When I was in college I got ahold of The Chainsmokers’ managers’ e-mail address. They had just dropped a record called “Everybody Hates Me” and as a new producer on the scene I wanted to take a pass at remixing it. I figured the best case scenario would be The Chainsmokers noticing me and taking me on a world tour with them and the worst case would be no response. To my surprise, the stems were sitting in my inbox within the hour. For the first time in my life, I had a fully processed, industry-standard engineered vocal that I could do anything with. The possibilities were endless. I skipped class for a week and went back and forth on seven or eight different versions of the remix - and while I didn’t get the Chainsmokers to sign off on it, I did fall in love with a new process of making music. For the next few years I would wake up every morning, go to New Music Friday on Spotify, track down management e-mails on the artists’ Facebook “about” section and beg for stems. Over the years, I put out a bunch of remixes for various artists - but more importantly I slowly compiled high quality vocals that I could mess with in my spare time. To this day, that remains one of my preferred method of working on records with people; “Ball!” with Kevin George (which was my last sound drop) happened from him sending me an acapella and my imagination running with it. At the time, I was paid for remixes with exposure - and I wouldn’t have had it any other way. People started listening to my music on Soundcloud for the first time and I started to meet my first music friends through that experience. A lot of them are still my friends today. However, there are a slew of examples of remixes that came out that went on to perform better than the original song did. More times than not, the remixer is paid in either exposure (like me), or a one time buyout fee which is typically $250 or less for smaller artists. Most of the time, the remixers - who breathe new life into the record - see no upside in the event that the remix is a smash. These artists are also overlooked often and don’t get a chance to tell their musical stories. The Glass House remixes is a 4 pack of my favorite reworks off my EP “Glass House”. Every remix came out incredible, and flipped my songs into a way I never saw coming. The pack features artists who vary in Web3 experience - from vets like Clear Eyes and MSFT to newcomers like Veggi and Cudos, I’m stoked to present the first Daniel Allan Remix pack on Sound.