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-- Digweed hong kong v LA gu
Digweed hong kong v LA gu
Which first track do you like? I love that LA opening.
Which one is better?
I think that both are very good, but the LA opening is performance art at it's finest
gu019 still my favorite mix. I strongly disagree that it aged badly (just a few vocal trucks looks outdated). The thing is: the mixing is just too good. some of the best transitions that i've ever heard are present there.
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Originally posted by Big Worm I think that both are very good, but the LA opening is performance art at it's finest |
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Originally posted by Kilixpree The thing is: the mixing is just too good. some of the best transitions that i've ever heard are present there. |
Actually I am not a DJ or have any idea how the hell the whole thing works (KNOBSSS), so no point in arguing with you if the mixing is technical or not, since I know that you are a good dj - I can just tell you that I love the long blends present there and also the tracklist is bonkers (imo). Also, it is good to point out that this kind of long blends present in GU019 are pretty much dead these days (or maybe I'm just listening the wrong dudes lol)
Apollo Vibes is indeed a great opening track!
Been re-listening to this one lately https://www.discogs.com/Various-Glo...ns/release/9520 and what a great mix this is, the opener is just as good or even better than on the LA.
and the track Delta Of Venus by Main Element is the fucking bomb!
You're right, performance art was a reach. I guess what I was thinking was it's a beautiful intro, and like Kpree said, flawless in transition
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Originally posted by Subtle Apollo Vibes is indeed a great opening track! Been re-listening to this one lately https://www.discogs.com/Various-Glo...ns/release/9520 and what a great mix this is, the opener is just as good or even better than on the LA. and the track Delta Of Venus by Main Element is the fucking bomb! |
Sydney > Hong Honk > LA
heard again yesterday, just in case.
the combo 'inner laugh' -> 'the fall' -> 'one last time' is brutal.
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Originally posted by Kilixpree Actually I am not a DJ or have any idea how the hell the whole thing works (KNOBSSS), so no point in arguing with you if the mixing is technical or not |
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Originally posted by Lews Sydney > Hong Honk > LA |
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Originally posted by Sykonee Quite the auto-correct, that. |
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Originally posted by SYSTEM-J It's not really a case of technique, because it was all done on a computer. |
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Originally posted by MR STROKE How do you know this? |
I recently completed a listen to the whole of GU, and 19 still hasn't clicked for me. I do like my dark prog a whole lot but need -some- variation or peaks/valleys or some sense of 'brightness' and soul... 19 just felt extremely flat - Love In Traffic is the only song I can remember off it. As far as dark prog GUs go, the Satoshi Tomiie Nubreed is much more interesting.
GU14 though is one of my series favorites. I always felt the best GUs have some elements of the city in them, and you can totally feel the dark, gritty nature of a Kowloon back alley within the tribal and tech-house beats. Also it has a clear progression, in terms of the mellow deep house of Cups (Salt City Orchestra mix), gradually increasing the griminess, then building up to an epic finish with Baguio Track and Useless. Disk 2 has a ton of great progressive trance anthems on it - Diablo, NY FM, the Heaven Scent remix.
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Originally posted by Mr Game+Watch As far as dark prog GUs go, the Satoshi Tomiie Nubreed is much more interesting. |
I'm still looking for that post where there is a huge TA style graph where almost all compilations were either done, at home, studio, or pro tools.
Also, I'm not huge fan of Ableton or Protools those warped tracks lack speed of tempo like momentum because the whole track is fixed to a single BPM without changes unless the warper does it him self which I also would dislike because its not what the artist originally intended.
& you have audible artifacts that become present which are unpleasing to the ear.
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Originally posted by SYSTEM-J I've never understood this sentiment either. Is it really so impressive to ProTools together a bunch of near-identical 10 minute dark prog records? |
https://www.soundonsound.com/people/bedrock
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Like most big-name DJs, John Digweed has released a number of mix albums, and he's keen to emphasise that there's more to making such a compilation than meets the ear. "The hard work is the selection. Putting a mix CD together can take me three or four weeks, finding those 22 records or 11 records. You can get the thing done in the order that you want it, and then the record label says you can't use the middle track, so you're then in a position where you have to find something that is going to work inbetween two other records. It's not an easy process. "All the tracks I use on my mix albums are tracks I play out in the clubs, but obviously in a club I'll be playing for five or six hours. So it's about breaking it down to the best tracks, there's certain tracks which sound great in a club, and there's certain tracks that sound great in a club but also sound great at home or in the car, in those different listening environments. I want something that every time they hear it, they hear different things coming in because it's put together in a way which is very crafted. When you're in a club environment you'll use certain records as bridges, you'll have peaks and then you'll hold them off for a little while, you can't have them just going mad the whole time because they'll wear themselves out over five hours. But obviously with a CD, it's not about going mad, but you want the real quality ones, not the bridges. "It's all done off vinyl into Pro Tools. I work out exactly how I'm going to do it, so these are all the records, this is the order, these are where the mixes are. They'll be certain records which may need an extra 16 or eight bars, and obviously if the record ends and you're in the middle of the CD you've got a dead spot. So the reason it's done in Pro Tools is so you can add on those extra bars and give it that smoothness. There's always these people who are like 'Oh, it's not a live mix,' but I don't have to justify my mixing techniques to anyone. I'm quite capable of doing it, but I want this CD to be perfect. I'm sure when Oasis do their album they don't do one take and go 'Right, that's it, you only got one go at it.' They make it as well as they can, and when I'm doing an album I want it to be as good as I can make it. If that means using the technology, that's fine." |
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Originally posted by Hides in Shadow I'm still looking for that post where there is a huge TA style graph where almost all compilations were either done, at home, studio, or pro tools. |
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Originally posted by the-sixth The early GU series were live, i believe they actually say live on them (Tony De Vit, Oakey new york / Oslo, Nick Warren Prague). I struggle to name any other CD that was not edited in some way. |
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Originally posted by the-sixth Nick Warren Prague). |
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