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The Official NeoGAF Groundbreaking Electronic Music Thread™

D

Dreaver

Member
okno said:
The difference really is night and day, much more fun to lay down wax than play CDs or MP3s. It's a shit ton of fun no matter what, so I'm perfectly content at the moment.

Dreaver, my technique is just what I've learned from watching other DJs play and figuring shit out on my own (completely self-taught.) You need to "learn" your music to make a smooth transition. Listen to the track your playing and see what is missing and plug that space in with the next track. This could be something like mixing in a melodic track into a monochrome techno track, or if the song in deck a has no claps mix in a track on deck b with claps on beats 2&4, things like that. The key is to really know the music you're playing, and learn to count the beats. When mixing in the next track, it's especially important to pay attention to your EQs. Turn the mid down on the track you're mixing in and slowly raise it at an opportune moment in the first track, such as during a breakdown. You want to introduce elements slowly so as to not make anything jarring or seem out of place. Just keep practicing and you'll start to understand. The best tool for me was to just make an hour long mix and listen to it repeatedly. If you fuck up during the recording, just keep going. You'll begin to notice what you did wrong and how to prevent it from happening again.
Click to expand...
Thanks for your reply and yeah I understand what you mean. I've only had a controller for about two weeks now. I have been trying to recreate transitions with the same songs certain dj's use in essential mixes (someone here suggested it). It's going pretty decent so far but it's still a lot of experimenting. Especially the EQ mids are hard to mix in sometimes. I'll certainly try what you suggested (1h mixes).

thabiz said:
nice write up. its a feel. beatmatching is only a fraction of the whole process. transitions are personal and will give you your own sound. every dj mixes differently. and stay away from any sync shit. it will make you sound like a robot and be uninteresting to listen to.
Click to expand...
Why is it uninteresting for just transitions with songs with similar BPM? It sounds good to me (I still have newbie dj ears though). Right now sync is the thing I do all the time.. I first want to feel better with mixing in general and I find beatmatching really hard, adjusting the pitch to the right level (I understand it's not something you master in 3 sessions), which can be frustrating. Sync is pretty damn useful as a beginner, don't get me wrong though, I'm certainly willing to learn beatmatching.

In the end I'm just doing it for fun with tunes I love. I'm building my library now and I started with pretty much zero songs, I only get songs I can appreciate, not just some billboard songs because they're hot.
 
S

Shaneus

Member
When you know how to beatmatch, you're able to get a much better feel for a song than just hitting sync and letting it do it itself. I know that when I'm mixing songs I'm listening to both far more intently than I ever would have, so rather than just mixing songs that have a similar tempo, you can actually pick out bits of songs that would fit well with each other. Plus, there's the satisfaction of matching something up perfectly that the wind down of one track clicks perfectly with another. I don't know if auto-sync could really offer that opportunity.

To each their own I guess, but whenever I can I actually prefer to have as little indicators of BPM or timing as possible (short of track length/remaining time) because I like to challenge myself (or just rely on instincts rather than indicators). One of the advantages of starting out with this as your only display:
kr9GrtMm.jpg


I know it could be hard to grasp, but man... throw yourself in the deep end. Don't get pissed if you screw up a mix, because you will always learn from it, regardless of if you recorded it or not :) DJing is an art form and IMO when you use stuff like auto-sync, it's like painting a masterpiece with colour-by-numbers.

If I can add one thing, it's that whenever I hear mixes (regardless of if it's an EM or someone's bedroom mix) I can almost always tell when it's been done with some kind of auto-sync or not. I usually only get that feeling when there's no "character" in the mixing. A loose beat or slightly wonky mix every now and then lets me know that the DJ is in control, not the equipment he's using.

