Chords for The Making Of Kid Cudi's "Day 'N' Nite" With Dot Da Genius | Deconstructed

My friend worked with Cudi at Abercrombie & Fitch and he was like,
yo, there's this kid at my job.
He's really dope.
[Em] You should work with him.
He would make songs and then put it up on Cudi's music page.
[B] Day and Night was made, I'm like, this doesn't sound like [Em] anything.
It might not work.
But when we put up Day and [Bm] Night, it was different.
I didn't [Em] realize how mega it was, [Bm] but Cudi knew.
Cudi was [Em] like, this song is going to be a [Bm] number one song somewhere.
[Em] _
_ [Bm] _ _ _ _ _ _
I remember Cudi was [E] working one of the late night shift.
He hit me like, yo, I got an idea for a song.
We got to work on it.
When I get off the shift, I'm like, all right, bet.
I'm here.
I'm at the studio.
He sang the hook idea for me.
I was like, that's dope.
Like, [Eb] let's do it.
At that point, it was really [D] just all about sound [Db] selection.
So I'm scrolling through the Triton, looking for the best sounds that I can get and I fall
_ [Bm] _ _ _
_ What it provided [B] was melody and rhythm right off the jump.
Do a delay on it to get the panning effect on [D] the main synth.
Especially when people put their headphones on, you want them to feel like they're immersed in it.
_ _ I went ahead and started programming the drums.
At this [F] point, I'm using the MB-8000.
I was reaching a point that I felt like all my drums were stale.
I go to Craigslist and then I come across this posting and it was like, let's do drum
[Fm] sounds, embed [D] sty.
So I was just like, [C] man, fuck it.
I'm about to go there.
I need these sounds.
And this time, there's no USB sticks or none of that.
We burning shit to CD.
And on that CD, I found what would be the kick and the clap for this song.
Strong clap, like a slap. _ _
[D] Being that this is still very early in my production career, I'm not pulling out the crazy tricks.
I'm just using everything that I had learned up until this point.
[E] We get to the hi-hat.
Very simple.
Again, it goes with eighth _ _ _ note hi-hats.
The next sound I put down is the counter melody to [D] the main synth.
[Ab] _ _
_ _ _ [E] Together.
_ _ [Bm] _
_ [G] And then from that point, we needed something else melodically [Bm] for the hook to make the hook [Em] bigger.
_ [Bm] _ _ _ _
A lot of what helped it be futuristic, in my opinion, besides sound selection, was reverb and delay.
[E] Delay, if used correctly, just creates a space.
You feel the space.
You feel the delay slowly start to die.
Synth 2, this was a sound I got out of the motif.
And this is support for synth 3.
_ [B] _
_ _ _ So that [Em] supports this.
_ [Bm] _
_ [Em] _ _ [Bm] _ _ [Em] They [Bm] all have to support [Em] each other.
_ [Bm] _ _ So that's the first chorus.
[Em] That's all the sounds that you [Bm] hear up until the first chorus.
[Em] So for the meat of the track, that is essentially what [E] made up Day and Night.
The ending part was an accident.
I had to play these chords out.
[N] I was getting ready to press record.
[E] I pressed shift space bar instead.
_ [Em] And then it started playing at half speed and we both look at each other and we're like,
this is crazy.
We got to find some way to put this [F] into the song.
I put a little stutter to [Eb] signify that it's [Am] changing.
_ _ [Em] _ _ [F] That's the wind effect.
That's how I knew [Eb] that was something.
Back then, back in those days, Pro Tools had the M-Box and you can only have 24 tracks
per session and your Pro Tools will just start messing up.
So I started making beats, bouncing them down [B] and bringing them into a new session to record vocals. _ _
_ _ _ _ _ _ The what [F] what sound, and I have to let you guys know this, the effect [Eb] that I put on him
[E] is an old effect.
So if you look here, it [Eb] was called the Antares Tube Tech or something like that.
I want to say that's what gave it that sound.
So you're hearing his vocals really dry right now. _ _ _
_ [G] _ _ You hear Day and Night and he takes a pause.
[Gb] So after I [E] had that, I'm like, this need to keep going.
So I just threw a quarter note delay on it.
These are the throws on the Day and Night phrase.
I literally just had a send with a delay on it.
I just sent it and just automated on those. _ _ _ _
_ _ Just saying the hook and me panning them out, like, you know, making them sound like they're
here, you know, with all the other sounds in the beat.
Then you get this with the hook.
[Em] _
_ [Bm] _ _ [Em] _ _ [Bm] _ _ [Em] _
_ [Bm] _ _ [Em] _ _ [Bm] _ _ [Em]
I almost [Bm] regret, I feel like I didn't [Em] soak the moment in [E] when it was happening.
We're [B] on year two touring and [Bm] I'm talking to people and they're like, yo, Day and Night,
that changed my life.
That saved my life.
[Em] And I'm like, for real?
Like, no, that song saved my life.
[Bm] And I just remember like, man, music is just [Em]
powerful.
[Bm] It's definitely, [Gb] if it's [Em] done correctly, it can be a healing type thing.
And that's [Bm] Cudi's mission.
That's always been Cudi's [Em] mission.
It's like, yo, [Bm] I want to talk to these kids.
I [Em] want to make sure, let them know that they not [Bm] alone.
_ [Em] _ _ [Bm] _ _ [D] _
_ _ When I met Cudi, he was not smoking weed.
I had never smoked weed.
I had never did any drugs up until that point.
I'm just going to tell y'all this story.
My parents are probably going to be mad as shit.
And mind you, I'm in engineering school and like one of the smartest kids in the class,
I caught him smoking weed.
And I remember walking in the room and being like, you smoke weed?
Nah, nah, nah, pass that.
Pass that.
Cudi gave me this speech like, yo, bro, what are you doing?
Like, nah, man, don't fuck with that shit.
That shit's for the birds.
I'm like_ _ _ _ _