Unmixed.

If it's just a collection of tracks rather than a "proper" album (i.e. one with tracks that were designed to go in that specific order and lead from one to the next in a meaningful way), then I don't see a reason to mix it really.

Makes sense, if this is the way to go, then i think i would at least attach some nice intros rather than DJ friendly intros

But on the other hand nice transitions can up the enjoyment make it more interesting to listen to

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Last edited by Dj_Kile on Jul-07-2012 at 17:01

You could have a data portion on the CD and have a mixed mp3 on it.

Unmixed. I'd make a 10 tracks album or so without intros & outros just for listening. And an extended mixes for djs. The idea of an album should be to take you in a say 1 hour journey without having to press the skip button.

It's a different concept than a mix because a mix is fluent, an album can have a 120bpm ambient track and next to it a breaks track or a liquid dnb track for example.

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Find a connecting element that can set up for the flow into the next track, and tie it together, kind of as if the album is all one piece of music, but in separate files, then do a live set of all of them and throw that in the album too

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quote:

Originally posted by sicc Find a connecting element that can set up for the flow into the next track, and tie it together, kind of as if the album is all one piece of music, but in separate files, then do a live set of all of them and throw that in the album too

I like the idea of combining both separate as audio and set as data mp3

sounds cool, really

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I did a full mix and I got a couple of requests for individual pieces from it, so I extracted them.

Honestly, I think this question is one of personal choice and artistic intention. Don't feel obliged to do one or the other just to be doing one or the other. If you're doing anything to adhere to or flaunt convention, just don't. The rebellion is over. Have some sort of goal in mind that you want to accomplish for your listener. If doing a contiguous mix fits that goal, then do it; unless the same goal can be achieved without doing it.

I'll say that it's an interesting exercise to find individual to relate to one another and also a great way to get to know the limitations of yourself, your DAW, and your gear.

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quote:

Originally posted by EddieZilker http://www.tranceaddict.com/forums/...s=#.T_illvWwVvM I did a full mix and I got a couple of requests for individual pieces from it, so I extracted them. Honestly, I think this question is one of personal choice and artistic intention. Don't feel obliged to do one or the other just to be doing one or the other. If you're doing anything to adhere to or flaunt convention, just don't. The rebellion is over. Have some sort of goal in mind that you want to accomplish for your listener. If doing a contiguous mix fits that goal, then do it; unless the same goal can be achieved without doing it. I'll say that it's an interesting exercise to find individual to relate to one another and also a great way to get to know the limitations of yourself, your DAW, and your gear.

took the chance to listen to your album, one atmosphere one flow, what stood out for me is the break that starts around 33min mark and the last two tracks, all in all good job man

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Last edited by Dj_Kile on Jul-08-2012 at 12:44

quote:

Originally posted by Dj_Kile took the chance to listen to your album, one atmosphere one flow, what stood out for me is the break that starts around 33min mark and the last two tracks, all in all good job man

Thanks for the kind words.

Most of it was done entirely in Reason 3 and in a pretty haphazard monitoring scheme. There are things we can do now, like tempo changes and groove/shuffle templates, that weren't really feasible with what I had then (Reason 4 or 5 was out but I hadn't upgraded).

I will say that, for all of its obvious flaws (and there are many), I probably got more invaluable experience doing it in the month that it took than a lot of what has taken a lot longer for me to achieve. By virtue of having to conserve CPU power, I was kind of limited with how many instruments could be utilized simultaneously.

The break, itself, is centered around one synth that (if I recall correctly) I tweaked from doubling as a bass-line, at one point, to being a kind of portamento-heavy mess into something that took shape as the staccato arpeggiation. Then I rendered a wave-form from an early version of the drop's arrangement, sliced it up and put each slice into two or three different ReDrums, within the same Combinator - the "Time Sliced" and "Dream Sliced" excerpts I posted subsequently.

The kind of cool thing is that I'm currently working on a project that's using those same slices (but not all of them) and another synth I patched together for use in Superstition.

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