john clees wrote:that is the #1 / greatest thing about the internet is sharing your own production work for critiques
my entire point was (only) about mixes...
i think it's fair to distinguish two types of mixes here. those that are recorded in clubs, where all sorts of variables come into play, from the quality/age of the turntables, to the mixer, to the booth, to the soundsystem, to your own physical and mental well being, consumption of alcohol and/or drugs, and above all, the public/crowd/dancers/non-dancers.
and those mixes that are recorded at home, when you're under no external pressure to do something you know you do well. where you have the time to program your tunes, the buildups, the climaxes and the proper end-of-night/set tunes. where you have time to experiment and be totally free in your creativity.
from what i gather, that mara trax set fits under the first category, so as john says, it think it's unfair/negative plus a waste of time and energy to post a comment which mainly mentioned 'dodgy mixing', iirc. what's the point? we all know all sorts of variables influence your ability to make state of the art, 'cannon' transitions. from what i gather and am told, the full 8 hours were some of the best in that person's recent memory, clubbing and musically speaking. at the end of the night, what are you going to remember/what is important, the slightly dodgy mixing or the wonderful music?
ableton like, perfectly synched transitions seem to do less and less for me these days. i need to know there's a human on the other side.
emotions need to transpire.
anyway, i've already had this discussion on another topic some time ago and ended up getting dissed. so i'm trying not to go that road again.
it's just opinions tho. and as hutch rightfully said: they're like assholes.
