RE: (313) Fw: Dex and FX with Kirk Degiorgio
it has nothing to do with djs. in fact, the 'rave act' is no longer even called that. its now the 'illicit drug anti-proliferation act'. the law has to do with venue operations and ownership. if someone does drugs in a club, arena, ampitheater, bar, resturaunt, hotel... then the owner of said establishment as well as the operator, leasee or temporary promoter can be found guilty of providing a place for drug usage, similar in legal terms to running a crack house. more info at- www.drugpolicy.org and www.emdef.org On Fri, 23 May 2003, robin pinning wrote: yeah that's what i'm getting at. in fact track selection (brendan mentions it at the end of the below post) is more important to the hi-tech dj. another thought: from what i can gather the Rave Act in the US classifies a party with no djs and just live acts as something other than a rave and the law is less stringent (please correct if wrong). So is a DJ with a powerbook and ableton live now a live act and not dj? will this change things? robin... I would agree that traditional DJs listening to mixes done in things like Ableton will try to copy some of the techniques they hear, and that this will also help the traditional form of mixing to progress and absorb new ideas. For example, the first time I heard proper booty music was back in 1996 when I got a tape from 12 Tech Mob - the tape had been recorded using multitracking and various other tricks, but at the time I didn't know - I thought it was a straight mix. So off I went, spending the next few years gathering booty and ghetto-tech records and attempting to emulate the frenetic multi-layered action you get on the mix tape. When I eventually found out that the mix was not recorded live, of course, I realised I'd been wasting my time, but in the process of trying to do the whole thing live I'd learnt a whole bunch of new tricks and had generally upped the standard of my mixing, which was a good thing. And did it make me value the tape any less? No! It was just as enjoyable a listening experience, whether it had been put together by NASA or by a demented child with sticky tape. I definitely don't think straight-turntable mixing is dead, and won't be for a long time. And when I say long time, I'm speaking in generational terms, not the next few years. Even if the future sees us all with ableton/final scratch and so on within about a five years, the fact of the matter will remain that if your basic track selection skills are lacking then you won't do very well. Brendan
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.
RE: (313) Fw: Dex and FX with Kirk Degiorgio
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
RE: (313) Fw: Dex and FX with Kirk Degiorgio
For me, I don't feel we've even scratched the surface of what could be done live with ableton or final-scratch. People are still more or less mp3-ing doing whole tracks, not really messing with interesting short elements in themselves, which could be used to create something different in themselves, not really using the effects at all! But maybe I just haven't heard it done and it has been! I didn't hear the legendary Surgeon set at ATP ferinstance. k -Original Message- From: robin pinning [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 11:21 AM 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.
RE: (313) Fw: Dex and FX with Kirk Degiorgio
Another question, a few years ago ( i think around 1994/1995) I had a tape with a mix cd from Kirk Degeorgio on it, with tracks from Herbie Hancock f.i.. I lost this tape and don't know the title anymore, can anybody help me with this? Remco
RE: (313) Fw: Dex and FX with Kirk Degiorgio
It was called Check One and, IMNSHO is absolutely stunning in the way it mixes jazz with techno - you can appreciate the comparisons after hearing that! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 10:50 AM To: 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Another question, a few years ago ( i think around 1994/1995) I had a tape with a mix cd from Kirk Degeorgio on it, with tracks from Herbie Hancock f.i.. I lost this tape and don't know the title anymore, can anybody help me with this? Remco # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. #
Re: (313) Fw: Dex and FX with Kirk Degiorgio
Surgeon played at Tfunkshun a couple of weeks ago, and I know Scott is on this list, any chance of a report Scott? 23/5/03 10:49 AM Odeluga, [EMAIL PROTECTED] For me, I don't feel we've even scratched the surface of what could be done live with ableton or final-scratch. People are still more or less mp3-ing doing whole tracks, not really messing with interesting short elements in themselves, which could be used to create something different in themselves, not really using the effects at all! But maybe I just haven't heard it done and it has been! I didn't hear the legendary Surgeon set at ATP ferinstance. k -Original Message- From: robin pinning [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 11:21 AM 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.
