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On holiday route, the Way of Saint One of the most beautiful terrace of Niort, the Entr'Acte backs onto How was the Marais Poitevin born?
Is it true that there was With the advent of easily editable magnetic tape in the s and s and the subsequent development of multitrack recording , such alterations became more common.
Less artistically lofty edits produced medleys or novelty recordings of various types. The fluid evolution of music that encompassed ska , rocksteady , reggae and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience.
Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes which they called "versions" of reggae tunes.
At first they simply dropped the vocal tracks , but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix, isolating and repeating hooks , and adding various effects like echo, reverberation and delay.
The German krautrock band Neu! One noteworthy figure was Tom Moulton who invented the dance remix as we now know it.
Though not a DJ a popular misconception , Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late s.
His tapes eventually became popular and he came to the attention of the music industry in New York City.
At first Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release "I didn't do the remix, I did the mix"—Tom Moulton.
Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the breakdown section and the inch single vinyl format.
Walter Gibbons provided the dance version of the first commercial inch single " Ten Percent ", by Double Exposure. Contrary to popular belief, Gibbons did not mix the record.
In fact his version was a re-edit of the original mix. The Salsoul catalog is seen especially in the UK and Europe as being the "canon" for the disco mixer's art form.
Pettibone is among a very small number of remixers whose work successfully transitioned from the disco to the House era. He is certainly the most high-profile remixer to do so.
Contemporaneously to disco in the mids, the dub and disco remix cultures met through Jamaican immigrants to the Bronx , energizing both and helping to create hip-hop music.
Cutting alternating between duplicate copies of the same record and scratching manually moving the vinyl record beneath the turntable needle became part of the culture, creating what Slate magazine called "real-time, live-action collage.
Early pop remixes were fairly simple; in the s, "extended mixes" of songs were released to clubs and commercial outlets on vinyl inch singles. These typically had a duration of six to seven minutes, and often consisted of the original song with 8 or 16 bars of instruments inserted, often after the second chorus; some were as simplistic as two copies of the song stitched end to end.
As the cost and availability of new technologies allowed, many of the bands who were involved in their own production such as Yellow Magic Orchestra , Depeche Mode , New Order , Erasure , and Duran Duran experimented with more intricate versions of the extended mix.
Madonna began her career writing music for dance clubs and used remixes extensively to propel her career; one of her early boyfriends was noted DJ John Jellybean Benitez , who created several mixes of her work.
Art of Noise took the remix styles to an extreme—creating music entirely of samples. They were among the first popular groups to truly harness the potential that had been unleashed by the synthesizer -based compositions of electronic musicians such as Kraftwerk , Yellow Magic Orchestra, Giorgio Moroder , and Jean Michel Jarre.
Contemporaneous to Art of Noise was the seminal body of work by Yello composed, arranged and mixed by Boris Blank.
Primarily because they featured sampled and synthesized sounds, Yello and Art of Noise would produce a great deal of influential work for the next phase.
Others such as Cabaret Voltaire and the aforementioned Jarre whose Zoolook was an epic usage of sampling and sequencing were equally influential in this era.
After the rise of dance music in the late s, a new form of remix was popularised, where the vocals would be kept and the instruments would be replaced, often with matching backing in the house music idiom.
Kevin Saunderson was the first producer to change the art of remixing by creating his own original music, entirely replacing the earlier track, then mixing back in the artist's original lyrics to make his remix.
Another clear example of this approach is Roberta Flack 's ballad "Uh-Uh Ooh-Ooh Look Out Here It Comes ", which Chicago House great Steve "Silk" Hurley dramatically reworked into a boisterous floor-filler by stripping away all the instrumental tracks and substituting a minimalist, sequenced " track " to underpin her vocal delivery.
The art of the remix gradually evolved, and soon more avant-garde artists such as Aphex Twin were creating more experimental remixes of songs relying on the groundwork of Cabaret Voltaire and the others , which varied radically from their original sound and were not guided by pragmatic considerations such as sales or "danceability", but were created for "art's sake".
In the s, with the rise of powerful home computers with audio capabilities came the mash-up , an unsolicited, unofficial and often legally dubious remix created by "underground remixers" who edit two or more recordings often of wildly different songs together.
Girl Talk is perhaps the most famous of this movement, creating albums using sounds entirely from other music and cutting it into his own.
Underground mixing is more difficult than the typical official remix, because clean copies of separated tracks such as vocals or individual instruments are usually not available to the public.
Some artists such as Björk , Nine Inch Nails , and Public Enemy embraced this trend and outspokenly sanctioned fan remixing of their work; there was once a web site which hosted hundreds of unofficial remixes of Björk's songs, all made using only various officially sanctioned mixes.
Other artists, such as Erasure , have included remix software in their officially released singles, enabling almost infinite permutations of remixes by users.
The band have also presided over remix competitions for their releases, selecting their favourite fan-created remix to appear on later official releases.
Remixing has become prevalent in heavily synthesized electronic and experimental music circles. Many of the people who create cutting-edge music in such genres as synthpop and aggrotech are solo artists or pairs.
