-Global Underground- Remix Contest

on Sunday, September 6, 2009
[Voy a tratar a incluir traducciones en espanol después del inglés, abajo de esta página].


[Edit, January 25, 2011: Many of the winning entries from this contest can now be found on my SoundCloud page, where you can download them for free].


About a year ago, I wrote a track that I called 'Global Underground,' in homage to the great Global Underground mix series. Read the lyrics, and you'll see exactly why I gave it that title, although I was also considering using 'Alone In New York' as a subtitle (especially so there isn't too much confusion with Global Underground's official mix series).

I'm going to be releasing a couple of different remixes of that track later this Fall, but in the meantime, I'm also going to use the acappellas for a Remix Contest on my website.

The contest will be open to anyone around the world, except in jurisdictions where such a contest is prohibited by law (ie. Quebec). The top prize is $500, and the second and third prizes will be $250 and $100. In addition, several of the best tracks will be featured on my website and fan page.

The lyrics were recorded as a spoken voice story. Therefore, there does not have to be a specific melody associated with the lyrics - I don't have a specific melodic hook that you need to stick to. If you create a remix that features some or all of the full lyrics, my personal opinion would be that it would be best to produce a progressive house track. The full storyline is a bit lengthy though, so I would consider using bits and pieces. Less is probably better. We also recorded a lot of sound bytes for all the city names, and also some other random phrases. If you wanted to produce an entry that is a breaks or drum & bass or trance track, or dub/instrumental, those would also all be easy to create using only the limited city-name vocals, or parts of the "random phrases" file, and you could therefore omit the original storyline altogether. All of the original vocal files are available as audio files at the bottom of the DJ Mix Downloads page.

If you want to hear a sample of what the track could sound like, I've included a version that you can listen to in this blog post. Click on the widget below to listen to a sample of some of the vocals overlaid against a partial track that Jay Vasseur threw together, and provided for me to use. Please note, however, that all submissions to the contest must be your own original work - they can NOT be re-edits of someone else's track, with the Global Underground lyrics added. If the music submitted is not your own original work, your entry will be disqualified.

If you wish to enter two separate tracks into the contest, you may. The only restriction is that multiple entries must be different styles from each other, rather than just small changes.

Whether or not you enter the contest, we would appreciate your assistance in spreading information about this remix contest by posting the link on your favorite production/audio message boards!

Good luck in the contest! Winners will be announced in November. Go to the bottom of this page now, to download the acappella package for the contest. Incidentally, I've written out the lyrics at the bottom of this post, if you're interested in reading them.

- Jonathan Clark (DJ Bolivia)

PS: Check out my fan page on Facebook, www.facebook.com/djbolivia




Listen to one sample idea for this track: you can right-click here to download the sample file).



Hola!

Alrededor de un año atrás, yo escribí una canción la cual llame 'Global Underground.' Lea la letra de la canción, y usted se dará cuenta de porque le di ese nombre a la canción, aunque yo estaba considerando usar 'Alone In New York' como un subtitulo (visite la pagina Global Underground verdadero).

Yo voy a hacer el lanzamiento de un par de diferentes mezclas de esa canción en el otoño, pero por ahora, yo únicamente voy a usar la canción para un concurso de mezclas en mi pagina Web.

El concurso va estar abierto para cualquier persona en el mundo, excepto en las jurisdicciones donde esa clase de concurso es prohibido por la ley (por ejemplo la provincia de Québec, Canadá). El premio mayor será de $500 y el Segundo y tercer premio serán de $250 y $100. Además, la canción puede llegar a ser promocionada en mi pagina Web y en mi Fan Page.

Las letras fueron grabadas como una historia hablada. Entonces, no tiene que haber una melodía específica que esta asociada con la letra de la canción. Si usted crea un re-mix que ofrezca alguna parte o toda la letra de la canción, mi opinión personal seria que es mejor producir una canción de house progresivo. De cualquier forma, nosotros también grabamos muchos sonidos para todos los nombres de las ciudades. Si usted quiere producir un numero de breaks o batería y bajo o pista de trance, o dub/instrumental, esos también serian fáciles de crear usando las canciones vocales con los nombres de las ciudades. Todos los archivos de vocales están disponibles como archivos de sonido.

