n.n (nnine@yahoo.com)
Wed, 2 Jun 1999 12:43:23 -0700 (PDT)
--- Michael Aregood <maregood@comcastpc.com> wrote:
> I'm not quite sure how you were able to know for
> sure whether the dj did it
> spontaniously or planned it...
Good question....it's the difference between _knowing_
when to bring in a track (as in, studying how the
big-namers do it, the math and science of it, going,
ok, here comes the break, time to bring in my next
slammin track), and _feeling_ when to bring it in.
Which, I think, is the gist of just about everything
that's been said about the subject, just in different
ways. :)
I'll clarify a little..
I've been a radio dj and a beatmatcher dj, and I like
them both for totally different reasons. What a
thrill to mix Morphine and Duke Ellington, and what a
thrill to mix T1000 and Joey Beltram! But for totally
different reasons, right? On different scales.
Mixing, say, techno, for me, is making the individual
sounds talk to each other. You are mixing on a
beat-by-beat, measuer-by-measure, scale. Crazy!
But to draw the connection between an Ani Di Franco
tune and a Betty Carter tune is on a much higher
level. Not higher like better, higher like more
abstract.
As a radio dj, I had a knack for making these broad
connections, mixing buddist chants into beastie boys,
scratching salvadoran folk music over organic trancy
stuff.
working within the delicious restriction of matching
beats is a different challenge entirely. So far, all I
can tell is that my mixing is either very smooth, with
super long mixes, or very chunky. not very
sophisticated yet, in my opinion. I've tried to get
real-life samba to go with organic techno, but so far
it's been a disaster. ;P
that's the kind of question I was getting at. I really
didn't want to start a war over whether beat-matching
is sublime or evil, cuz we all know that a good mix is
one that puts that sparlky thing down your spine and
makes you go, "ooooooohhhhhh...."
s
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This archive was generated by hypermail 2.0b3 on Wed Jun 02 1999 - 21:48:58 MET DST