Tagged with “mix” (4)

  1. A Gift to Future Selves

    Another in the series of experimental, filmic, soundscape, found sound, ambient, folk, classical montage mixes.

    Headphones recommended. Darker in tone than previous mixes, but that darkness is punctuated by positivity and possibly resolved.

    Listening in eeries places (like whilst on the London Underground alone) is perhaps not recommended.

    1. 00:00 First Commercial Message (1890) — P T Barnum
    2. 00:09 For Francis Bacon (Part 2) — Anduin
    3. 06:42 Terrified Bad Music Will Be Made Into Records — Sir Arthur Sullivan
    4. 07:11 Past Tense Kitchen Movement — Ezekiel Honig
    5. 10:58 Saffron Revolution — Fennesz
    6. 16:06 Reeds of Brown Lake — Lawrence English
    7. 17:48 Footpath Apparition — Loren Chasse
    8. 22:40 Melodia (li) — Johann Johansson
    9. 24:16 Porselein — Machinefabriek
    10. 30:47 Last Light — Svarte Greiner
    11. 37:57 Intercepted Communications — Lawrence English
    12. 38:02 The Raven — Edgar Allen Poe
    13. 41:14 Terminal Motor — Lawrence English
    14. 45:01 Silver Wings — Inca Ore
    15. 50:11 Figase — Gultskra Arikler
    16. 55:06 Forest Mountain — Nalle
    17. 61:15 San Solomon — Balmorhea
    18. 63:24 Final Farewell — Florence Nightingale
    19. 64:05 Voice in the Headphones — Mount Eerie With Julie Doiron And Fred Squire

    From: http://steflewandowski.com/2009/01/mix-a-gift-to-future-selves/

    —Huffduffed by djextracrispy

  2. The 139 Mix Tape

    Cameron Adams makes a 46 minute mix of 139 songs. A mashup of everything from The Chemical Brothers to The Cure, Stone Roses to Snoop Dogg, and Fake Blood to Pharrell.

    From http://www.themaninblue.com/writing/perspective/2009/08/06/

    —Huffduffed by djextracrispy

  3. Digital Sampling and Remix Culture: Creativity or Criminality?

    If the term sample reminds you more of a cheese tasting than music making, this video is for you. DJ, music producer and clothing designer Aaron LaCrate walks us through Sampling 101—taking a snippet of a song and repurposing it in another work. LaCrate explains the process but doesn’t sample in his own music — to "clear" a lifted beat for use is complicated, and expensive.

    Musicians have always borrowed from others — tunings, vocal styles, distinctive phrasings. But the advent of the sampler in the 80s brought borrowing into the digital age. Today, "sampling," or lifting a snippet of someone else’s work — anything from a horn hit to a drum beat — is mainstream. But how to credit and pay those earlier artists for their contribution is where things get thorny. How much of someone else’s work should artists be able to use? How much should they pay for it? Is copyright law stuck in the age of analog?


    —Huffduffed by djextracrispy

  4. Steve Layton: “Charlotte, Too Soon” (2006)

    (Music source: samples from old answering machine tape treated and arranged in ACID) — Voices of relatives and friends of cellist / performance artist Charlotte Moorman (1933-1991), from one of her old answering machine tapes (mid-late 1970s?). All other sounds as well are derived from noises on the same tape.” via niwo.com

    —Huffduffed by djextracrispy