Doing this can severely decrease your chances of coming up with something creative. What you shouldn’t do is pick a track to remix, and then listen to the original ten times before starting your remix. When you’re browsing through potential tracks to remix, you should listen briefly to get an idea of what they feature (in terms of vocals and composition), and then either move on or decide to remix. Songs get stuck in your head partly because they’re catchy, and partly because you listen to them a lot. Have you ever had a song stuck in your head? That doesn’t mean you can only take advantage of remix competitions that feature deep, dark, rolling techno tracks, it could be a more suitable genre like 140BPM tech trance, or industrial ambient/IDM music. For instance, if your ‘signature sound’ is deep, dark, rolling techno, then remixing an upbeat melodic funky house track might not be ideal. If you have a signature style, then naturally, some remix opportunities won’t be ideal. Most remix opportunities will benefit from multiple genres, but there’s something else that needs to be considered… Why? Because they feature similar tempos (140BPM) and can share certain elements. “I’m a trance producer”), then it can be worth choosing opportunities based on the style of music you produce.ĭue to the nature of remixing, there’s a fair bit of wiggle-room.Ī trance producer can remix a dubstep track that has a vocal, and vice versa. If you produce every genre under the sun, or don’t care much for genres, then this doesn’t really apply to you.īut if you consider yourself to be a genre-specific artist (e.g. Your job is to take the ideas that exist and present them in a new way. You won’t have to come up with something novel because you’ve already got a decent starting point. What this means is that if you’re going through a dry period in terms of creativity where you can’t come up with anything decent, you can do a remix. Other times you’ll have a few MIDI tracks. When you’re remixing a track, you have ideas set out in front of you. The other reason remixing is great practice is that it allows you to bypass the initial idea generation stage. You develop skills that you may not develop otherwise. The skills that you learn remixing can be applied to original compositions too, which makes remixing a great practice. It might be on rewriting an existing melody, or tweaking certain notes. When working on a remix, your focus might be on editing stems – chopping them up and manipulating them, or re-arranging them. When you’re writing an original track, your focus might lie in the composition – writing a great melody, crafting a chord progression, writing lyrics, etc. When working on remix compared to an original, you focus on a different set of skills. Then, everything changed when the fire nation attacked Tom Moulton came along. Notables such as Ruddy Redwood, King Tubby, and Lee “Scratch” Perry made stripped-down instrumental mixes of reggae tunes, adding effects like reverb and delay to make things different. Local engineers would mix, rearrange, and rebuild tracks to suit different audiences.
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Remixing, as we know it today, didn’t begin until the late 60s in Jamaica. It wasn’t until after the war that a bunch of Americans brought it out of Germany and made it commercially viable.įollowing the advent of magnetic tape and its rise in commercial use, multitrack recording was soon developed in tandem with the experimental electroacoustic genre named Musique Concrète, which used tape manipulation to create sound compositions. One fun fact is that the technology was kept secret by the Nazis for a long period of time.
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I don’t have the patience and I failed science in high school. I won’t delve in to how magnetic tape works. You likely wouldn’t be reading this if it wasn’t for Fritz Pfleumer, a German-Austrian engineer responsible for inventing magnetic tape, a technology that revolutionized the world of broadcasting, recording and audio.