I hope this doesn't come off as too harsh and I don't want to discourage you from throwing mixes together *at all*, but... yeah, I just want you to gain as much from learning the craft as possible. Then you can sound all pretentious and shit like the rest of us ;)


PS. Picture this: You're at a mate's party, he's heard some of your mixes and reckons they're pretty damn good. There are some insanely sexy girls dancing, but he wants to go for a smoke, so asks you to fill in for 20 minutes or so, give or take. But then you see his equipment:
gdnOPlLm.jpg

Wouldn't you just love to be able to rock that shit off the bat? Nothing better than seeing someone fill in at a party and rock it harder than the main guy!

PPS. I don't usually mix with cutting the mids in and out as most of the tracks I play (maybe most of them in general, I dunno) do that for me as part of their intro and outro (I still do it, but not all that often). I more concentrate on mixing the bottom end so you don't get two kickdrums over the top of each other and getting super boomy or clipping your output. It's a lot easier than mixing while tweaking multiple frequencies!
 
D

Dreaver

Member
Haha good post Shaneus, thanks for the extensive answer. It's not harsh and I totally understand what you're trying to say. Like I said it's definitely something I want to learn (actually your post motivated me even more). If I may ask one more question, what % of pitch fader difference do you guys use? I think mine is 8% now (default) but it's a little bit too much I think.
 
T

thabiz

Member
Dreaver said:
Why is it uninteresting for just transitions with songs with similar BPM? It sounds good to me (I still have newbie dj ears though). Right now sync is the thing I do all the time.. I first want to feel better with mixing in general and I find beatmatching really hard, adjusting the pitch to the right level (I understand it's not something you master in 3 sessions), which can be frustrating. Sync is pretty damn useful as a beginner, don't get me wrong though, I'm certainly willing to learn beatmatching.
Click to expand...

shaneus pretty much covered it.

what i can suggest is, listen to the old school guys. notice how they bring a track in differently on almost every mix. thats what i mean by uninteresting. with sync, you lose that flavour. every mix starts to sound the same, and man does that get boring. sometimes the beat should be slightly behind or ahead because the tracks just blend together better that way. not everything should be locked.

its going to be frustrating. i know its useful, but you have to resist the urge. learn the fundamentals. headphones will be tossed :) records may be broken.

keep at it and you will get there.
 
O

okno

Member
Dreaver said:
Haha good post Shaneus, thanks for the extensive answer. It's not harsh and I totally understand what you're trying to say. Like I said it's definitely something I want to learn (actually your post motivated me even more). If I may ask one more question, what % of pitch fader difference do you guys use? I think mine is 8% now (default) but it's a little bit too much I think.
Click to expand...

The threshold for the track to still sound decent is right around 8%. It really depends on the track, though, as sometimes taking a 130bpm techno track down to 120bpm can have a neat effect, but rarely does it work in reverse. It also depends on if you are using a key lock. With key lock turned on, your turntable/software is essentially guessing and filling in pieces when you change the pitch to keep the key at the same level but allowing you to change the tempo. The more you change the tempo, the more the sound quality is affected. Take that 130bpm techno track and sync it with key lock on to a 110bpm track and you'll notice it'll suddenly start to sound like a radio rip.

And what Shaneus says is absolutely right. When you're beat matching, you're using your ears and not any visual cues and it changes the way you blend tracks together. I'm guilty of it myself sometimes, relying on the waveforms in Traktor to tell me when the next breakdown or whatever is coming up. Don't be discouraged by this, however, as these things are fantastic tools for you to begin learning and honing your skills with, just don't start using these things as a crutch. I had to use sync when playing for a long time to be able to even begin to understand what really went into beat matching. I can't tell you how many gigs I played at the beginning thinking I was hot shit, throwing two songs into a mix with sync on and not realizing or understanding why the two sounded horribly out of sync. "But I have sync on, it should be doing it for me!" I'd say to myself. That's where sync can really fuck you over, because if you don't understand nudging a track into place you will look and sound like a buffoon.