They will often use remixers to help them with skills or equipment that they do not have. It is not uncommon for industrial bands to release albums which have remixes as half of the songs.
Indeed, there have been popular singles that have been expanded to an entire album of remixes by other well-known artists. Some industrial groups allow, and often encourage, their fans to remix their music, notably Nine Inch Nails , whose website contains a list of downloadable songs that can be remixed using Apple 's GarageBand software.
Remixes have become the norm in contemporary dance music , giving one song the ability to appeal across many different musical genres or dance venues.
Such remixes often include "featured" artists, adding new vocalists or musicians to the original mix.
The remix is also widely used in hip hop and rap music. It usually contains some if not all of the original verses of the song however, these verses may be arranged in a different order depending on how the producers decided to remix the song.
In the early s, Mariah Carey became one of the first mainstream artists who re-recorded vocals for a dancefloor version, and by most of her major dance and urban-targeted versions had been re-sung, e.
Some artists would contribute new or additional vocals for the different versions of their songs. These versions were not technically remixes, as entirely new productions of the material were undertaken the songs were "re-cut", usually from the ground up.
B and background vocals by Puff Daddy. Ken Tucker from Entertainment Weekly praised the song, claiming it's one of the few tracks where Carey "defines herself.
No wonder most rock critics can't get behind her. Although now anyone is free to use this idea, the success of "Mimi" [ref.
You could argue that the 'Fantasy' remix was the single most important recording that she's ever made. Indie artist Grimes has called "Fantasy" one of her favorite songs of all-time and has said Mariah is the reason there is a Grimes.
Lyte was asked to provide a "guest rap", and a new tradition was born in pop music. George Michael would feature three artistically differentiated arrangements of "I Want Your Sex" in , highlighting the potential of "serial productions" of a piece to find markets and expand the tastes of listeners.
In , after doing " California Love ", which proved to be his best selling single ever, Tupac Shakur would do its remix with Dr.
Dre again featured, who originally wanted it for his next album, but relented to let it be on the album All Eyez on Me instead. This also included the reappearance of Roger Troutman , also from the original, but he ended the remix with an ab lib on the outro.
Kelly , who recorded two different versions of " Ignition " for his album Chocolate Factory. The song is unique in that it segues from the end of the original to the beginning of the remixed version accompanied by the line "Now usually I don't do this, but uh, go ahead on, break em' off with a little preview of the remix.
Madonna's I'm Breathless featured a remix of "Now I'm Following You" that was used to segue from the original to " Vogue " so that the latter could be added to the set without jarring the listener.
When a song by a solo artist does not take off, a remix with additional performers can give the song a second chance.
Thanks to a combination of guest raps, re-sung or altered lyrics and alternative backing tracks, some hip-hop remixes can end up being almost entirely different songs from the originals.
An example is the remix of " Ain't It Funny " by Jennifer Lopez , which has little in common with the original recording apart from the title.
Conversely, a more uptempo number can be mellowed to give it "quiet storm" appeal. Frankie Knuckles saddled both markets with his Def Classic Mixes, often slowing the tempo slightly as he removed ornamental elements to soften the "attack" of a dancefloor filler.
These remixes proved hugely influential, notably Lisa Stansfield's classic single "Change" would be aired by urban radio in the Knuckles version, which had been provided as an alternative to the original mix by Ian Devaney and Andy Morris, the record's producers.
A remix may also refer to a non-linear re-interpretation of a given work or media other than audio such as a hybridizing process combining fragments of various works.
Thus the concept of a remix can be applied to visual or video arts, and even things farther afield. Danielewski 's disjointed novel House of Leaves has been compared by some to the remix concept.
A remix in literature is an alternative version of a text. William Burroughs used the cut-up technique developed by Brion Gysin to remix language in the s.
Remixing of literature and language is also apparent in Pixel Juice by Jeff Noon who later explained using different methods for this process with Cobralingus A remix in art often takes multiple perspectives upon the same theme.
An artist takes an original work of art and adds their own take on the piece creating something completely different while still leaving traces of the original work.
It is essentially a reworked abstraction of the original work while still holding remnants of the original piece while still letting the true meanings of the original piece shine through.
Famous examples include The Marilyn Diptych by Andy Warhol modifies colors and styles of one image , and The Weeping Woman by Pablo Picasso, merges various angles of perspective into one view.
Some of Picasso's other famous paintings also incorporate parts of his life, such as his love affairs, into his paintings. Other types of remixes in art are parodies.
A parody in contemporary usage, is a work created to mock, comment on, or make fun at an original work, its subject, author, style, or some other target, by means of humorous, satiric or ironic imitation.
They can be found all throughout art and culture from literature to animation. The internet has allowed for art to be remixed quite easily, as evidenced by sites like memgenerator.
In recent years the concept of the remix has been applied analogously to other media and products. In , the British Channel 4 television program Jaaaaam was produced as a remix of the sketches from the comedy show Jam.