Welcome to another episode of...

TwoSet Violin, we're here with producer Shaun,

and we're gonna try to

do the challenge of remixing classical music!

Producer Shaun is back.

What are we going to do today?

'Cause Eddy went really quick.

We're remixing Pachelbel's Canon in D.

We're gonna take a beloved classic,

and remix it to modern standards.

I mean, to be fair, it's...

- Canon in D, so I don't mind. - Yeah, it's Canon in D.

It's probably the most roasted,

- like the most open piece to... - Roast.

If we remix Pachelbel's,

is it a song? Or is it a piece?

It's neither!

'Cause it's a MASTERPIECE!

I'm done.

We're gonna make a masterpiece.

Mastersong.

Mastersong! Let's make a mastersong.

Alright. So we got the chords already.

Transcribed by ear, from...

- Perfect pitch gang. - Yeah.

Wow.

- It's so peaceful. - Whoa... I feel so touched.

Ah.

The piece you need in 2020.

It's already perfect.

- Yeah, it's done. That's it! - Yeah. - Pack it up, we're done.

We're done!

So a remix is...

Yeah. Kinda.

Can we add a "wakawow" in there?

Um...

So instead of just rewriting someone's song,

you just take ideas from it

and put them in a different context.

But then that's every pop song, though.

Yeah.

But remix is like...

This song is great, but like, this is my take on it.

- Okay. - I see. - Yeah.

Where should we start?

I don't think like a Steinway piano will really cut it.

So we can go through some different options here.

Electric guitar!

No, we gotta think...

Synthesizers!

- Synthesizer. - Yeah.

- That's 2030 thinking right there. - Yeah.

- Synthesizers, yeah. - Okay.

Dude, it's kinda choral.

- Nah, it's not future enough. I want like, - It's not hype enough.

neo-Tokyo feels, you know?

- Yeah, yeah! Yeah, yeah. - Like, sci-fi future.

- Oh bro, that's so in the future. - Dude, that's 2035!

Ooh, here we go.

- I like that. - Dude, it's like lights going...

- I feel like I'm in like, you know. - In a trance.

(Eddy, Shaun) Yeah.

Do you think trance will be 2030s?

A comeback?

- So we're predicting it. - It's a...

- Trance... - Retrofuturism.

Yeah, retrofuturism!

So now we gotta go into the beat.

These are just some of my samples I've got downloaded.

- Nice. Dude, I like "summer Seoul." - Whoaa!

Oh, it's just that sound?

- Ohhh... - It's just a kick. Yeah. - Oh!!

I thought the whole track was already there.

- It's easy, it's not that easy. - Yeah.

Tell me if you like a snare.

- The big one. - That one. That one.

It's got more oomf to it.

I think for this tempo,

I might put the snare like, in the middle here.

- So on the two. - Okay. Yeah.

- Two and four. - Cool. Yep. Good.

- Yeah. So we got like the... - Ohh!

Whoa, dude!

- You feel that in your chest. Yeah, you feel it here. - You feel it. Yeah, you feel it like...

Yeah.

So now we got the kick.

The kick you can probably have a bit more fun with.

Like a straight kick snare beat would probably be boring.

Nah, I hate that.

Nice!

That's a bit basic, but I don't know.

Let me tweak it.

That's it.

Alright, done.

Tweaked it.

So yeah. You got like, your snare, your kick.

And just copy it over.

I'm gonna add in some trap hi-hats, because that's...

- Aw, yeah! I want the trap hi-hats! - What's a trap—

What's a trap hi-hat?

I think I like this one.

- Yeah. - Okay, okay.

Yeah, there we go.

Wow, this is...

It's becoming a song.

So I'll probably bring in the hi-hats a bit later.

- Okay. Yeah. - Just because... - Yeah, I was thinking that.

- I was thinking that. - You want a buildup. - Yeah.

Now, my next one would be...

808.

So if you're lazy...

- Whoa. - ...take the bottom note.

Yeah.

Working smart, not hard.

Yeah!

There we go. It can be in the bass.

Oh, that's what it is!

Actually, you might wanna bring it out.

You know, introduce the classic.

So like, start off with that, you know?

What are you feeling?

Is there more elements to this? Or is that it?

There's so much stuff you can do.

- Can you amp it up more? - I can make it more Coffin style.

- Oh, can we go? - For sure.

- Yeah, okay, that's it. - Oh, that's the freaking...

Yeah.

You know where that beat came from?

I mean, I don't know if it came from that,

but it's the whole Habanera. Carmen.

- Dude, that synth is freaking, like, coming at me. - It's like, in my face.

Okay. I'm gonna do something really quickly,

just to make it kind of more dance-y.

- Oh, of course! - Duuude!

Holy moly!