RE: (313) Fw: Dex and FX with Kirk Degiorgio
Here is the tracklisting: 1 T'Raenon (Version) Photek Photek 00:07:17 2 Air Bag Local Zero 3 Solina Jedi Knights 00:11:04 4 Utopia Planetia Stasis 00:08:28 5 Las Palmas Joe Henderson 00:00:27 6 Prologue / Love, Love Julian Priester / Pepo Mtoto 00:19:12 7 Veil Blue Binary 8 Id Clones Shake 00:09:26 9 Vortex Sean Deason 00:06:55 10 Meditative Fusion Silent Phase 00:06:07 11 Nuron Neau Rouge 12 Microlovr 69 00:08:02 13 Attention Please 4th Wave 00:07:59 14 Flights of Fantasy Elegy 00:08:02 15 Terra Firma Joe Henderson 16 Inner Space Bobby Lyle 17 Non-Stop Home Weather Report 00:03:52 18 Epic As One 00:12:59 19 Nobu Herbie Hancock 00:07:39 20 Olivine The Black Dog 00:06:14 21 The Third Ear Ballet Mechanique 22 Everlast Phenomyna 23 Soon Repeat -Original Message- From: Robert Taylor Sent: Friday, May 23, 2003 11:55 AM To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio It was called Check One and, IMNSHO is absolutely stunning in the way it mixes jazz with techno - you can appreciate the comparisons after hearing that! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 10:50 AM To: 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Another question, a few years ago ( i think around 1994/1995) I had a tape with a mix cd from Kirk Degeorgio on it, with tracks from Herbie Hancock f.i.. I lost this tape and don't know the title anymore, can anybody help me with this? Remco # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. # # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. #
RE: (313) Fw: Dex and FX with Kirk Degiorgio
Weird - this appeared in my box twice but I only sent it once. Herbie Hancock's Nobu is on this - now that is techno! -Original Message- From: Robert Taylor Sent: Friday, May 23, 2003 12:02 PM To: Robert Taylor; [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Here is the tracklisting: 1 T'Raenon (Version) Photek Photek 00:07:17 2 Air Bag Local Zero 3 Solina Jedi Knights 00:11:04 4 Utopia Planetia Stasis 00:08:28 5 Las Palmas Joe Henderson 00:00:27 6 Prologue / Love, Love Julian Priester / Pepo Mtoto 00:19:12 7 Veil Blue Binary 8 Id Clones Shake 00:09:26 9 Vortex Sean Deason 00:06:55 10 Meditative Fusion Silent Phase 00:06:07 11 Nuron Neau Rouge 12 Microlovr 69 00:08:02 13 Attention Please 4th Wave 00:07:59 14 Flights of Fantasy Elegy 00:08:02 15 Terra Firma Joe Henderson 16 Inner Space Bobby Lyle 17 Non-Stop Home Weather Report 00:03:52 18 Epic As One 00:12:59 19 Nobu Herbie Hancock 00:07:39 20 Olivine The Black Dog 00:06:14 21 The Third Ear Ballet Mechanique 22 Everlast Phenomyna 23 Soon Repeat -Original Message- From: Robert Taylor Sent: Friday, May 23, 2003 11:55 AM To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio It was called Check One and, IMNSHO is absolutely stunning in the way it mixes jazz with techno - you can appreciate the comparisons after hearing that! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 10:50 AM To: 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Another question, a few years ago ( i think around 1994/1995) I had a tape with a mix cd from Kirk Degeorgio on it, with tracks from Herbie Hancock f.i.. I lost this tape and don't know the title anymore, can anybody help me with this? Remco # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. # # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. #
RE: (313) Fw: Dex and FX with Kirk Degiorgio
oh my god my 2nd favourite photek tune of all time! i thought this was the 313 list! ab -Original Message- From: Robert Taylor [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 9:32 PM To: Robert Taylor; [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Here is the tracklisting: 1 T'Raenon (Version) Photek Photek 00:07:17 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003
RE: (313) Fw: Dex and FX with Kirk Degiorgio