I get the feeling you're using Traktor, and it's an awesome thing to use to learn DJing. If you don't begin to challenge yourself the moment you begin to feel comfortable and like you understand what you're doing, you'll begin to play safe and will have a hard time getting out of it. Many underground club nights and parties will also not want to hire you if you can't play on at least a pair of CDJs.

And what Shaneus said about the bottom end is correct. I didn't mention it because I didn't want to get toooo technical. That's the easy part in mixing. Trying to mix two vocal house tracks, though, requires some intensely precise EQ skills.
 
S

Shaneus

Member
Dreaver said:
Haha good post Shaneus, thanks for the extensive answer. It's not harsh and I totally understand what you're trying to say. Like I said it's definitely something I want to learn (actually your post motivated me even more). If I may ask one more question, what % of pitch fader difference do you guys use? I think mine is 8% now (default) but it's a little bit too much I think.
Click to expand...
I use +/-10 on my CDJs, but that's only because it means there's an increment of .05 each notch. Generally I try not to play songs that have to be pitched more than 5% either way, but sometimes you find songs that just sound better when they're way faster in the first place. For example:
Crazy Penis - Give It Up (LAID Dub) (original tempo)
Same track, from the Fabriclive 09 (Jacques Lu Cont) album mix CD

BTW I'm really, really glad you didn't take my post the wrong way. I usually tend to be a lot more easy-going when making suggestions for people, but I can get a little aggressive when it comes to music tips. I'd like to think it's for good reason ;)

But trust me when I say this: When you record a mix and everything seems to go well, when you listen to it again for the first time and you realise you nailed everything (or honestly, even just one or two) you'll be THAT much more impressed you pulled it off. Some of the stuff I've surprised myself with, just puts you in a great place and gets you motivated to play around even more.

If I can maybe offer one thing to start off as a beginner without having to use assists or whatever, maybe just try mixing tracks from the same artist now and then, because they'll tend to have similar sounds, tempos and be in the same key so that could relieve some of the pressure without taking away from learning the basic skills. But don't *only* do that, no-one wants to see a DJ only play Deadmau5 songs. Unless you're Deadmau5 ;)
 
N

Nyx

Member
When I first started mixing it was on 2 technics and with regular vinyl, this was back in the 90s already. Mind you this was at a friends house as he owned everything, I just tagged along..
Some time later he replaced regular vinyl with timecode vinyl which was ace at the time.
He then bought CDJ's which is a lot easier if you ask me, and he still has those.

In the meantime I bought a midi-controller for myself with Traktor Pro and I make my own mixes that way, WITH the sync-button...

I don't have a lot of time to spare since I live together with my GF so when I mix I want it to be good fast, that's why I sync. I don't have time to record the same mix over and over till I'm absolutely happy so why shouldn't I use that ''dreaded'' sync button? ;)

Not that it will happen but IF I would be invited to DJ somehwere I'll just go to my friends house, practice with the CDJs for a few hours and am ready to go again without any sync-buttons...
Don't want to step on anybody's toes, but sometimes I feel that some people make you believe that beatmatching is rocketscience while I think even an ape could learn it as long as he can count to 4...

For me personally, I don't even care anymore if a DJ at a party uses vinyl, CD's, USB sticks, Traktor or whatever, as long as his/her track selection and buildup is good then I'm happy.

Oh and regarding transitions, the best thing about mixing for me is that you find 2 tracks that seem to be made for eachother, that you could start both at the same time and no one would notice that it's 2 tracks being played instead of one, love that.
 
T

thabiz

Member
Sound In Motion 2013

Kode9 - Hyperdub – UK,
DeepChord – Echospace/ Soma –Live - US,
Daniel Bell - Accelerate/ 7th City/Elevate/ Peacefrog – US,
Pinch - Tectonic, Cold Recordings UK,
Basic Soul Unit – Nonplus+/Still Music – CA,
Audio Werner – Hartchef/Perlon/Minibar – Live – DE,
Akufen - Musique Risquée/Perlon - CA,

plus more

I think im going to have to hit this up.
 