Si usted quiere escuchar una muestra de como la canción podría sonar, yo incluí una versión que puede ser escuchada en este blog post. Haga clic en el widget que esta abajo para escuchar una muestra de algunas de las canciones hechas en relación a la canción Jay Vasseur. Tenga en cuenta, que todas las sumisiones para el concurso deben ser su propio trabajo original, no pueden ser canciones reeditadas de alguna otra persona con las letras de Global Underground añadidas.

Buena suerte en el concurso! Los ganadores serán anunciados en Noviembre mis propias mezclas sean lanzadas. Ahora vaya a esta página a incorporar la competencia. Yo he escrito la letra de la canción en la parte final este post, si usted esta interesado en leerlas.

Muchas gracis a Nic Roldan de Calgary/Colombia por assistarme con las tradducionnes en este poste. La gramática era demasiado dura para mí este vez.

- Jonathan Clark (DJ Bolivia)

PS: Visite mi página en Facebook, www.facebook.com/djbolivia










Full Original Lyrics:

"Bolivia - Global Underground (Alone In New York)"

When I was young, I always wanted to visit a real city. I was born in Virginia, but I didn't grow up there. I grew up outside a small town, where I lived with my quiet family. We didn't travel much.

When I turned seventeen, we finally got the internet at my house, and my whole life changed. I spent almost every night online, reading about places and people that I hoped I could meet someday.

It wasn't too long after I got the internet that I started downloading music. I didn't like the music on the radio station in my own town, but there was a lot of better music that I discovered online. And one night, I discovered some music that would change my life.

I downloaded a CD of music called The Global Underground. I really liked the name. The music was all by a DJ named Danny Teneglia. It was a show that he had played at a club in London. I loved it. I must have listened to that CD about two hundred times.

Eventually, I learned that there were more Global Underground CD's. Dozens of them! There were DJ's playing that kind of music in cities all over the world: San Francisco, Milan, Tokyo, Athens, Moscow, Toronto, and of course, New York.

By the time I turned twenty-two, I knew that I had to get away from home. I couldn't stand the thought of spending the rest of my life there, with the same old boring small-town boys. My family didn't say too much. They said that they didn't want me to leave, but I think that they were secretly glad that I was leaving. So I took a bus and I went to New York. I felt so alone.

New York is a pretty scary place for a small town girl who's never left home before. I didn't understand the bus routes. I was scared to use the subway, even though people said it was safe. I felt like the buildings were closing in on me, and I wanted to go to a park, but I thought that even Central Park was dangerous.

Anyway, I got over some of my fears eventually. I found an apartment right away, although it was pretty dirty. But at least it had four locks on the door. And I found a job at a little variety store with a couple booths for people to eat at. I helped the owner stock the shelves and mop the floors. I got to know the regulars. But I still felt so alone.

One day, a couple of boys came in. We didn't get many young people in our store. One of them was pretty cute. I overheard them talking about this club that they were going to on Saturday night, named Pacha, to see John Digweed. I couldn't believe it. For years, I had dreamed about seeing John Digweed play!

I didn't have much money, and I didn't know much about the clubs yet. I thought I couldn't afford to go out to shows, but I knew then and there that this would be my one treat to myself. This was the whole reason that I had come to New York in the first place – for the music.

When Saturday night came, I was so excited. I got there an hour before the doors even opened, because I didn't want to miss a beat. Once I got inside, the club seemed really dark. As I walked through the club towards the dance floor, I couldn't believe how loud the music was playing. But I kept going, and a minute later I was out on the dance floor, all alone.

