> This is somewhat discourteous on the artist's part, unless the only people > you want as fans are people so die-hard that they'll take any shit you throw > at them and suck it back grinning with glee. My j'accuse is pointed > straight at Mills' If.
the funny thing about this record is that, if my memory serves me correctly, the way the side with the three versions of "if" is pressed makes the gaps between the tracks in sync with the tempo of the tracks. i serendipitously discovered this when i was doing a set for targetcircuitry.com, when i dropped the first or second track, brought in some other record, got distracted by something or other, then looked back at the mills record to discover that i had managed to play through the first track and into the next without noticing. > I mean, I don't need much, and this is really just > nit-picking, but a quiet snare, hi-hat, or even a muted kick right at the > very beginning (even a good 30 seconds before the rest of the track actually > becomes audible) is a little thing that goes a long way when I have less > than 45 seconds left to mix and I have several tracks to choose from. Sure, > it might sound like I'm creating a brand new "kunt-sept"-ual way of mixing > or something. Then again, it might sound like I'm a fool. In a pinch, I'll > pick a less discourteous track. But that's just me. :) i just figured it was a subtle trick to make us all go out and buy doubles ;P. i wouldn't really object to the practice if it weren't for the fact that those tracks are so damn short as well as having the fade-ins (i won't even get started about that amazing 1:45 song on drexciya's "neptune's lair"). generally speaking, we shouldn't complain too much about having to beatmatch stuff that's computer controlled/arranged/synched-- as anybody who's ever tried to mix old disco/funk records can attest. glyn --------------------------------------------------------------------- To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
