops that flit effortlessly above an already stacked track.