S

Shaneus

Member
Nyx said:
Don't want to step on anybody's toes, but sometimes I feel that some people make you believe that beatmatching is rocketscience while I think even an ape could learn it as long as he can count to 4...
Click to expand...
If it's not rocket science, then you shouldn't have to use that sync button :p It's like having an automatic gearbox in a car. Sure, you're getting from A to B, but you're not really getting a feel for the intricacies of the car you're driving... or having as much fun, for that matter ;)

Anyway, if I record a mix and the mixing is genuinely bad in places, I have a good laugh at it and know better for next time. There's no fun in listening to something that's perfect!
 
O

okno

Member
thabiz said:
Sound In Motion 2013

Kode9 - Hyperdub – UK,
DeepChord – Echospace/ Soma –Live - US,
Daniel Bell - Accelerate/ 7th City/Elevate/ Peacefrog – US,
Pinch - Tectonic, Cold Recordings UK,
Basic Soul Unit – Nonplus+/Still Music – CA,
Audio Werner – Hartchef/Perlon/Minibar – Live – DE,
Akufen - Musique Risquée/Perlon - CA,

plus more

I think im going to have to hit this up.
Click to expand...
Holy shit, Akufen? Definitely go!
 
N

Nyx

Member
Shaneus said:
If it's not rocket science, then you shouldn't have to use that sync button :p It's like having an automatic gearbox in a car. Sure, you're getting from A to B, but you're not really getting a feel for the intricacies of the car you're driving... or having as much fun, for that matter ;)
Click to expand...

I've tried with my Reloop but find it way harder than with Technics or CDJs, it seems like the jogwheels are just not good enough for it.

thabiz said:
how else is he going to wave his hands around and look cool. gotta tweet while you spin.
Click to expand...

I always wave to my cats indeed, they don't seem to understand what I'm trying to say though.
 
S

Shaneus

Member
Nyx said:
I've tried with my Reloop but find it way harder than with Technics or CDJs, it seems like the jogwheels are just not good enough for it.
Click to expand...
I'll actually echo that sentiment... I only have a cheapo Typhoon (only really bought it to muck around with) and it always feels less precise than using decks of any kind. So if I absolutely have to DJ at home without burning discs, I just use Serato instead with control CDs. USB controllers... I just don't think I'll ever get used to them.
 
N

Nyx

Member
thabiz said:
lol. my buddies cats sit on top of the speakers. they love it.
Click to expand...

Haha, they love warm surfaces!

Shaneus said:
I'll actually echo that sentiment... I only have a cheapo Typhoon (only really bought it to muck around with) and it always feels less precise than using decks of any kind. So if I absolutely have to DJ at home without burning discs, I just use Serato instead with control CDs. USB controllers... I just don't think I'll ever get used to them.
Click to expand...

I've tried many times but it feels too unresponsive/not precise enough.
 
T

thabiz

Member
Johnlenham said:
Pinch is also arguably one of the best Djs Ive ever seen. Ive seen him play out atleast 6 times and every time its been sick.
Kode 9 is also really good especially if he has a good sound system behind him.
Click to expand...

ive heard good things about Pinch live. i havent seen either before, so yeah, this is a must do. plus they are all spinning on a function one system, so the bass will be unreal.

doing some really cool things for this. hosting conferences all weekend. this should be cool.

The world premiere of this live program lets the audience listen and feel bass through SubPac as esteemed music producers share their stories of past, present and future bass music inspirations. Expect deep creative insights and even deeper bass frequencies emanating from an interactive soundstage to your body.
Panelists: Kode9, Pinch, Marcus Visionary
Moderator: Pursuit Grooves
Click to expand...

http://www.soundinmotion.ca/

50, sorry. i was told 40, so maybe im getting a discount.

LTJ Bukem same weekend. shoes are going to be on FIRE!
 