This looks like my heart monitor,

- when I'm in the hospital. - Yeah! Ding ding ding!

- Wow. - Is this why it's called a sidechain?

Sidechain compression. Yeah.

- Wowww! - I mean I didn't know that.

I'm a...

...classical musician.

- Wow! - So it's very...

We'll add in like, the snare again, and try.

You know...

- Yeah, let's do that! Let's do that... rhythm. - Okay.

Do you wanna try make that rhythm?

- Yeah, let's do it! - I'll...

sit out for a bit.

So...

Whoa, dude.

Ah, you do it.

Yeah!

- You dragged so far, I was like, oh my god. - Yeah!

Let's bring it down.

Oh, can we add like a...

- In the music? - Yeah!

- Like ad libs? - Yeah, chuck it in the microphone. - Yeah.

We'll add in some ad libs.

I'll see if we can chuck in a pitch correction.

So we can get like the...

- that autotune type of sound. - Okay.

So I can sing out of tune.

Oh yeah!

That's it?

Is that it?

I wanna listen to it.

It kinda works.

It kinda works, hey!

It has like a... kinda like, cute vibe to it.

- I was going to add stuff earlier. - Yeah.

But now I feel like I shouldn't.

'Cause it'll take away

- from the suspense to his "Oh, yeah." - "Oh, yeah."

Well like, you can do stuff with it.

You know, make it like, more electronic.

Yeah, you just pitch shift it up.

- And make it like a... - What?

What is that?!

Dude, that's epic!

- I'm done, that's it. - "oH yeAh!"

- I don't think I can top that. - Bro. There'll be ad libs. - You should be like, can you just be like...

"Oh no."

When should I come in?

You just have to feel it, bro.

- Yeah, you have to feel it. Like... - Bro, I don't know!

- Like, I felt it around there. - Ad libs, you just feel them.

Dude...

Uh-oh!

- It's perfect. - Why'd you go, "uh-oh!"

I don't know! I just felt it.

That's so dumb.

What is that?!

(both) Uh - o h .

Did you pitch it down?

Yeah.

Dude! I wasn't expecting that.

- We take out the... the kick there. - Dude, that's so good!

And add in the bass, so you have like a mini drop.

I would actually listen to this.

- That was really good! - Yeah. - Dude!

We got it!

This is a masterpiece.

I told you guys!

Can you get those things, like a...

- Um, so, some people... - "Oh yeah!"

You should just do the sound effects yourself.

- Alright. Brett, you can do this one. - Alright, I'll do this one.

It's my honor.

I can't do it!

Bro, I believe in you!

I lost...

- "Oh, yeah!" - That was funny.

I'll get rid of that.

Yeah, do it again.

No, wait wait wait. I gotta go...

I'm not ready!

Dude, wait!

That's a hi-hat right there.

That...

Gonna save that for later.

Alright.

- I'm gonna look away. - I got this.

I got, I got this. Nah.

Dude, you went through like, three different things there!

I love the part at the very end, the...

It sounded like a cowboy!

- Bro, you try and hold it, it's so hard! - All right.

Dude, this is so much better than I anticipated.

I'll put some reverb on it.

"Vienna Concert Hall."

"Vienna Concert Hall."

You walk onstage and you go...

Some dude just lost it at the mic.

I'll blend it with like, another riser.

Dude!!

- Dude, you actually made it sound like it fits! - Yeah.

We can still add in your hi-hat.

Just gonna have it like...

Here we go.

Cut you half the composition.

Half the creativity needed!

Can we have a "uh-oh" one more time?

We should end it on the "uh-oh."

- Yeah, we should. Yeah! I like the "uh-oh." - Yeahhh!

And give it a big boom as well.

(both) UH-OHH!

Do you want to do, try to do a boom sound effect?

- Alright! Can I do it? - You should do it. I think you should do it. - Yeah, yeah.

- This is your - - This is your part! - This is my moment, man!

That's good.

- We can make that work. I like that. - Oh, man. Alright. - Dude, that was good.

- Do you wanna add some bass to that? - Yeah, I think bass to it. I want the bass to that.

It needs like, a roar.

Might add a bit of distortion, give it a bit more grit.

We want the "oh" on the end. So, "uh-oh."

- Yeah, that is better! - Yeah, that's better. That's better.

But can you change that to a D instead of a C sharp?

See how that's like, C sharp? Yeah.

Little bit sharper, like fine-tune it. The D.

- It's a bit better. - That's better. - Yeah.

- Are you serious? - A little bit more. A tiny bit.

- Minus 2 cents. It's off. - Yeah. Yeah, yeah.

Man, it really is perfect pitch.

(both) Yeahh!

- Yeah! - That's better. - Alright.

Ready for the—

Are we ready for the grand...