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A remix is a new version of a musical track based on the multi-track original. The concept of the remix is mainly used in electronic dance music, hip-hop and contemporary R & B. The remix is not to be confused with the DJ mix, where a DJ mixes, connects and manipulates (scratches) like the turntablism.
A remix emerged from the need to vary the available playing time on new recordings of existing soundtracks as a musical alternative to the original on long-lasting recordings (maxi-singles or extended play with records or CDs). Either there was a remix with special rhythmic accents ("disco-version", "dancefloor version"), for the airplay on the radio made versions ("radio version") or stressing or suppression of individual musical instruments such as guitars, basses and drums or temporally extended versions.
The title can only be varied easily with the available soundtracks; but it is also possible to carry out major interventions up to a complete reworking. Often, existing audio tracks are completely blacked out and new audio tracks are added. The range of remixer changes ranges from adding or removing sound effects, adjusting the speed by re-weighting the volume ratios, re-recording additional instruments, and completely dismantling and re-composing the original material.
Clubmixes tailored to clubs usually have the following structure: instrumental intro, middle section and outro. Intro and Outro make it easier for DJs to mix clean transitions, including beatmatching.
Remixes are usually given to studio-driven discjockeys, as they have a good sense of how a track can be edited for the dance floor. Today it is also customary to entrust musicians of a particular style with this work in order to direct the remix from the outset into certain tracks. Musicians often exchange their music pieces, or their soundtracks, in a targeted manner. The rest of the remixer is reliant on his ability to be completely free in the implementation.
Basically, one can distinguish between two remix concepts: a careful change, which is relatively close to the original, the sound and the structure, For example, perfected for the dance floor, or a complete, newly interpreted collage that only contains the vocal track, or even fragments, from the original original.
Remix as a culture
At the latest since the end of the 1980s with the development of the club culture, a remix culture developed. The remix was no longer just a piece of usable music, but has become an own art form. In electronic music and hip-hop the remix plays a very important role. Most 12 inch Maxi releases contain a remix on the B side. The re-mixing of entire albums or the publication of entire remix collections as works (eg Kruder & Dorfmeister: The K & D sessions of 1998) are also common.
The predecessor of the remix is, among other things, Dubbing Jamaican reggae musicians: Dub Versions of a reggae song are remixes, in which the vocal track is deleted or blurred and reverb and echo effects are added.
The first real remixes came as a so-called disco version in the disco era of the 1970s. These new versions should make known titles compatible with the dance floor. Today, these still very frequently used procedures are often referred to as dance mix. At that time it was quickly recognized that the discotheques were a marketing tool that should not be underestimated. At an early stage, companies called Remix Services (such as Razormaid, Disconet and Hot Tracks) began to remix tracks for the dance floor commercially. Special record pools have been set up, sales networks, through which free promotion mixes or DJ-only mixes were subscribed exclusively to the DJs in small editions. The remix as a recognized own art form established itself after the disco era only slowly. The pioneer here was the hip-hop subculture. A further important step was the release of the first remix albums, which brought the remix art more strongly into the focus and thus over the stigma of the pure companionship or dance surface sounding. One of the first remix albums in the history of music is, for example, Love And Dancing by The League Unlimited Orchestra from 1982. This album includes Martin Berhett, the producer of Human League, mixed instrumental versions of well-known Human League titles.
Since the 1990s, remixes have repeatedly enjoyed commercial success in pop music. Todd Terry (with a house version of Everything But The Girls '"Missing"), Norman Cook aka Fatboy Slim (with the Big Beat remix of Cornershops' "Brimful Of Asha") and Boris Dlugosch (with the House Remix of Molokos "Sing It Back") impressively proved that remixes can be commercially more successful than their underlying original. Even the Grammy was awarded the best Remixer from 1997 onwards. Some rather unknown producers from electronic music gained a high degree of recognition through remixes for well-known pop stars. For example, it has been possible for William Orbit and Mirwais to produce a whole album with a Madonna, spice up their sound with new trends. Michael Jackson's Blood on the Dance Floor - HIStory in the Mix (1997) is the best-selling remix album of all time.
In hip-hop, dub, techno, house and all electronic music, the remix has been an integral part of music culture at the latest since the end of the 1980s and is a recognized artistic expression. In addition to the 12 "single that is widely used here and the B-page, which is often remixes, remix albums of selling albums have been almost obligatory since the end of the 1990s, as well as the time-delayed or simultaneous release of several remixes from the original artist, Single comes often. In commercial pop music the Remix, where he often leads only as a gap-watch on CD singles a Schattendasein, with the gradual disappearance of these phonograms will lose in importance.
A new remix phenomenon, created around 2005, is a network of musicians who collaborate through the Internet collaboratively by placing their works under free licenses (eg, Creative Commons) and extending the work created by others in this way , The band Tryad, composed of more than 20 musicians from all over the world, who are not personally acquainted with each other, was particularly well-known for this work.
Remixes, which were in the original computer tunes of the Commodore 64 or Amiga, for example, are also distributed over the Internet. So that these melodies do not fall into oblivion, Hobbymusiker remix these chiptunes. But commercial success has also been achieved, such as Zombie Nation's nuclear power 400, which uses part of the soundtrack of the Lazy Jones C64 game. At the end of the 1990s, production was able to celebrate some chartering.