i agree with brendans post below. the software approach only becomes invalid when the mix is presented in a trad 2x1200 and a mixer way (like a lot of these main stream protooled juke-box style mixes) i was listening to the megamix on the techno 1 - the new dance sound compilation the other day and noticed (over)use of the spin back which i guess made a lot of people see that this could be used when mixing in a live (not megamix) setting. so when a dj hears some interesting approach done in software is he/she more likely to try and reproduce this sort of this on decks? i think he/she is, so i'm quite excited by all this. it's amazing what can be done with a simple sampler, decent eqs and a delay live...this all bodes well for the future of djing (as does the use of FS, so adding your own edits into the mix). i see there's another article in Jockey Slut this month saying that mixing records together is an out of date approach. i beg to differ. robin... 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
Re: (313) Fw: Dex and FX with Kirk Degiorgio
because you sent it to yourself and the list :) - Original Message - From: Robert Taylor [EMAIL PROTECTED] To: Robert Taylor [EMAIL PROTECTED]; [EMAIL PROTECTED]; 313@hyperreal.org Sent: Friday, May 23, 2003 8:03 AM Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Weird - this appeared in my box twice but I only sent it once. Herbie Hancock's Nobu is on this - now that is techno! -Original Message- From: Robert Taylor Sent: Friday, May 23, 2003 12:02 PM To: Robert Taylor; [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Here is the tracklisting: 1 T'Raenon (Version) Photek Photek 00:07:17 2 Air Bag Local Zero 3 Solina Jedi Knights 00:11:04 4 Utopia Planetia Stasis 00:08:28 5 Las Palmas Joe Henderson 00:00:27 6 Prologue / Love, Love Julian Priester / Pepo Mtoto 00:19:12 7 Veil Blue Binary 8 Id Clones Shake 00:09:26 9 Vortex Sean Deason 00:06:55 10 Meditative Fusion Silent Phase 00:06:07 11 Nuron Neau Rouge 12 Microlovr 69 00:08:02 13 Attention Please 4th Wave 00:07:59 14 Flights of Fantasy Elegy 00:08:02 15 Terra Firma Joe Henderson 16 Inner Space Bobby Lyle 17 Non-Stop Home Weather Report 00:03:52 18 Epic As One 00:12:59 19 Nobu Herbie Hancock 00:07:39 20 Olivine The Black Dog 00:06:14 21 The Third Ear Ballet Mechanique 22 Everlast Phenomyna 23 Soon Repeat -Original Message- From: Robert Taylor Sent: Friday, May 23, 2003 11:55 AM To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio It was called Check One and, IMNSHO is absolutely stunning in the way it mixes jazz with techno - you can appreciate the comparisons after hearing that! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 10:50 AM To: 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Another question, a few years ago ( i think around 1994/1995) I had a tape with a mix cd from Kirk Degeorgio on it, with tracks from Herbie Hancock f.i.. I lost this tape and don't know the title anymore, can anybody help me with this? Remco # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. # # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. #
RE: (313) Fw: Dex and FX with Kirk Degiorgio
Doh! Anyway - it was worth posting twice cos that listing is phenomenal! That Jedi Nights track is beautiful -Original Message- From: ::) [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 11:13 AM To: Robert Taylor; [EMAIL PROTECTED]; 313@hyperreal.org Subject: Re: (313) Fw: Dex and FX with Kirk Degiorgio because you sent it to yourself and the list :) - Original Message - From: Robert Taylor [EMAIL PROTECTED] To: Robert Taylor [EMAIL PROTECTED]; [EMAIL PROTECTED]; 313@hyperreal.org Sent: Friday, May 23, 2003 8:03 AM Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Weird - this appeared in my box twice but I only sent it once. Herbie Hancock's Nobu is on this - now that is techno! -Original Message- From: Robert Taylor Sent: Friday, May 23, 2003 12:02 PM To: Robert Taylor; [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Here is the tracklisting: 1 T'Raenon (Version) Photek Photek 00:07:17 2 Air Bag Local Zero 3 Solina Jedi Knights 00:11:04 4 Utopia Planetia Stasis 00:08:28 5 Las Palmas Joe Henderson 00:00:27 6 Prologue / Love, Love Julian Priester / Pepo Mtoto 00:19:12 7 Veil Blue Binary 8 Id Clones Shake 00:09:26 9 Vortex Sean Deason 00:06:55 10 Meditative Fusion Silent Phase 00:06:07 11 Nuron Neau Rouge 12 Microlovr 69 00:08:02 13 Attention Please 4th Wave 00:07:59 14 Flights of Fantasy Elegy 00:08:02 15 Terra Firma Joe Henderson 16 Inner Space Bobby Lyle 17 Non-Stop Home Weather Report 00:03:52 18 Epic As One 00:12:59 19 Nobu Herbie Hancock 00:07:39 20 Olivine The Black Dog 00:06:14 21 The Third Ear Ballet Mechanique 22 Everlast Phenomyna 23 Soon Repeat -Original Message- From: Robert Taylor Sent: Friday, May 23, 2003 11:55 AM To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio It was called Check One and, IMNSHO is absolutely stunning in the way it mixes jazz with techno - you can appreciate the comparisons after hearing that! