quote:

Originally posted by enydo SOUL CLAP IS SO HOT RIGHT NOW SLOW HANDS FREAK FREAKS WOLF + LAMB. MARCY HOTEL. KETAMINE BINGE.

good laugh from this one. i actually don't mind slow hands but the rest are pretty shit.

and no, soul clap aren't fantastic dj's. at least the times i've seen them. they play some good music but have no technical skill or flow.

quote:

Originally posted by bas Soul Clap are actually really fantastic DJs. Wolf + Lamb, Gadi in particular, are the ones that can't really mix that well.

Ah, well like I said, haven't seen em just heard word, mostly in Miami last year about a poor set, might not have been them though. Don't remember much too clearly from that week.

quote:

Originally posted by nefardec I usually do not like edits and prefer playing originals all the way for the reason that SYSTEM J posted about the stevie wonder edit.

I realize that this is a bit of semantics, and not really worth all that much ink, but I sure would love to know where, who and why certain people decided to start referring to proper remixes as 're-edits'?

In a somewhat strict sense, a re-edit is taking someone's finished 2-track master and re-editing it, changing its structure, sometimes adding other bits to it on top, and looping segments of this mix but in general keeping the sound and melody of parts of that original mix intact.

On the other hand, the work that TT did on Stevie Wonder's "Superstition" was an attempt at properly RE-MIXING (as in 'mixing again') from the original 24-track master tapes, which are well known to be floating around on the Net, just as some are for Marvin Gaye, Nirvana, Queen, Bob Marley and many other artists.

But even if he decided not to add any new elements, to me it's clearly a re-mix, where he had to re-eq, get a balance, add effects and whatever else to make it listenable again. (Just like when the song was first made, it had to originally be MIXED) No?

I well realize that this became an accepted way to call it a long time ago, and that what most people refer to as remix is really a RE-PRODUCTION where the person who does this records new a bass line, keyboards, reprograms drums, radically changes the tempo and many other things; this to me would really qualify as a new production using fragments of the original source tracks, or 'Refix' as some of the Dubstep people call it. (or whatever else ... but in all cases not P.Diddy what claims to have invented ... unfortunately he was just about 25 years late for that)

The point that I was trying to make is that there is a vast difference between what TT did on the Michael Jackson edit, where he basically took Bruce Swedien and Quincy Jones' stellar mixing work as a finished 2-track master and just re-edited it without having to change much anything to it. But the balance and sound was already there. Fair enough...

On the other hand, what he went for with the Stevie Wonder track was to start from scratch and attempted to do a complete fresh new mix on his own (without adding any new music, but still a RE-MIX, as in 'mixing again'), which is obviously a much, much tougher task, as whoever endeavours to do this will have their engineering skills immediately compared to that of the Grammy-Award winning work of producers Malcolm Cecil and Robert Margouleff and the hundreds of hours and tens of thousands of dollars of the best gear which were spent in painstakingly creating the original version with all of its nuances. (yeah, plug-ins... right)

It really is a completely different thing to be dealing with multitracks rather than re-arranging bits of finished 2-track mixes, and takes a completely different skill set, which certain people such as Dimitri From Paris appear to have mastered with the help of a team of qualified professional engineers, as seen on his recent Teddy Pendergrass and Chic remixes, all of which are mostly using the original elements, but beefed up a bit and favorably comparing to the sound of the originals. Yet very different remixes.

What DFP did is not re-editing. It was bona fide remixing, albeit ones where he didn't feel like he had to re-invent the wheel and change Bernard Edwards' bass lines or Nile Rodgers' guitars for the sake of it, or to justify his involvement in the project.

On the other hand, some remixes one hears these days are often times nothing but a few samples from the original vocal and melody, and should be called re-productions or just sampling bits from the original and creating a totally new track with it, many times with an altogether different melody line.

With regards to re-edits, I think that there are some really excellent ones being made in all styles, some of the ones Danny Tenaglia does as exclusives for his DJ sets are pretty spectacular. Also in a more old-skool way Carl Craig did a bunch (like the Congos' "Congo Man", or Dick Hyman's "Sex Machine") as well as Danny Krivit, who pretty much set the gold standard for bringing out the best parts of old Disco tracks, as he did with the Chi-Lites' "My First Mistake" which then in turn led to David Morales copying it for his single "Needin' U" (Krivit has a new album out of Strut, Volume 2 of his 'Edits by Mr K'). Then there's a slew more, like 'Underdog Edits' which is a really great box set, made by UK DJ Al Kent (I think) and also some other interesting bits done by Leonard Rremix Roy (Leonard Part Sixx out of Chicago), as well as Greg Wilson, and Ben Liebrandt's 'Grand Twelve Inches' series now at Volume 7. And of course Theo Parrish's own series of bootlegs, "Ugly Edits", or Harvey's legendary 'Black Cock' series of vinyl pressings that were changing hands for hundreds of dollars a piece on Discogs. If you're into porn vocals and disco, you may want to check out something Jamie 3:26 did called 'Dr Fuck'. Quite the business...

