Learning how to remix a song is one of the best ways to get into music production. Much of the songwriting and song structure work is already done, and it’s enjoyable to put your own spin on a song you love. Remixes can even go viral due to the original song’s success, so can sometimes be the gateway for producers trying to move up in the industry.

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In this article, we’ll be covering a few tips on how you should go about remixing a song. This will focus on how to legally remix a track, how to set up your project to be most efficient, how to figure out which parts of the original to include or reference, and how you can set your remix apart from others.

The benefits of remixing

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If you’re a beginner music producer, remixes are your best friend. Making original tracks can be daunting, especially if you’re not yet confident with your composition abilities. As we mentioned, remixing a track takes a lot of the original compositional work off your shoulders, allowing you to focus on giving the original track your own artistic aesthetic.

Additionally, remixes are a great way for you to develop your brand as an artist. Listeners are naturally drawn to remixes of songs they already like, which could lead to new people listening to your music. Many successful artist / producers began building their audiences by remixing popular songs that people were already listening to.

And finally, remixing is just a great way to practice your skills as a producer. With so many compositional choices already made by the original artist, remixes are easy to start and generally take much less time to complete than an original track. This accessibility can allow you to dive into the project and continue honing your craft.

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How to remix a song—legally

Before you dive right in, let’s make sure that you don’t get into legal trouble by making this remix. For the sake of this article, we’re discussing legality based on United States copyright law.

A remix is technically defined as a “derivative work,” meaning that it has been created based off an original work. Because of this, the copyright owner for the original track (often the artist or releasing label) has the legal ability to grant or deny you permission to make a remix.

If you make a remix without the consent of the copyright holder, or if you are denied permission and make the remix anyway, this is an example of copyright infringement. We won’t go into the bloody details, just know that big artists and labels take infringement of their copyrights VERY seriously and do not hesitate to take legal action.

However, an aspect of copyright law called Fair Use can provide an exception to the necessity for permission. Fair Use exists in order to prevent copyright holders from stifling innovation and parody.

If an unofficial remix is claimed as copyright infringement, the infringing remixer can claim Fair Use on the basis of four main points:

1. The purpose and character of using the original copyrighted material

2. The nature of the original copyrighted material itself

3. The amount and importance of original copyrighted material used

4. The effect that using the original copyrighted material will have on its value

As you can probably tell, these are all rather uncertain questions in the case of a remix. Additionally, if you were accused of copyright infringement, you would have to prove that your remix is Fair Use; the accuser would not have to prove it isn’t.

Therefore, while Fair Use exists and can be used to defend a remix done without permission, it isn’t a good idea to assume Fair Use will be proven. And larger artists and labels (those whose work is more likely to be remixed) tend to have bigger budgets for lawyers and legal action than the accused. Overall, it’s best to make sure that your remix is not infringing on anyone’s copyright.

“So how can I actually make a legal remix?”

The best case scenario is to get permission from the copyright holder. This can be done through a variety of ways, most commonly through an official remix. A remix (or even an EP of remixes) can extend the shelf life of an expiring song, giving the original artist and / or label an incentive to grant permission to create a derivative work.

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If you’ve gained some traction as a producer, artists and labels will see the opportunity to tap into another market and may approach you to create a remix. This is a mutually beneficial situation, especially if you as the potential remixer are a smaller artist than the original.

Otherwise, directly reaching out to artists and labels isn’t necessarily a bad idea if you hear a track that you’d like to remix. Keep in mind that cold-calling like this can be inconsistent, especially if you’re approaching bigger artists and labels who likely receive plenty of similar requests.

However, one email back saying “yes” could completely change your career, so asking is worth a shot if done in a respectful, professional, and non-intrusive way.

Apart from official remixes, another great option is to enter remix contests. There are plenty of these contests available through several platforms online, all of which can be big opportunities for growing producers.

Remix contests generally have prizes for the winning and / or high-ranking entries. This can include official releases on record labels, conversations with the original artist, equipment and software, and more. All of these reasons alone are enough to make entering a contest worth your time, as they’re just potential bonuses on top of practicing your production and having content for your running artist portfolio.

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Our partners over at Splice offer plenty of resources for remixers, as their library of samples is a helpful tool for any producer.

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Equalizer
The Dynamic EQ feature of the Equalizer module is essentially an EQ with the ballistics of a compressor. You can control Gain, Frequency, Q, and the shape of the up to eight nodes.

Surround sound, program-dependent EQ provides intelligent dynamic control over EQ adjustments. Each node can operate in a dynamic mode, in which the shape and depth of the EQ curve will change and adapt in response to the audio it’s adjusting. This allows an EQ adjustment to behave differently in different scenarios—for example a large explosion, a sudden gunshot, or a dialogue sibilance reduction.

A user-definable threshold sets the point at which the dynamic ballistics begin to kick in. The incoming frequencies located at the EQ node/band is used to trigger the amount of EQ applied. The further it falls above or below the threshold, the greater the adjustment will be. The attack and release times for the trajectory of this dynamic behavior scale in accordance to the type of audio passing through. For example, it will react differently to a sibilant dialogue area as it would a low-frequency LFE burst.

Accentuate sections of the spectrum with the Dynamic EQ – Expand mode. For example, add more impact to effects like explosions with a dynamic low shelf. When the amount of low-end energy hits the defined Threshold, the shelf can boost. But when the amount of energy is below the Threshold, the low shelf isn’t touching the mix.

Limiter
Three user-definable characters (Clear, Smooth, Thick) allow for more direct control over the adaptive, transparent nature of the limiting algorithm, which is tuned specifically for post production type audio. The True Peak, BS.1770-⅔ compliant limiter provides intelligent digital loudness maximization of the signal, while ensuring there are no True Peak overflows to keep your mixes compliant to delivery specs.

The processor is designed for neutral or transparent limiting. It does so by analyzing the incoming source material and leveraging a psycho-acoustically pleasing algorithm, reacting quickly to transients and reacting more slowly to steady, lower frequency tones. In doing so, it is optimized to preserve transients and present them more clearly in the output signal, even when aggressive limiting is taking place.

Stem and Master Bus Processing
RX Final Mix provides up to 7.1 surround support with control over LFE channel processing, for use on both stems and master busses. If you’re delivering discrete stems, you may wish to use the frequency control and True Peak limiting of RX Final Mix on those stems. However, when using RX Final Mix on your master bus, this post-stem processing will change the relationship between the stems and the master, meaning that the stems sum will no longer equal the mix. As such, we’d recommend not using RX Final Mix on the master bus if you’re delivering stems. If you’re delivering a final stereo or surround mix without stems, RX Final Mix contains specific master bus presets designed to prepare your mix for optimum sound quality, and even specific playback scenarios such as video streaming.