O

okno

Member
Matthew Herbert - The End of Silence

This is one of the coolest things I've heard in a long time. It's no secret that I am a massive fan of Herbert's work, but this is just on another level.

Boomkat said:
By this stage we're all used to Matthew Herbert using sampling to illustrate uncomfortable truths, but his latest full-length effort, The End Of Silence, is by some distance the most harrowing example of his practice to date, and certainly one of the best. Divided into three long pieces, every sound on the album is derived from a 10-second recording of war photographer Sebastian Meyer being bombed by Libyan airforces in 2011; as Herbert puts it, it forces you to "live inside" this atrocity rather than passively observe it, and on top of that poses some very tough questions about art as entertainment, the moral duty of the artist, and so on. Don't get us wrong, there's nothing entertaining about this record, but it's certainly edifying: Herbert's music has never sounded this violent or degraded, its blasts of molten noise, static, disturbed drones and eerie, primitivist minimalism variously recalling Merzbow, Prurient, Ryoji Ikeda, Kevin Drumm and Throbbing Gristle (we're some way from 'Cafe De Flore'). The scarce passages of tenable melody or accessible rhythm are actually the most unpleasant, it being impossible to mentally separate them from their sickening source; but then so deft is Herbert at creating new, unrecognisable sounds out of those dreadful 10 seconds, that it is possible to lose yourself in it for a few minutes - only to be brought back to the full horror of it by his sudden deployment of that untreated, unmistakeable sound of the bomb making contact with its target. It's hard to recommend a record this upsetting, but make no mistake, it's a major achievement; Herbert has finally stopped p***ing about and created a work whose political power isn't compromised by conceptual cuteness.
Click to expand...

Chilling record.
 
D

Dreaver

Member
Thanks for your inputs and tips okno, Shaneus and Nyx! Your posts are really helping me a lot, I appreciate it. Hopefully I'm not too much of an annoying-newbie-dj-poster and derailling the thread too much.

I have been practicing beat matching pretty much all evening. It went quite well. Just looped part of tracks (but different tracks every time I 'finished' a beat match) with easy recognizable beats. Just riding the pitch to make the beats match. I would say most tracks took me about 30 seconds to match (with a 0.5-0% deviation), while some beats took longer and some went faster. I also counted pretty much everything which helped me a lot. So yeah nothing special but it's definitely a beginning and I was quite happy I managed to beat match quite some songs. I'm serious that I can totally understand that this is harder, but a way better way to learn it, it also gives me a way better understanding of how most songs are build.


Like I said I didn't want to derail the thread too much, so here's a song that popped up on my Soundcloud today: L'ordre - Pacific 704.
They have some pretty cool relaxing, french electro on their page, a little bit Daft Punk-y.
 
I

injurai

Banned
thabiz said:
Sound In Motion 2013

Kode9 - Hyperdub – UK,
DeepChord – Echospace/ Soma –Live - US,
Daniel Bell - Accelerate/ 7th City/Elevate/ Peacefrog – US,
Pinch - Tectonic, Cold Recordings UK,
Basic Soul Unit – Nonplus+/Still Music – CA,
Audio Werner – Hartchef/Perlon/Minibar – Live – DE,
Akufen - Musique Risquée/Perlon - CA,

plus more

I think im going to have to hit this up.
Click to expand...

whoa that line up! is this a tour or something?
 
O

okno

Member
miksushag said:
Sorry, been kinda inactive lately - summer job + producing and shit takes my time!
heres some latest stuff if anyone is interested:
https://soundcloud.com/miksuswag/raptororo2o2oo2/s-uGlHo
Click to expand...

Quite like this. Needs some tweaking, but it's a great start! Do you have experience in music production or are you just figuring things out on your own? I've been mucking around with Reason for a few years and just recently got Logic Pro, but other than 8 years in school band I don't know what the fuck I'm doing. A friend and I are collaborating on a thing and should have our first track out pretty soon, I'll put it up once it's ready (he's taking care of the mastering as we speak).
 