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 10:50 AM To: 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio Another question, a few years ago ( i think around 1994/1995) I had a tape with a mix cd from Kirk Degeorgio on it, with tracks from Herbie Hancock f.i.. I lost this tape and don't know the title anymore, can anybody help me with this? Remco # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. # # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. # # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. #
RE: (313) Fw: Dex and FX with Kirk Degiorgio
Robin i see there's another article in Jockey Slut this month saying that mixing records together is an out of date approach. i beg to differ. I beg to differ too. Of course the advent of Final Scratch and Ableton Live is exciting, but for f**ks sake. More than 75% of the punters in the club don't even know the tracks anyway, so why do they give a s**t about some mad version of a track that they don't even know the original of. If mixing together two records is out of date, then f**k me, lets all pack in playing music altogether in night clubs. I couldn't give two hoots about the quality of anybodys mixing - as long as its obviously not train wrecks all the way. Just simple selection that flows well is fine for me. Anyone care to tell me David Mancuso isn't a dj? IT'S ALL IN THE SELECTION FOLKS. Listen to Derrick May's quotes in the recent technotourist article. Ron Hardy wasn't a dj, he was some kind of musical shaman f**king amen to that I say. (not that I ever saw him, ha ha ha) OK, what I'm trying to say in a round-a-bout sort of way, is that Joe Bloggs could be the best technical dj in the world - or the surgeon for example, but if anyone is just going to play 3 hrs of nonsense just because they find it hard to mix anything else (or that it might make their mixing sound 'bad'), it just doesn't interest me in the slightest. It also explains why the vast majority of clubs and parties are boring as f**k, and why kids don't want to go out anymore. If you listen to all those Hardy tapes, you can almost feel the vibe *even on the tape* - they're just electric - there's no other word for them. Its the way he played the tracks, and what he did with the tracks that create the vibe, not the mixing. Theo Parrish is the same, although it's fairly obvious where his style comes from (although he has his own slant). Rant Over. and I really hope Tom Magic feet didn't write that quote from Jockey Slut, otherwise I'm going to feel a right tit. Alex. Alex _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
Re: (313) Fw: Dex and FX with Kirk Degiorgio
i'll be seeing Surgeon tomorrow night at house of god, birmingham. hopefully it'll be a final scratch set. If i'm in a fit state i'll post some feedback but the highlight will be seeing Scion arrange and process tomorrow, I am seriously looking forward to this :-) Stuart Date: Fri, 23 May 2003 11:53:52 + To: Odeluga, Ken [EMAIL PROTECTED], 313 Hyperreal. Org 313@hyperreal.org From: Martin [EMAIL PROTECTED] Subject: Re: (313) Fw: Dex and FX with Kirk Degiorgio Message-ID: [EMAIL PROTECTED] Surgeon played at Tfunkshun a couple of weeks ago, and I know Scott is on this list, any chance of a report Scott? _ Hotmail messages direct to your mobile phone http://www.msn.co.uk/msnmobile
RE: (313) Fw: Dex and FX with Kirk Degiorgio
