Is there another way/?
yes, you hold the tunes in the mix for 2-3 mins and chop and change.
Is there another way/?
least technical dj I've heard (quick fade in/out mix at the last 20 seconds of each tune)
basically describes my entire playing records in public
all about the selection. fuck the technicality
Yeah you don't want to hear 30 seconds of just the beat at the start/end of every track. I understand why so many tracks have that of course but hearing it makes you very conscious that you're listening to a very functional dj-tool type record, and if you play all of it every time it's like you're showing the crowd the ugly workings of a machine that should be hidden.that's fine for ragga and bashment but with mills/hood type minimal techno or proper deep house it can get really tiring to hear the mixable dj intro all the time. but if you can skip them, then yeah no problem.
Yeah you don't want to hear 30 seconds of just the beat at the start/end of every track. I understand why so many tracks have that of course but hearing it makes you very conscious that you're listening to a very functional dj-tool type record, and if you play all of it every time it's like you're showing the crowd the ugly workings of a machine that should be hidden.
l
Strangely sober and mannered. there's a record by Oliver Lieb @blissblogger — Spicelab - A Day on Our Planet from 1994, which does this wibbly wobbly new age trance dance but it's way more colder, germanic and blatantly druggy. Have you heard it?
yeah that nails the vibe. i liked moments in it but i can't imagine going back.I've decided this album is Caroline Lukas/Kate Bush techno. In that sense, it's pretty good, just not for me.
My first thought was Lemon Jelly.
The post could have gone equally well in the liner note thread.
Anyway, this is off piste from the thread subject, let's not cram it with the old
this just about qualifies still i think 29/03/23?Anyway, this is off piste from the thread subject, let's not cram it with the old
Czech out my musical efforts on tracks 18, 41 & 65 - all profits from this album go to The Trussell Trust