M

miksushag

Member
okno said:
Quite like this. Needs some tweaking, but it's a great start! Do you have experience in music production or are you just figuring things out on your own? I've been mucking around with Reason for a few years and just recently got Logic Pro, but other than 8 years in school band I don't know what the fuck I'm doing. A friend and I are collaborating on a thing and should have our first track out pretty soon, I'll put it up once it's ready (he's taking care of the mastering as we speak).
Click to expand...

Well, I used to produce in high school around when I was about 18-19. almost got a record deal but the label couldn't find anyone to remix my song so they decided not to release it (melodic trance, yeah I know hahah). That really bummed me out and got me into a little more inactive phase of my production hobby, lately about a half year ago I found the fun again in production (because there is really no limits in this type of music that Rustie, HudMo and such pioneered - so you can basically do whatever you want).
Always learned things by myself with the help of internet, youtube and forums are your best friend.
 
S

Shaneus

Member
Dreaver said:
Thanks for your inputs and tips okno, Shaneus and Nyx! Your posts are really helping me a lot, I appreciate it. Hopefully I'm not too much of an annoying-newbie-dj-poster and derailling the thread too much.

I have been practicing beat matching pretty much all evening. It went quite well. Just looped part of tracks (but different tracks every time I 'finished' a beat match) with easy recognizable beats. Just riding the pitch to make the beats match. I would say most tracks took me about 30 seconds to match (with a 0.5-0% deviation), while some beats took longer and some went faster. I also counted pretty much everything which helped me a lot. So yeah nothing special but it's definitely a beginning and I was quite happy I managed to beat match quite some songs. I'm serious that I can totally understand that this is harder, but a way better way to learn it, it also gives me a way better understanding of how most songs are build.
Click to expand...
That was one of the big moments for me, is when you have to count everything and then realise everything's in multiples of four/sixteen/thirty-two and you can predict almost exactly how many beats there are left in a song just by what's happening (instruments/synths/drums falling back, that kind of thing) it's a pretty epic moment, like you've just seen The Matrix ;)

BTW Nothing wrong with taking your time while beatmatching, either. One of the most important things to remember is not that you get tracks matched up perfectly, but close enough so you can tap the pitch-bend button (or use the wheel, depending on the setup) every so often until the mix finishes, then you'll be right. There are just some tracks that will never sync up perfectly. Conversely, sometimes you'll pick two tracks to mix by that by accident are exactly the same BPM. That makes it easy!
 
S

Shaneus

Member
Okay, this is fucking great:
Pet Shop Boys - Vocal
My mate who posted it on FB said "Video comprises real amateur recordings from late 80s dance events". So fucking awesome... and it reminds me of classic 90s dance, too. As something unadulterated and unpretentious, I adore it already <3

PS. Free James Brown re-edit from The Reflex. So hot.
 
M

miksushag

Member
Hysterics - 20KG Mix

Mix by Hysterics (new project from @girlunit). Tracklist at:
dismagazine.com/disco/mixes/47659/hysterics-20kg/

Hysterics 'Club Constructions' is out on @nightslugs on July 2

01 Hysterics – Intro
02 Helix – Linn Jam [Night Slugs]
03 Aphrohead – In the Dark We Live (Dave Clarke's 312 Mix) [Bush]
04 J.T.C – The Controller (Mick Wills Remix) [Minimal Rome]
05 Jam City – Metal
06 Hysterics – Code Switch [Night Slugs]
07 DJ Richard – Nailed to the Floor [White Material]
08 Shunji Moriwaki – Shirushi-o-Chodai (Remix) [Empire State Records]
09 Errorsmith – Stiff Neck [Errorsmith]
10 Nitzer Ebb – Let Your Body Learn (Instrumental) [Mute]
11 Nguzunguzu – X Treme Tremble
12 Ralphi Rosario – All Right Now! (Edit) [Underground Construction]
13 Hysterics – Pleasuredrome [Night Slugs]
14 Robert Hood – Needs and Wants [Music Man Records]
15 Rushmore – The Grill
16 Hysterics – Code Switch (Club Mix) [Night Slugs]
17 DJ Bone – Narcoleptic Nightmare [Subject Detroit]
18 Fierce Ruling Diva – Atomic (Rise Up and Work NYC) [Lower East Side Records]
19 Vince Watson – Mystical Rhythm [Alola]
Click to expand...