Scion - dribble! -Original Message- From: Stuart Thompson [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 11:38 AM To: 313@hyperreal.org Subject: Re: (313) Fw: Dex and FX with Kirk Degiorgio i'll be seeing Surgeon tomorrow night at house of god, birmingham. hopefully it'll be a final scratch set. If i'm in a fit state i'll post some feedback but the highlight will be seeing Scion arrange and process tomorrow, I am seriously looking forward to this :-) Stuart Date: Fri, 23 May 2003 11:53:52 + To: Odeluga, Ken [EMAIL PROTECTED], 313 Hyperreal. Org 313@hyperreal.org From: Martin [EMAIL PROTECTED] Subject: Re: (313) Fw: Dex and FX with Kirk Degiorgio Message-ID: [EMAIL PROTECTED] Surgeon played at Tfunkshun a couple of weeks ago, and I know Scott is on this list, any chance of a report Scott? _ Hotmail messages direct to your mobile phone http://www.msn.co.uk/msnmobile # Note: Any views or opinions are solely those of the author and do not necessarily represent those of Channel Four Television Corporation unless specifically stated. This email and any files transmitted are confidential and intended solely for the use of the individual or entity to which they are addressed. If you have received this email in error, please notify [EMAIL PROTECTED] Thank You. #
Re: (313) Fw: Dex and FX with Kirk Degiorgio
i see there's another article in Jockey Slut this month saying that mixing records together is an out of date approach. i beg to differ. I know a couple of DJ's who don't mix and I find it OK actually. Take The Pho-KU Sound System for example, Ian doesn't mix but his programming is brilliant and makes for an interesting night. JS are just having a pop for the sake of it :) Martin
RE: (313) Fw: Dex and FX with Kirk Degiorgio
we have two extremes here. looped bangers all night, same tempo, boring as hell. and then we have the approach where selection rules and there is a lot more variety and mixing is secondary...(if there is just one or the other i prefer the second, simply because this approach allows a dj to read the floor and respond with a moodron hardy/shaman style) what i'm saying is there is now a middle way between the two where the dj plays a hugely varied selection with a brilliantly mixed flow...(imagine this: genuinely a dj that can pull the bassline out of one track and lay the highs and mids over the top of it all live in response to what the crowd go metal over...) to illustrate my point will mean me finally getting off me arse, smoking less and recording all the ideas i have in me head :) (if i can, heh) robin... Robin i see there's another article in Jockey Slut this month saying that mixing records together is an out of date approach. i beg to differ. I beg to differ too. Of course the advent of Final Scratch and Ableton Live is exciting, but for f**ks sake. More than 75% of the punters in the club don't even know the tracks anyway, so why do they give a s**t about some mad version of a track that they don't even know the original of. If mixing together two records is out of date, then f**k me, lets all pack in playing music altogether in night clubs. I couldn't give two hoots about the quality of anybodys mixing - as long as its obviously not train wrecks all the way. Just simple selection that flows well is fine for me. Anyone care to tell me David Mancuso isn't a dj? IT'S ALL IN THE SELECTION FOLKS. Listen to Derrick May's quotes in the recent technotourist article. Ron Hardy wasn't a dj, he was some kind of musical shaman f**king amen to that I say. (not that I ever saw him, ha ha ha) OK, what I'm trying to say in a round-a-bout sort of way, is that Joe Bloggs could be the best technical dj in the world - or the surgeon for example, but if anyone is just going to play 3 hrs of nonsense just because they find it hard to mix anything else (or that it might make their mixing sound 'bad'), it just doesn't interest me in the slightest. It also explains why the vast majority of clubs and parties are boring as f**k, and why kids don't want to go out anymore. If you listen to all those Hardy tapes, you can almost feel the vibe *even on the tape* - they're just electric - there's no other word for them. Its the way he played the tracks, and what he did with the tracks that create the vibe, not the mixing. Theo Parrish is the same, although it's fairly obvious where his style comes from (although he has his own slant). Rant Over. and I really hope Tom Magic feet didn't write that quote from Jockey Slut, otherwise I'm going to feel a right tit.
