Following a stream of successful tracks releases from dance heavyweights around the globe, Box of Cats are back with their 100th release under the label bosses; joint alias, Pavement Special for Gotta Get Away. Since its establishment back in 2016 over a bowl of milk and dry biscuits, Box of Cats has gone from strength to strength championing house music in all its forms. With releases from label head honchos, Kyle Watson, Wongo and Jeff Doubleu, as well as the likes of The Sponges, VNSSA, Return Of The Jaded, Steve Darko, Westend, and more, Box Of Cats’ previous releases, have topped Beatport charts, whilst they became a renowned label within the scene.
I went about making a housey bassline with some chunky drums and scrolled through shit loads of vocals till I found this sample that would fit the style. Started cutting the bits I wanted to use and worked from there to set up a short demo. Sent it over to Matt and he took it to the next level from there!
Jeff sent me over the full stems to a very chunky house. Chunky bass-driven house is definitely Jeff's strengths but I felt like chopping it up a little to suit my own style a touch more. I grabbed his vocal samples and just went ham on them.
I used Serum to create some simple synth patches. I use serum mostly when I'm trying to create specific LFO shapes. Being able to pinpoint every spot on the LFO is something I can't get out of my Arturia plugins or my Virus TI.
I sent the stems over to Kyle to do his thing...
I got the stems from Wongo who, together with Jeff, had finished a full structure of the track already. I work totally in the box with no external hardware, so my setup is really simple.
The first thing I did was load in the stems and add some extra drum samples to contribute a little extra to the drums the other dudes had put together. I used Native Instruments Battery for that, which is my go-to drum programming VST.
Second up I chopped up the bassline Jeff and Wongo had written, keeping some elements and adding a bunch of my own sound design from Massive.
I also did a lot of small audio adjustments to the FX and melody stems, before sending everything back to Wongo. I didn’t change the structure at all from the original stems.
Once Wongo added his last splashes of magic sauce, he sent the new bits back to me and I did the final mix and self-master.
With a new bassline, a new drum groove, Kyle had really taken the track to the next level. It was really starting to shape up. I felt like it was missing something. So I went on a sample quest to try to find some sounds that showed an ode to where this record was coming from. I was feeling a Dubsided/Jesse Rose kinda feeling for it, so I yet again chopped up the record and added some funky stabs and more vocal samples.
A little saturation and compression on the master. My favourite EQ and I re-bounced the stems to kyle to finish off the mixdown. Here are a bunch of plugs that are my go too when adding those final touches.
NI Guitar Rig
UAD Pultec EQ
PSP Vintage Warmer
Fabfilter Timeless Delay
Grab your copy of Gotta Get Away here.