Original Track Length: 7:48
Original Track Key: Am
Edited Track Length: 3:15
Edited Track Key: Abm (semitone decrease)
Following Track Mix Point: 2:47
Following Track Key: Bbm
Following Track Transition: Tone Above
Arguably one of the most recognisable tracks across the entire 2 discs, ‘For An Angel’ is one of a handful of tracks on the compilation that still gets played today, and as such I wanted to do something in my editing and mixing that gave the track context and meaning rather than having it just slapped on the compilation with no thought (which seems to be the case with a number of compilation albums these days).
The first area of focus for the editing was the intro section before the track begins (the section you hear in the closing bars of ‘Spirits Dancing’). This section was actually at 3:43 on the original club mix of ‘For An Angel’, and whilst practising and working out the mix points I discovered it would be the perfect place to use that section as an intro and then swap it’s natural progression into the second breakdown with the first – setting up the track marker so the first thing you heard when the track markers changed was the first breakdown. This also happens to be how the official radio edit of ‘For An Angel’ starts too.
As far as arrangement editing went, I trimmed the length down to keep in with the time constraints by removing one of the breakdowns and trimmed the ending section so it evolved over 16 bars rather than 32.
One final aspect of the audio editing was that when ‘Seven Days And One Week‘ is introduced at 2:47 I removed all the bass frequencies below 280Hz as this helped emphasise the change in key to a tone above. The final bars of ‘For An Angel’ did not have any drums and I used the evolving synth drone to help ease the transition into the following track by closing the high pass filter to allow the bass of the drone to filter in just before the track ends so to bring a little drama to the change in track.
Mix transition between ‘For An Angel’ & ‘Seven Days And One Week’ :
It was interesting to note (no pun intended) that although a tone above shift is usually associated with a shift in gear and an energy lift – I used it here to give an energy lift before the track change, as ‘Seven Days And One Week’ has a very stripped down and deeper atmosphere to the majority of the previous tracks, and the shift in key helped boost the energy enough to compensate for this.