RE: (313) Fw: Dex and FX with Kirk Degiorgio
I would agree that traditional DJs listening to mixes done in things like Ableton will try to copy some of the techniques they hear, and that this will also help the traditional form of mixing to progress and absorb new ideas. For example, the first time I heard proper booty music was back in 1996 when I got a tape from 12 Tech Mob - the tape had been recorded using multitracking and various other tricks, but at the time I didn't know - I thought it was a straight mix. So off I went, spending the next few years gathering booty and ghetto-tech records and attempting to emulate the frenetic multi-layered action you get on the mix tape. When I eventually found out that the mix was not recorded live, of course, I realised I'd been wasting my time, but in the process of trying to do the whole thing live I'd learnt a whole bunch of new tricks and had generally upped the standard of my mixing, which was a good thing. And did it make me value the tape any less? No! It was just as enjoyable a listening experience, whether it had been put together by NASA or by a demented child with sticky tape. I definitely don't think straight-turntable mixing is dead, and won't be for a long time. And when I say long time, I'm speaking in generational terms, not the next few years. Even if the future sees us all with ableton/final scratch and so on within about a five years, the fact of the matter will remain that if your basic track selection skills are lacking then you won't do very well. Brendan -Original Message- From: robin pinning [mailto:[EMAIL PROTECTED] Sent: 23 May 2003 12:05 To: Brendan Nelson Cc: 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio i agree with brendans post below. the software approach only becomes invalid when the mix is presented in a trad 2x1200 and a mixer way (like a lot of these main stream protooled juke-box style mixes) i was listening to the megamix on the techno 1 - the new dance sound compilation the other day and noticed (over)use of the spin back which i guess made a lot of people see that this could be used when mixing in a live (not megamix) setting. so when a dj hears some interesting approach done in software is he/she more likely to try and reproduce this sort of this on decks? i think he/she is, so i'm quite excited by all this. it's amazing what can be done with a simple sampler, decent eqs and a delay live...this all bodes well for the future of djing (as does the use of FS, so adding your own edits into the mix). i see there's another article in Jockey Slut this month saying that mixing records together is an out of date approach. i beg to differ. robin...
RE: (313) Fw: Dex and FX with Kirk Degiorgio
Similarly when I first listened to the derrick may mayday mix I thought it was live but soon found out it wasn't - as it happens tho I can pull off quite a few of those tricks live now and Ive always kinda strived to push the live mixing thing a far as I can. Peace-out Marc -Original Message- From: Brendan Nelson [mailto:[EMAIL PROTECTED] Sent: Friday, May 23, 2003 2:27 PM To: [EMAIL PROTECTED] Cc: 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio I would agree that traditional DJs listening to mixes done in things like Ableton will try to copy some of the techniques they hear, and that this will also help the traditional form of mixing to progress and absorb new ideas. For example, the first time I heard proper booty music was back in 1996 when I got a tape from 12 Tech Mob - the tape had been recorded using multitracking and various other tricks, but at the time I didn't know - I thought it was a straight mix. So off I went, spending the next few years gathering booty and ghetto-tech records and attempting to emulate the frenetic multi-layered action you get on the mix tape. When I eventually found out that the mix was not recorded live, of course, I realised I'd been wasting my time, but in the process of trying to do the whole thing live I'd learnt a whole bunch of new tricks and had generally upped the standard of my mixing, which was a good thing. And did it make me value the tape any less? No! It was just as enjoyable a listening experience, whether it had been put together by NASA or by a demented child with sticky tape. I definitely don't think straight-turntable mixing is dead, and won't be for a long time. And when I say long time, I'm speaking in generational terms, not the next few years. Even if the future sees us all with ableton/final scratch and so on within about a five years, the fact of the matter will remain that if your basic track selection skills are lacking then you won't do very well. Brendan -Original Message- From: robin pinning [mailto:[EMAIL PROTECTED] Sent: 23 May 2003 12:05 To: Brendan Nelson Cc: 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio i agree with brendans post below. the software approach only becomes invalid when the mix is presented in a trad 2x1200 and a mixer way (like a lot of these main stream protooled juke-box style mixes) i was listening to the megamix on the techno 1 - the new dance sound compilation the other day and noticed (over)use of the spin back which i guess made a lot of people see that this could be used when mixing in a live (not megamix) setting. so when a dj hears some interesting approach done in software is he/she more likely to try and reproduce this sort of this on decks? i think he/she is, so i'm quite excited by all this. it's amazing what can be done with a simple sampler, decent eqs and a delay live...this all bodes well for the future of djing (as does the use of FS, so adding your own edits into the mix). i see there's another article in Jockey Slut this month saying that mixing records together is an out of date approach. i beg to differ. robin... -- This message is intended only for the personal and confidential use of the designated recipient(s) named above. If you are not the intended recipient of this message you are hereby notified that any review, dissemination, distribution or copying of this message is strictly prohibited. This communication is for information purposes only and should not be regarded as an offer to sell or as a solicitation of an offer to buy any financial product, an official confirmation of any transaction, or as an official statement of Lehman Brothers. Email transmission cannot be guaranteed to be secure or error-free. Therefore, we do not represent that this information is complete or accurate and it should not be relied upon as such. All information is subject to change without notice.
