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Fabric 83 (Joris Voorn)
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| Guest |
hmmm another hyper mix.
I'll check it out but like I said with Balance, when the tracks all combined perfectly during that double cd, it only lasted maybe 45 seconds then faded onto something else. Fleeting moments. |
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| OrangestO |
| He played the Joran Van Pol/Speedy J cut at Awakenings. Goosebumps! My favorite track on here. |
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| djthunderbird |
This is definitely up to par with, if not better than, the Balance Mix he did. It is quite amazing how he manages to stay coherent while weaving seamlessly between such a number of tracks & samples. I would love to find out how he approached the making of this mix. Did he make individual mashups and then mixed them together? Or is it a jumbo ableton project with all the samples and tracks? If its the latter case, it is amazing that the mix never went out of focus and it never felt forced.
I really cant imagine this sort of mix done any better. An absolute 10/10 in my book. It probably helps that I really dig his rather restrained tech house sound. |
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| Paradox Lost |
Well that was unexpected, though I can see this time he decided against overstating the point by numbering all the component-pieces as though they were individual tracks. Have never really been able to pigeonhole the Balance sound, but it will be interesting to see how he conforms to Fabric's brand of tech.
| quote: | Originally posted by djthunderbird
This is definitely up to par with, if not better than, the Balance Mix he did. It is quite amazing how he manages to stay coherent while weaving seamlessly between such a number of tracks & samples. I would love to find out how he approached the making of this mix. Did he make individual mashups and then mixed them together? Or is it a jumbo ableton project with all the samples and tracks? If its the latter case, it is amazing that the mix never went out of focus and it never felt forced. |
Didn't he report his Balance comp as compiled on nearly a dozen CDJ's? |
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| Guest |
| quote: | Originally posted by Paradox Lost
Didn't he report his Balance comp as compiled on nearly a dozen CDJ's? |
As if it were done totally live with no help of sync? No ing way Jose. |
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| djthunderbird |
| quote: | Originally posted by Guest
As if it were done totally live with no help of sync? No ing way Jose. |
I think it can be done with lots of pre-planning the cue points and writing down the tempo of each track. That is, if he didn't stretch all the tracks to the same tempo beforehand. As some Drum & Bass Dj-s used to do back in the 00's. For their livesets, not mixcds :D
This would actually explain the flow of these mixes. Getting automation feel right in Ableton is very hard imho.
12 CDJ-s would mean 3 x DJ Mixers or a larger mixing desk. It is totally in the realms of possibility. |
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| Guest |
| quote: | Originally posted by djthunderbird
I think it can be done with lots of pre-planning the cue points and writing down the tempo of each track. That is, if he didn't stretch all the tracks to the same tempo beforehand. As some Drum & Bass Dj-s used to do back in the 00's. For their livesets, not mixcds :D
This would actually explain the flow of these mixes. Getting automation feel right in Ableton is very hard imho.
12 CDJ-s would mean 3 x DJ Mixers or a larger mixing desk. It is totally in the realms of possibility. |
its possible but imagine getting to the second to last track and flubbing it. He would have gunned himself early on in the production process. |
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| SYSTEM-J |
I think this interview puts paid to the notion that he did it on CDJs: http://www.dancemusicblog.com/318-j...ng#.VdYVQX02fxJ
I can't see any real advantage to using CDJs anyway. To mix so many tracks so intricately in such a short span of time you'd have to pre-plan everything anyway, and I can't imagine how you'd conceptualise such a dense mix before hitting record.
I've never gone as far as Voorn, but I've done relatively dense mixes in a DAW with little samples, excerpts, three tracks layering at once and so forth. It's actually easier because you can play the thing back as many times as you want and move whole chunks of arrangement around en masse. So if you listen back and something needs an extra few bars to flow properly you can shift things around and put those bars in without having to go back to square one. It's a completely different creative process to live, traditional mixing but you can still get natural, unforced results from it. Obviously Voorn is a pretty good producer which will have given him a lot of experience of fiddling around at a micro-level and then zooming out to hear the bigger picture. |
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| Guest |
Yea I just dont see a single advantage to using a CDJ to make a balance comp. If I was asked to do a pro mix comp the first thing I'd do is figure out which music I wanted, second on my list would be to go buy some studio software so I could tinker with it and polish it perfectly, which is exactly what Balance 14 sounds like to me.
This brings me to another point. I doubt that any balance CD's were recorded using records or cd's and a mixer in a "live" session. Live being defined as, if you up you have to start over again.
Essential mixes, maybe some of those are actually mixed live with cds/records on a mixer, like actual excerpts from a club setting.
Global Underground series, without researching I'd guess they were all built on a computer. We're going back to 1996 with the first GU release and I'm thinking top of the line PC's were capable of making a studio mix back then right?
When I first started in the scene I thought DJ's did everything on a mix comp live and it gave them a sort of superhero status in my head, like how can someone mix so perfectly for 2 hours plus. There are a few dj's who can do this but most of them would make a beatmatching mistake or not have the levels perfect. A flawless live 2 hour set would be an exception not the norm. |
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| SYSTEM-J |
Yeah, almost all the GUs were mixed digitally. It's pretty obvious in most cases. There's been the technology to mix digitally since the early '90s.
The Essential Mixes... you have to listen closely, because different DJs did them in different ways. Some are clearly done live on vinyl and others are obviously digital. I think anyone who can DJ can spot a vinyl set if they listen closely.
What complicates matters is that even in the '90s, studio engineers could "clean up" a DJ mix to make it sound better and even correct dodgy mixing. One of those old Muzik mags from 1995 or 1996 has an interview with a guy called Jay Burnett who used to clean up mixes for commercial release in this way. |
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| Guest |
| quote: | Originally posted by SYSTEM-J
Yeah, almost all the GUs were mixed digitally. It's pretty obvious in most cases. There's been the technology to mix digitally since the early '90s.
The Essential Mixes... you have to listen closely, because different DJs did them in different ways. Some are clearly done live on vinyl and others are obviously digital. I think anyone who can DJ can spot a vinyl set if they listen closely.
What complicates matters is that even in the '90s, studio engineers could "clean up" a DJ mix to make it sound better and even correct dodgy mixing. One of those old Muzik mags from 1995 or 1996 has an interview with a guy called Jay Burnett who used to clean up mixes for commercial release in this way. |
Good stuff |
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