Arrangement of EDM

Project description:
Arranger services are required. It is necessary to arrange EDM. I wrote music and lyrics, after a 12-year hiatus, for my project. Earlier in the previous songs of my project it was Italian or Euro disco, now it should be dance EDM. Rate 128.
1. Arrangement should not cause the feeling that it is a “naphthalene” sample of the 80s or 90s of the last century. It is not Italian disco, it is modern electronic dance music (EDM). But! In this arrangement should be subtly and unobtrusively (showed and hidden) some recognizable sounds and timbres, techniques (very moderately and carefully), which evoke the correct nostalgia (disco style in particular) – but use subtly and accurately as “hello from an old good friend from the time”, as special timbres and sounds of solo parts of the arrangements of the group Mirage (not guitar!). For example, the solo entry of Mirage 1988 – Together Again. The main goal is to get everyone from 5 to 95 years old to dance or move to the rhythm of the song.
2. The beginning of the arrangement should create a kind of intrigue, something beckoning, “tasty” for a very picky and young listener of the XXI century, something promising, not very loud, at the same time, as if recognizable in terms of reference to the Mirage, but still new. I mean. Roughly speaking, what would the Mirage team do now if they could continue this musical path in the XXI century, say they would have been born outside of Russia. I mean. Novelty is needed, something breakthrough, new, but with the preservation of melodysm and competent selection of sounds and parts, as it was at the very beginning of the Mirage. Disclaimer: All their modern remixes are shitty!!! I mean. You need to focus on the source, i.e. At the EDM of the Western music industry, as once Mirage successfully compiled Western ideas of dance music. We need a new, such a compilative breakthrough based on the ideas of Western electronic dance music.
3. Ostinatō (zombo ostinatō) should be, but SLEEP, catchy, not just technical.
4. Minimalism is the basis of this creative search and arrangement itself. If any instrument or party appears, it should clearly stand out, be justified and not turn the whole composition into porridge, noise and rumble.
5. As an option (not necessarily to be performed): the phrase “I choose Love”, as spoken by the soloist in the usual speech manner, not in the song version – at first and possibly inside the arrangement, taken not from music, but separately spoken – should become a REFREN or ostinato, as an affirmative speech phrase-repeat, speech ostinato refrain ... For example, like the voice in the phone, it's on approval, on a clear and informed choice for heroine. I decided, it was concrete: I choose Love! The calmness, assertiveness and power of this phrase should be used in the arrangement.
6. Perhaps ostinato materializes from the phone’s beeps (short as a pipe is thrown), the beeps and phrases begin to turn into a musical phrase, rhythms and sounds are revealed gradually. And in this disclosure, somewhere, the familiar sounds of Mirage solo instruments (not guitars) sound subtly, in the distance, unobtrusively. I mean. From these sounds from the past, a NEW is born, but this makes it clear that we only have some continuity with what was done earlier in the Mirage (take as a basis the 1988 album “Again Together”, solo-tembra parts (not guitar!) of such compositions as: Milky Way, Together Again, Night Comes), i.e. With the parental beginning of this music and in general the history of artistic, figurative, musical, we give birth to a new music.
7. Zombo-ostinato needs to be invented, introduced first, and then cleaned up. I mean. To catch and drive into the brain dead) And after hooking the listener, clean it up, then remind again ...
8. To be limited to VST synthesizers. Use, for example, the following: SERUM, AVENGER, SYLENTH-1, NEXUS-2, SPIRE, HARMOR SYNTHMASTER-2...
9. Be sure to use Side-chain compression on the bass and other batches of instruments when creating an arrangement to create the desired pitch, saturation, legibility and sound density, characteristic of EDM.
10. BAS should be fat, multicomponent, tasty and rich in composite timbre and sound. I mean. Compiled from individual timbres as sub, mid1, mid2, up1, up2... Ie up to 5 components with cheating and divisions by pitch, envelope adjustments, etc.
11. Drum knocks should be stylish, accurate, stereo, but do not turn into gypsy (they say, but we still have such and such drums, and also such...)
The enclosed examples of EDM compositions that I personally like are not a reason to copy them 100%. The vocals of the soloist as a DEMO are attached to facilitate the work on the arrangement. The song has two verses. But in the demo, the second is repeated by copying the first. There are actually two full-fledged verses... The chord grid of loss is not necessarily executed. But we have to think of something, well, "Yamu" It is better if it is a feast for the ears in terms of toys with bass, drums, knocks ...