RE: (313) Fw: Dex and FX with Kirk Degiorgio
yeah that's what i'm getting at. in fact track selection (brendan mentions it at the end of the below post) is more important to the hi-tech dj. another thought: from what i can gather the Rave Act in the US classifies a party with no djs and just live acts as something other than a rave and the law is less stringent (please correct if wrong). So is a DJ with a powerbook and ableton live now a live act and not dj? will this change things? robin... I would agree that traditional DJs listening to mixes done in things like Ableton will try to copy some of the techniques they hear, and that this will also help the traditional form of mixing to progress and absorb new ideas. For example, the first time I heard proper booty music was back in 1996 when I got a tape from 12 Tech Mob - the tape had been recorded using multitracking and various other tricks, but at the time I didn't know - I thought it was a straight mix. So off I went, spending the next few years gathering booty and ghetto-tech records and attempting to emulate the frenetic multi-layered action you get on the mix tape. When I eventually found out that the mix was not recorded live, of course, I realised I'd been wasting my time, but in the process of trying to do the whole thing live I'd learnt a whole bunch of new tricks and had generally upped the standard of my mixing, which was a good thing. And did it make me value the tape any less? No! It was just as enjoyable a listening experience, whether it had been put together by NASA or by a demented child with sticky tape. I definitely don't think straight-turntable mixing is dead, and won't be for a long time. And when I say long time, I'm speaking in generational terms, not the next few years. Even if the future sees us all with ableton/final scratch and so on within about a five years, the fact of the matter will remain that if your basic track selection skills are lacking then you won't do very well. Brendan
RE: (313) Fw: Dex and FX with Kirk Degiorgio
Yes, track selection is definitely more important - while the traditional DJ might cock up track selection sometimes (by simply not being able to find the right record in time, or having had to limit the number of records brought to a gig for weight reasons), a high-tech DJ has no excuse for picking the wrong track. And while a traditional DJ might argue that his/her crap track selection is compensated for by their impeccable mixing (I myself wouldn't agree with them, but there you go), a high-tech DJ can't really say the same. So track selection is more crucial, if anything, to someone using digital technology. That's an interesting observation about the DJ/live set thing! I think new legislation might have to come into place to differentiate between the two - at what point does asemblage become composition? When Jeff Mills hooks up a TR-909 to his mixer, does he become a live PA or is he still technically a DJ? It'll be interesting to see how the law manages to cope with this... what is the current legal distinction between a DJ and a live act under US law? Brendan -Original Message- From: robin pinning [mailto:[EMAIL PROTECTED] Sent: 23 May 2003 14:53 To: 313@hyperreal.org Subject: RE: (313) Fw: Dex and FX with Kirk Degiorgio yeah that's what i'm getting at. in fact track selection (brendan mentions it at the end of the below post) is more important to the hi-tech dj. another thought: from what i can gather the Rave Act in the US classifies a party with no djs and just live acts as something other than a rave and the law is less stringent (please correct if wrong). So is a DJ with a powerbook and ableton live now a live act and not dj? will this change things? robin... I would agree that traditional DJs listening to mixes done in things like Ableton will try to copy some of the techniques they hear, and that this will also help the traditional form of mixing to progress and absorb new ideas. For example, the first time I heard proper booty music was back in 1996 when I got a tape from 12 Tech Mob - the tape had been recorded using multitracking and various other tricks, but at the time I didn't know - I thought it was a straight mix. So off I went, spending the next few years gathering booty and ghetto-tech records and attempting to emulate the frenetic multi-layered action you get on the mix tape. When