As far as Techno, Ben Sims has made a mighty number of them, such as the "Killabyte" series, or many semi-official releases that took older records from the heydays of rave, acid and early Techno, like the 'KB Productions' series.

On the older tip, there are more legendary re-dits such as Ron Hardy's work on Blue Magic's "Welcome To The Club" and "Life Is A Jungle" by Kikrokos, a loop of the same 20-second part from this Disco record which many early Chicago producers cite as the source, the kind of seminal vibe they emulated for what later became known as 'House Music', or the one that Larry Levan did of "Love Is The Message", which so many people have copied, and served as the main inspiration for countless records that copied its unique feel and bass line and became hits.

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Last edited by sg_57 on Mar-05-2011 at 05:22

whoa.

adam vana, seriously? are you really taking that route, critising when they actually are adding to the tune and taking a new spin on something, i.e. being creative. i mean, if you are just doing edits where you are extending the track, then just play the track as it is.

and i fucking love that you mentioned the theo parrish edits. i love the internet fanboys, they managed to hype up the most pointless edit series in the business. i've read somewhere that parrish wanted to keep the edits in a tight number of copies and only pressed a few of them. ye, ok. i can buy that. but not expecting the demand of his nerdy fanbase, fuckoff? anyone playing the theo parrish edits should be playing the originals instead and/or work a looping machine.



btw, sg_57, leonard part sixx isn't the same guy as leonard remix rroy. rroy is out of chicago and the former is out of philadelphia (afaik) and rroy wasn't even active in the house scene at the time when leonard part sixx was coming out with his underdog series. rroy was still in retirement/being in the military/having a 9-5 job and family etc etc.

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"I believe that's referred to as intelligent drum & bass, which obviously means there's a genre of stupid drum & bass out there" (John Peel)

Last edited by montana on Mar-05-2011 at 10:13

quote:

Originally posted by montana i mean, if you are just doing edits where you are extending the track, then just play the track as it is.

Simplicity can be very powerful in the right hands.

On many occasions the timeless bits have been those that someone like Ron Hardy zeroed in on, highlighted and made it into a jewel of a track where everyone else just saw manure. And no, in that sense it would be pretty impossible to play the track 'as is'... find the deadly groove and discard all of the sugar around, the same way Hip-Hop crate diggers can unearth that one sweet part which everyone will go mental about. There may well be something about repetition and serialism in one form or another that does work on dance floors.

Here are a couple more this made me think about :

"No Way Back" The Dells (Ron Hardy)

"Bra" Cymande (Danny Krivit)

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yeah, i get that point, but my point was a slant against parrish's edits, who isn't like kdj's tracks/reworks/edits and ashley beedle and others for that matter who do tracks that are basicly remixes.

they single out certain points and if they haven't been delt with before they focus on something obviously great or if it's already done, it's some other part that is being worked etc etc

parrish's edits are basicly this: the whole track + small bits of extended grooves. they hone very close to the original source but are done to make it easier to dj with.

pointless, yeah, and before anyone calls me out a hypocrite on having done a couple of those edits as well,
a) i don't label my edits (did that in the beginning, but stopped as it's pointless)
b) i did them for a reason, either taking out something or reforming the track to fit my sets, and i mainly pass them onto a very few number of people, who barely play them anyways so it doesn't matter.

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"I believe that's referred to as intelligent drum & bass, which obviously means there's a genre of stupid drum & bass out there" (John Peel)

quote:

Originally posted by sg_57 In all fairness isn't there something to be said for DJs who do create and keep exclusive content to themselves, so that when people go to see them play live they are treated to unique versions they won't be able to hear anywhere else? Wouldn't that make their gig a bit more special, especially in this day and age of everybody having access to everything. Reminds me a bit of Jamaican sound systems, many of whom used to make lots of those exclusive dubplates which no one would ever get copies of....

When I said to my dismay, it was purely in the sense of a record collector that would not mind picking a few of those edits up. I definitely understand producers not releasing tracks to have exclusive material .(not to mention many times these are unofficial and not every guy has the balls to release what is essentially a bootleg for profit..because that is an asshole move.)

I like having these kinds of edits lying around, because when you have company for instance, they can be this kind of middle ground for people that don't really like house music. Everyone likes Stevie Wonder, and if they don't, they get kicked out. I've sold a few people on house music with this basis.

Just remembered a few quality ones on Golf Channel, the first one is attributed to Mark E (I think)

- "R&B Drunkie" (bits of Janet Jackson over EC King "I'm In Love" if memory serves)

aslo

- "Sir Mr Doctor To You" (unknown artist)

and

- "Get To My Baby" the most recent one.

All are ace in their own way. Worth ferreting out for anyone into nu-disco and cosmic type things.

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PvD
Bryan Kearney
JOC

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quote:

Originally posted by d-miurge Some people think that Paris Hilton is a singer, don't be amazed by the fact that some people think that Sean Tyas is a good EDM producer.

quote:

Originally posted by sg_57 "R&B Drunkie"

<3

Bas, on a scale of 1 to Birds & Souls, how overplayed was it in your neck of the woods, though? Seems like it was in every set out there that I heard last year.

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