I look forward to it too - well done to Alex, by the way, who I notice has one of his OurTime tracks on the compilation! :)
Anyway, on the point of this being a new form of mix - I think it is the logical progression on from the Hotmix 5 style megamix, and I am prepared to argue the point. First off, the argument that a mix is only really "valid" if it's made on purely two turntables and mixer - I can see the point of view, but am reminded when I hear this argument of people who once said that music wasn't "valid" unless it was played live, on real instruments. It seems to me that since the very early days of our strand of music (Ron Hardy at the Music Box, etc) the best DJs have basically used the technology they have available, to the fullest extent possible, to give people an enriching and fresh experience on the dancefloor. Using technology to augment the basic components of traditional DJing is actually not a new idea; it's older than house music itself. Second off, the argument that it's "cheating" - I agree with this argument, but *only if* the DJ in question is presenting his digitally-assembled mix as if it had been recorded live. The only way someone can do this is to deliberately "create" some slightly dodgy mixes and transitions in order to have that air of authenticity, to avoid using the more advanced functionality of the software in question, and to also put in artifically long breaks between mixes, projecting the illusion that they are flipping through records while in fact their mouse is simply hovering over the next track the whole time. So, yes, people are cheating if they go to the effort of hobbling their digital mixes so that they sound "real", and if they then present these mixes to people as though they are "real". However, anyone who used something like Ableton in this way - going to all that effort to hide the fact that they've done a digital mix - would be seriously missing the point, IMHO. Ableton enables people to do things that you could never even hope to achieve on a traditional decks setup, and it's with this in mind that people should approach doing mixes in Ableton. Basically, Ableton gives you the potential to make something that's less a mix, more a bizarre hybrid between mixing, sampling and composition. So we should think of Ableton-produced mixes and traditional decks'n'mixer mixes as two completely different entities. The DJ making a mix with Ableton has a much higher "bar", so to speak, than the person making a mix with decks. They can't just segue from one track to another and expect praise. They need to use Ableton to its full extent, and give us listeners an experience that we could never get from a person (no matter how skilled) with just a pair of Technics. And if they do, then they deserve respect for that, and don't deserve to be shouted down for not having used decks. I can well imagine that if someone took a laptop with Ableton to a club and started DJing out with it, a lot of people would go up to them and slate them for not using decks. But a skilled user of Ableton would quite quickly, I think, be able to silence the haters by showing them exactly what they can do with it. So my message is - digital mixing is indeed crap and cheating if the person involved is just making mixes that could be made on decks; but it allows people to go much further than just that, and the more people who come out and show just what this technology can do will, IMHO, go on to create a sort of hybrid art form which will probably change the way we listen to music, both at home and out in the clubs. Brendan > -----Original Message----- > From: robin pinning [mailto:[EMAIL PROTECTED] > Sent: 23 May 2003 11:21 > To: 313@hyperreal.org > Subject: Re: (313) Fw: Dex and FX with Kirk Degiorgio > > > > wow i look forward to this, i'm surprised we've not seen more > of this type > of mix (there's scion and de2 and that 2 many djs) around as there's > several packages that can do this now. > > so is this approach the logical progression of the megamix > wher you use a > multitrack tape? > > and is this likely to encourage new ways of djing live? > > it's friday i fancy discussing something :) > > cheers > > robin... > > > ARTIST: VARIOUS > > MIXED BY : KIRK DEGIORGIO > > TITLE: F.X.MIX.01. > > LABEL: KEEP DIGGIN > > FORMAT: CD > > RELEASE DATE: 21 JULY 2003 > > > > FEATURING: JOHN BELTRAN, PHIL ASHER, PANOPTICA, KYOTO JAZZ MASSIVE, > > RED NOSE DISTRICT, TROUBLE MAN (AKA MARK PRITCHARD) + + + > > > > Kirk Degiorgio - Master of the electronic beat, delves into > his box of > > trickery with Ableton's new software package to create a > unique mix of Latin > > house, broken beats and techno. This is a mix compilation, > but not as we > > know it! > > > > Using Ableton's new 'Live' software has enabled Kirk to > loop/edit/remix > > parts of each track live, inducing unique and twisted mixes of each > > individual track whilst in the mix. ultimately making this a highly > > individual audio highlight from start to finish. All this > and more, and we > > haven't even approached the track listing yet! > > > > So, lets start with the labels involved here: Compost, JCR, > Versatile, > > Ubiquity, Far Out, Mantis and Certificate 18. All leading > labels in their > > chosen fields. We move on to the artists and remixers: > Kyoto Jazz Massive, 4 > > Hero, Phil Asher presents Focus, Magic Number, Victor > Davies, John Arnold > > and Jimpster. All leading pioneers in their chosen sound. > There are two > > exclusive tracks courtesy of Kirk Degiorgio himself - Exclusively > > commissioned for this project only. > > > > Kirk Degiorgio, Ableton's 'Live' box of effects and Keep > Diggin welcome you > > to the future. > > > > TRACKLIST > > (Please note that due to the nature of this mix, the tracks > are in no > > particular order) > > > > Clashing Egos - "Brightness In The Morning" (Kirk Degiorgio remix) > > Dutch techno (Max404) meets broken beats compliments of > Kirk Degiorgio's > > classy reworking.. > > > > Kyoto Jazz Massive - "The Brightness of These Days" (Quantic remix) > > Released on the mighty Compost label, this is arguably > Quantic's best work > > to date - Tempo shifting, foot stomping, sweaty afro-jazz. > > > > Magic Number - "Sorry" > > Frantically paced Latin number from the Mantis stables. > > > > Ourtime - "Slack" > > Minimal techno from UK underground label Ourtime. > > > > Panoptica - "She's in Fiesta's" (Bauhaus remix) > > Dubby tech-house shocker on drum & bass label Certificate 18! > > > > Red Nose Distrikt - "NYB" > > Carl Craig style breakbeats from Holland's Rush Hour label. > > > > Phil Asher presents Focus - "Having Your Fun" (4 Hero remix) > > Excellent track from the ever consistent Phil Asher remixed > by the mighty 4 > > Hero compliments of Versatile records. > > > > John Beltran - "Felicidad Nova" (Jimpster remix) > > Latin house hero John Beltran's original uplifting anthem > remixed by the > > mighty Jimpster on Ubiquity records.. > > > > John Arnold - "Fabric" > > Nu-jazz techno stylee from Ubiquity's John Arnold.Cool as! > > > > Victor Davies - "Lady Luck" (Procreation remix) > > Highly percussive nu-jazz vocal number from the ever consistent > > Jazzanova-Compost Records camp. > > > > Trouble Man - "Where We Stand" > > Troubleman - Also known as one Mr Mark Pritchard, one half of Global > > Communications, releasing his debut under a new alter ego > guise on Far Out > > Recordings. > > > > Filta Facta - "Electrik Shok" > > Filtered jazz/funk/disco house number..Not your usual house > music by numbers > > though - This is much more intelligent.Summers here! > > > > Blue Binary - "Crescendo" > > Stripped down and looped grooves exclusive to this album. > > > > Family Affairs - "Open Values" > > More stripped down and looped grooves exclusive to this album. > > > >
