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  • We think that (the) reggaeton is pop now.

  • You don't have to treat it like this urban dark thing.

  • Everybody is listening to that in Latin America.

  • Fonsi - we went to Miami, he came here we did a bunch of work in his whole album.

  • One of those songs wasDespacito."

  • He started talking about the cumbia vibe that he wanted.

  • He wanted this...

  • We weren't copying a trend exactly.

  • We were trying to do reggaeton without doing reggaeton.

  • We started adding one thing and then a month later, another thing and then, boom, boom, boom.

  • It became the finished product.

  • Fonsi is one of the best singers you will ever find in the world.

  • And he's a very very extremely talented guy that can morph into whatever.

  • He had hits as a ballad performer but...

  • A lot of hits.

  • But I think it's very natural for him to sing pretty much anything.

  • I know that it was kind of a "risky" move in a way for his fans but I think he was very

  • honest about it.

  • Like he wanted to do that.

  • I think he was the guy that push(ed) it.

  • It was nobody telling him (Nobody told him) : "Do (this) urban thing."

  • He was like, "I wanna do this.

  • I feel it's right."

  • At (In) the beginning it was more scary for us than for him.

  • The risky move was to make the song reggaeton but not too respectful with (to) the genre.

  • Not to do a classic reggaeton track but to do a pop thing.

  • The one mix, like the Daddy Yankee (and) Fonsi's version we had like four, five, six versions of that.

  • But then after that, of course, then comes Bieber's version.

  • He did it really fast.

  • He recorded in Colombia.

  • In Columbia.

  • He heard the song in Colombia, it was pretty big.

  • He record it and then four days after that it was released.

  • It was on Spotify and everywhere.

  • It was of course awesome because it's Bieber, but especially because he approaches that

  • genre that we've been listening to since a long time ago in a very different way.

  • That melody he does in the beginning is not a reggaeton melody at all, but it fits beautiful(ly).

  • And he sang it in Spanish, which is awesome.

  • 99% of the times we're in (on) Pro Tools.

  • We're kind of a little bit obsessed with organizing the sessions and having it color coded.

  • Names are always the same so it's quick and fast if you have to go and fix something.

  • One of the interesting things with this song is that it breaks a lot of rules.

  • We usually don't take one minute to get to the chorus. That's scary for us.

  • But when it works, it works.

  • We started with this plug.

  • That's the intro of the song.

  • It wasn't like that. It was just a regular plug.

  • This guy has reverbs like printed inside.

  • It wasn't like that it was just a regular plug.

  • And then (we) started building the chorus beat.

  • We wanted to stop as much as we could without making the people fall.

  • This part I remember going through it, 'cause it's not normal.

  • You usually have four on the floor or you have every two quarters.

  • And then for the hook (part)...

  • We're straight.

  • But I think this "tune tune tune" thing is special.

  • And then one special thing about this chorus is that we're not making any subdivisions on the first note

  • so that it feels like it's stopping and bouncing in again.

  • So, if you play it.

  • Then the hi-hat comes in doing the...

  • It gives you like a...

  • Real guys playing here, the humans.

  • Cowbell.

  • Cowbell.

  • The timbal, it's a very important channel for us.

  • In the song, it's accentuating the important parts of the song and it helps you

  • feeling like a new part is coming and punching you in the face with that.

  • We stole those two guys from salsa music.

  • This is the real guache.

  • And then we put a high-hat so it sounds like

  • More HD.

  • And then the Guira.

  • This is also a very very very important thing.

  • This is used in a lot of Latin music but this is the Cumbia.

  • If you hear this that's Cumbia.

  • These are the Latin real channels of the song.

  • And these two guys - these are really important.

  • This is old school pop.

  • This is Dr. Luke.

  • This is the real one.

  • This actually got really loud in the mix.

  • That is this song.

  • This is like a little vocal sample thing with a "hey" made out of Fonsi saying just "hey".

  • Acoustic guitar.

  • It was actually played.

  • But then we chop it and make it really digital.

  • And then the main guy, which is Christian Nieves, that is one of the best cuatro players

  • from Puerto Rico.

  • When we started this song we always wanted to put this at (in) the beginning because we wanted

  • it to feel very Puerto Rican and very ethnic.

  • Without the cuatro sound the song becomes more normal and the cuatro gives it

  • a really unique character.

  • That's only cuatro, it's the main thing.

  • It's pretty.

  • There's actually three tracks of cuatro.

  • And it has kind of like a tumbao thing like you would do in salsa with a piano in the chorus.

  • It's not very straight.

  • It's just doing its thing and it makes you dance more.

  • Without that channel you can play without the cuatro

  • the song feels like a more programmed empty thing.

  • Like a more electronic thing but we don't want that because we are working with

  • a pop artists who, you know the backgrounds of Fonsi.

  • So we like to have soul in the beat.

  • Yeah, the combination of beats in real musicians and real instrument...

  • It's everything.

  • It's always a good thing to do.

  • We rarely produce something with only machines.

  • So this is the song without any humans.

  • It's cool.

  • But it's cold.

  • But it's cold, exactly.

  • Doesn't have soul.

  • So compare it.

  • That's life.

  • It's a perfect combination 'cause you have all the human souls on there but you have

  • the perfect kick punching you in the face every time.

  • I remember Mauricio coming to my house at first, to work.

  • And they were like, "The song is number one in Columbia."

  • Like wow.

  • That's cool.

  • Yeah, that's awesome.

  • "The song is still number one in Columbia now it's number one in Mexico."

  • "Oh, wow."

  • And then the song is still number one everywhere and we're like

  • when are we going to stop shaking hands and being like, "Awesome man."

  • And it hasn't stopped.

  • It's insane.

  • Everybody's got that theory that the language doesn't matter but it's hard to prove it.

  • And this song proves it.

  • You will dance to it and you will learn it even if you don't know how to speak the language.

We think that (the) reggaeton is pop now.

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ルイス・フォンシ&ダディ・ヤンキーの "Despacito "のメイキング。ビーバーとアンドレス・トーレス&マウリシオ・レンギフォ (Making Of Luis Fonsi & Daddy Yankee's "Despacito" Feat. Bieber With Andrés Torres & Mauricio Rengifo)

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    Samuel に公開 2021 年 01 月 14 日
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