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Mixing a Compilation For A Record Label

Hey guys,

I was contacted by a record label today asking me to mix a mix compilation CD for them (i cant say what label at this point) but i figured if i am going to do this i want to make the listening experience for the listeners as enjoyable as possible. So. i would like to know what u guys enjoy hearing on mix cds? It will be a 2 disc Compilation, 1 disc House, 1 Disc Trance. So yeh just basically looking for any advice you can give me and what makes a mix comp exciting for you. Any advice you guys can give would be great, i wanna make this CD as good as possible.

Thanks a lot
Chris

On the mix CD's that I have....and I actually like they are always pretty mellow I guess you would say. I'm kinda tired of hearing that, I want something with a tad more energy, but then again thats just me. Also it seems that a lot of the times it will bel ike one CD is vocal and the other is more instrumental of some sorts....thats kinda lame when u want a mix of both. But then again just my opinion on what I like.

TENSION...My favorite mixes tease me into the big track for what seems like forever, then finally releases it in one fell swoop. Mixes that go nowhere *yawn* don't have tension. Mixes that pump out the hardest anthems with no break don't have tension. I would build a set with a steadily rising curve of energy, hit a peak, then go back down slowly. A lot of mixes that I hear have two peaks, a smaller one early then a bigger one near the end of the disc.

Wow, I'm rambling, but you get the idea. Tease us with the goods, then make us go crazy...

quote:

Originally posted by Dojomaster26 Tease us with the goods, then make us go crazy...

all this talk of tension...and this OH MY some one is watching porn

but on a seriously note..yeah tension is good. I dont know about the whole two peaks with one smaller thing though. That kinda gets to me.

Re: Mixing a Compilation For A Record Label

quote:

Originally posted by chris harrington Any advice you guys can give would be great

Find a dark room, a very dark room where they store all the vinyl along with two turntables. "Bring headphones." Then listen to your way out of the darkness. Find the light and when you do write down all the IDs for the tracks. Be sure to record the way you go out as well. That way if you ever find yourself in the same room, you'll know exactly how to get out.


P.S.

Absorb as much of the music the label will let you absorb.

Congratulations as well. PM me if you ever get something completed I'd be interested in listening. :P

One of the issues with comp. mixes is how to make the tracks compliment each other, giving the whole mix consistancy, and this is acheived by getting flow right. There is no easy solution but figure out which tracks are going to be the "stand out" ones and build brdiges between them if you get what I mean.

Usually the problem with compilations is that you can't just pick any tunes you want - chances are not all of them will do the deal to be on the compilation for one reason or another (money, wrong lable, etc.)

do not use overplayed tracks, at least not too many

i say mix everything you can into it...throw in some mellow dramatic tracks, hard in your face tracks, some dark ones, some techy, etc...i like mixes that cruise the whole spectrum...granted this is hard on a mix cd, given the time limit, but it adds a lot of variety. perhaps play about 3-4 minutes per track

Flow and progression.

I don't like mixes that seem to just 'go on'. I like a clear feeling of the mix actually going somewhere. Much like a story, it needs a beginning, middle and end.

Another thing that really sticks out for me is the MOOD of the mix. Keep your mix geared with certain moods in mind, and try not to mix in too many different moods (this will make the mix sound disjointed). For example, if you are going for a darker mood, then dropping happy-go-lucky Disco House won't work in the middle of that mix.

Good luck

The way I look at a compilation it has to go beyond just a dj mixing a bunch of tracks it should be like a rollercoaster ride and beyond just beatmatching, full of experimenting and crazy transitions yet flawless, good luck and congrats.

I'm actually in a similar situation to yourself at the moment. Due to do a mix compliation of the label I'm signed to.

When you are doing a mix CD for a label it's not like preparing a private mix, you are totally limited to what they have on the label. It's not all going to be to your liking.

As stated in the thread, the main thing is to be aware of the energy levels in the tracks and place them accordingly.

Remember it's not like a DJ set as an audition for a club. Just make sure it's tight.

Another thing worth asking the label is if they have some accapellas or edits that haven't been released, just so you can try some different things to make people think "Damn I wish I had that version" etc. Try and make it a little exclusive but don't go nuts on effects and tricks because it wont work.

Don't forget that your audiences locations may be different so the main focus is track placement for sure.

Well keep you updated on my ventures too.

Cheers
Nem

Flow and progression...

The worst mixed CDs always have the killer tune as the first track and then the rest of the mix is just plain filler.

The way i do my mixes is the "Pretend your playing live" mix.

I always do this. I want the listener to be sent into an "I wish i was there" mind state. starting it off slow building it up then bringing it back down...

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