https://soundcloud.com/dismagazine/hysterics-20kg-mix/s-FWGsf
 
M

miksushag

Member
Shaneus said:
Okay, this is fucking great:
Pet Shop Boys - Vocal
My mate who posted it on FB said "Video comprises real amateur recordings from late 80s dance events". So fucking awesome... and it reminds me of classic 90s dance, too. As something unadulterated and unpretentious, I adore it already <3
.
Click to expand...

This is some fire. Love the video, love the nostalgic feeling of this all. Can't wait for the lp to drop :3
 
D

Dreaver

Member
silentcapybara said:
Can anyone hook me up with some sexy remixes? Need new late night stuff.
Click to expand...

I don't know what kind of stuff you like and it's not necessarily new, but here are some remixes I have been listening to the past few weeks which I really like:

Storm Queen - Look Right Through (MK Dub III)
Duke Dumont feat. Âme "Need U (100%) (Skream Remix)
Flume - Holdin On (LKiD's Unofficial Remix)
Real Talk (Cassian Remix) - Anna Lunoe and Touch Sensitive
Santigold - The Keepers (Duke Dumont Pour Femmes Remix)
Mount Kimbie - Carbonated (Whitesquare remix)

There is a good chance they have been posted here before because I discover a lot of new (underground) electronical music via this thread.


Shaneus said:
That was one of the big moments for me, is when you have to count everything and then realise everything's in multiples of four/sixteen/thirty-two and you can predict almost exactly how many beats there are left in a song just by what's happening (instruments/synths/drums falling back, that kind of thing) it's a pretty epic moment, like you've just seen The Matrix ;)

BTW Nothing wrong with taking your time while beatmatching, either. One of the most important things to remember is not that you get tracks matched up perfectly, but close enough so you can tap the pitch-bend button (or use the wheel, depending on the setup) every so often until the mix finishes, then you'll be right. There are just some tracks that will never sync up perfectly. Conversely, sometimes you'll pick two tracks to mix by that by accident are exactly the same BPM. That makes it easy!
Click to expand...
Yeah exactly, the four/sixteen/thirty-two thing is there at pretty much every electronic song. It's pretty awesome (and useful)!
 
S

silentcapybara

Banned
Dreaver said:
I don't know what kind of stuff you like and it's not necessarily new, but here are some remixes I have been listening to the past few weeks which I really like:

Storm Queen - Look Right Through (MK Dub III)
Duke Dumont feat. Âme "Need U (100%) (Skream Remix)
Flume - Holdin On (LKiD's Unofficial Remix)
Real Talk (Cassian Remix) - Anna Lunoe and Touch Sensitive
Santigold - The Keepers (Duke Dumont Pour Femmes Remix)
Mount Kimbie - Carbonated (Whitesquare remix)

There is a good chance they have been posted here before because I discover a lot of new (underground) electronical music via this thread.
Click to expand...

You are both a gentleman and a scholar.
 
S

Shaneus

Member
miksushag said:
This is some fire. Love the video, love the nostalgic feeling of this all. Can't wait for the lp to drop :3
Click to expand...
You know what's best about it, is that the first track we heard ("Axis") is the first track on the LP and that one ("Vocal") is the last... so it's reasonable to expect that the album will be one long transition from one track to the other. That's pretty fucking awesome if true.
 
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