Last night has to be one of the best sets I’ve ever done. Period. More than anything, I’m just thrilled with the track selection. I’ve listened through it over five times now, and I still can’t think of any tracks I would replace. So my plan is to go over, do it again, tighten up the transitions and some of the timing, and use it as my “official” mix CD (not sure if I actually want to call it “Halucinextacy,” but that was what came to me). Anyway, for now, I’ve uploaded the recording of what I did yesterday. Hope you like it! Here’s the tracklist and a bunch of babble about what would work better and what I’ll do differently when I redo it:
Halucinextacy
00:00 Trentemoller – Miss You
03:49 Moguai – Ataque (Guy Gerber Remix)
08:27 Dusty Kid – Constant Rising (Mason Remix)
11:07 John Acquaviva – No Fear (Luetzenkirchen Remix)
16:34 Sono – Heading For (Monosurround Remix)
21:05 2 Faced – Rock Music (Don Diablo Remix)
23:28 Don Diablo – Wet Smoke (NYC Still Rocks Dub)
27:40 Monosurround – Cocked, Locked, Ready to Rock (Mix 1)
32:15 Terry Lynnn – Kingstonlogic (Angrier Mix)
36:54 Outwork – Elektro (Electro Mix)
41:45 Yoshimoto – Du What U Du (Trentemoller Remix)
45:03 Dualton – Papercut (Klaas & Micha Moor Remix)
47:57 BSOD – BSOD (Original Mix)
50:42 Mark Knight – Drug Music (Original Mix)
Outro John Acquaviva – Feedback (Loulou Players Remix)
Postmortem:
[Everywhere] – Use a few less filters, or at least use them with more subtlety, especially where there are vocals.
11:45 -Right around here, I should have kept Constant Rising in for a bit longer, but cut the second half of each bar a couple of times, or cut the second bar, brought back the third, etc., cutting it out with the crossfader. I think that would work better, when listening to the compositions of the tracks (Constant Rising has a lot of minimal, glitchy, present trebble. No Fear is very full and bassy, but the bassline is a very stop/start-y one, so I’m thinking using abrupt mixing techniques would work well here).
21:10 – I should have faded Rock Music in a lot more gradually and steadily.
23:00 – Should have faded into Wet Smoke a lot faster, or using more abrupt/defined techniques of some sort. As opposed to having half of each bassline, I should have cut one completely, or jumped back and forth a few times, then swapped the trebles.
25:20 – Way too early to bring in Cocked, Locked. The first “hey!” (at ~26:10) worked really well, so I’ll need to repeat that, and perhaps use it again before the transition.
27:24 – Here was the right place to bring in Cocked, Locked, but it should have been 8 bars further into the song, and come in right on the “hey!” Also, I shouldn’t have tried to bring Wet Smoke back up there.
30:00 – Here is where I should have started bringing in Kingstonlogic. Then I should have worked it in with the break in Cocked, Locked at 30:55.
32:18 – I liked the way this came in, but I should have extended the intro on Kingstonlogic, before the vocals, for another 8 bars. Seriously screwed up this transition. And I really do thing that Cocked, Locked played for way too long.
35:00 – I should have kept the pitchbend down for one bar, then pitchbent the whole thing up for one bar.
36:25 – I should have set a loop in Elektro, and let Kingstonlogic’s vocals play over, ending at the same time as Elektro’s build. The swapping in the highlights from Kingstonlogic into Elektro worked well though, and I’m happy with it.
40:00 – This whole transition sounds awkward, but it was way, WAY too early to bring in Du What U Du. I shouldn’t have started with that track’s intro. I should have gone straight to the first peak, looped it, and used that to mix it in, probably with some pretty abrupt techniques, or highpass filtered Elektro out, and emphasized the crescendo. And if I wanted to use the Elektro vocals during the breakdown for Du What U Du, I should have used the acappella (which would probably sound really good. I’ll have to see about that).
44:25 – Sounds a bit messy. I probably need to bring in Papercut with some more ‘chunky’ techniques. On the whole, not too bad though, especially considering that I don’t particularly like Klaas’s stuff at all. Worked great for the set though, especially the breakdown 
.
48:00 – I love the way I brought BSOD in here! The filter was my brother wandering by and saying “hey, what does this dial do?”
50:30 – Also really happy with the way I brought in Drug Music. I might want to filter it a bit, because the treble from BSOD works SO well with that bassline! Also, letting the bassline just play there before the vocals kicked in, worked great. If I were to do anything to it, I’d play with the filter during the vocals (around 52:00), at a really low amount.
53:00 – I’m so, so, SO happy with this track selection! In bringing in Feedback I should have just brought in the screamy bits, and held off on the glitchy, poppy stuff that track has going on for a bit. When that first long scream kicks in, I should have started filtering Drug Music, then used its bassline again when the bass hit, and swapped between the two. Letting the vocals from Drug Music play over after worked great, too. It just needs touching up (the tracks went really out of sync at the end there, too).
Anyway, like I said, I’m really, really happy with it. I’m going to finish up the final by pitchbending down during the slowdown part of Feedback, and clean the whole thing up… then I’m going to try to get my roommate, Kirk, to help me with some artwork for it. STOKED 
!!!
Posted by Pat 
Posted by Pat 