I eventually found out that the mix was not recorded live, of course, I realised I'd been wasting my time, but in the process of trying to do the whole thing live I'd learnt a whole bunch of new tricks and had generally upped the standard of my mixing, which was a good thing. And did it make me value the tape any less? No! It was just as enjoyable a listening experience, whether it had been put together by NASA or by a demented child with sticky tape. I definitely don't think straight-turntable mixing is dead, and won't be for a long time. And when I say long time, I'm speaking in generational terms, not the next few years. Even if the future sees us all with ableton/final scratch and so on within about a five years, the fact of the matter will remain that if your basic track selection skills are lacking then you won't do very well. Brendan
(313) Third Wave DJ was RE: (313) Fw: Dex and FX with Kirk Degiorgio
another point: the hi-tech dj (third wave dj?, have i been reading too much? :)) has to approach selection in a similar way to a ghetto-tech dj. using two copies to do your own edit/effects, using just small snippets of some tracks juggled over the top of a beat track to create a new one, that kind of thing. and of course a lot of recorded ghetto-tech mixes are done hotmix style. i've just realised i'm wittering on too much and a lot of the US people are prepping to go to Movement. Lucky B**s! :) i'll shut up now robin...
(313) RE: Third Wave DJ was RE: (313) Fw: Dex and FX with Kirk Degiorgio
I like the term third wave dj actually! :) Lots of recorded ghetto-tech mixes are done in hotmix style, that's true, but it kind of remains that the ghetto-tech scene is probably the most hostile to new techniques and methods for DJing. You can just imagine the chorus of disapproval on the ghettotech.de forum if, god forbid, Godfather was spotted with a laptop hidden behind the decks! But at the same time the overwhelming majority of ghetto-tech mixes are made digitally. When you are doing a high-tech mix, though, you do have to think like a ghetto-tech DJ - what noise can I put in *right here* that will make this a bit better? What can I personally do to keep the listener interested during this rather boring bridge part of a track? Should I just let this whole track play out, or shall I whip out a second copy and cut straight to the good bit at the end? That sort of thing needs to be going through your head all the time if you're using digital technology, I would say. If you find yourself just sitting there with mouse hovering over track title for five minutes, waiting for the tune to play out, you're not really getting into the spirit of things... This thread is a bit on the waffly side, but f*ck it; with everyone going to Movement this weekend, the list would just die on its feet if there weren't a few us prepared to step into the breach and start talking bo**ocks! Brendan -Original Message- From: robin pinning [mailto:[EMAIL PROTECTED] Sent: 23 May 2003 15:33 To: Brendan Nelson Cc: 313@hyperreal.org Subject: Third Wave DJ was RE: (313) Fw: Dex and FX with Kirk Degiorgio another point: the hi-tech dj (third wave dj?, have i been reading too much? :)) has to approach selection in a similar way to a ghetto-tech dj. using two copies to do your own edit/effects, using just small snippets of some tracks juggled over the top of a beat track to create a new one, that kind of thing. and of course a lot of recorded ghetto-tech mixes are done hotmix style. i've just realised i'm wittering on too much and a lot of the US people are prepping to go to Movement. Lucky B**s! :) i'll shut up now robin...
Re: (313) Third Wave DJ was RE: (313) Fw: Dex and FX with Kirk Degiorgio
a lot of the US people are prepping to go to Movement Oh, Movement. Cor - looks rubbish that. ESG, Amp Fiddler, Theo Parrish, MM, Juan? load of rubbish You wanna come down my pub in Salford, thats where its at this weekend. Sometimes they play the Smiths on a saturday night and everything. Alex *who is gutted* _ - End of message text This e-mail is sent by the above named in their individual, non-business capacity and is not on behalf of PricewaterhouseCoopers. PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other telecommunications on its e-mail and telecommunications systems. By replying to this e-mail you give your consent to such monitoring