That night was one of the best nights of my life. I just couldn't stop smiling the whole time. The bass shook my entire body. The lights left me feeling blind most of the time, but I didn't need to see anything. I just danced the entire night, and got lost in the music. People were smiling and dancing with me. It changed my life. For the first time ever, thanks to the music, I didn't feel alone.


- Lyrics written August 5th, 2008
Copyright (2008, 2009) Jonathan Clark.

Separating Vocals from Songs

I've gotten quite a few inquiries from people recently on how to separate or remove vocals from a song, so they can then remix those vocals into a different track. It's very difficult to do, but it IS possible in some cases, so I'll outline a way to make it happen here.


First, in order to do this, you need to find a radio edit of the song that you like, with vocals. Then, you also need to find the exact same version of the song but as an instrumental, ie. without the vocals. If you can't find both of these two versions, then this trick won't be possible.

Next, you need to import the two audio files into your sequencer. Line them up perfectly in parallel, down to the millisecond (actually, to the exact sample). You need to be able to play them simultaneously so that they sound exactly like just one song (except for the vocals standing out, of course).

Now, convert each track to mono, so the two stereo channels are combined in each track. They need to be panned to the center.

Once you've done the above steps, and you know that they are completely synchronized, then take the instrumental track and invert the phase of the entire track.

Now, play the two tracks together, or bounce them to disk. The phase inverted version in the instrumental will cancel out the waveforms of the music in the vocal version, leaving only the vocals behind.

Now if you cannot find the full song as both a vocal take and an instrumental with the same arrangement, then you're almost out of luck. The only rare exception is that if you have just the vocal version, sometimes (in theory) you can pull tiny snippets of the vocals out from the track by cutting it up and following the steps above (for instance if there is a chorus with vocals and another "chorus" chord arrangement in the song without singing). This wouldn't work with rock songs, because they are recorded live and they won't be exactly the same, even if the musicians tried to play them exactly the same. But in today's studio-heavy world, some pop songs which are computer produced are probably generic enough to make it work. I've never actually tried this, but in theory, you might find some songs that you could do it with.


Let's step back for a while and ask why you're separating the vocals from a song. I presume that you're trying to remix a track that you like. Are you doing it because you like that track specifically, and no other? If you're doing this as a project for an artist, they should be able to provide the vocals for you. If you're doing it for yourself, then you face a bigger challenge.

An audio file that contains only vocals and no instruments at all is called an acappella. This term is actually a contraction of two Latin words, "a cappella," which literally means "from the chapel," or figuratively, "from the choir." You can do internet searches for acappella tracks in all kinds of places: Google, torrent sites, and legitimate music sites. The trick is to remember that many people spell the word incorrectly. To search effectively, you should search for "accappella" and "acappella" and "acapella" (this last one is the most common spelling and yields the best results in searches, although some people argue that the one with two P's is more correct). If I had a preference, I'd like to see things spelled correctly. So if you're a producer who is releasing acappellas, let's see if we can change the world together, and start spelling it with two P's.

Personally, rather than bang my head against a wall trying to find vocals for a specific track that I want to remix, I do it this way: I'll spend half an hour on the net, trying to locate an acappella for that particular song. If I can't find one in that amount of time, I'm probably not ever going to find one. Sometimes, it is better to just admit defeat and look instead for acappellas in general, and then pick one that you like which is already available.

There are a lot of acappellas out there. If you search download or torrent sites, you can find lots of legal ones that you can download very quickly. Some have to be purchased, but many are free, depending on which sources you use. Go to www.beatport.com as an example. Enter "acappella" into the search engine, and you'll find several hundred tracks to choose from. Enter "acapella" and you'll find thousands.

In rare cases, if you are looking for a specific song, you can actually contact the artist and ask if you can have a copy of the vocals. Some artists will give these out, although it's pretty rare on major labels unless you happen to be a very well-known remixer with a lot of previous credits on your resume. Many smart studios/artists will recognize the fact that the more often that their songs are remixed, the more publicity (and therefore royalties) that go to the copyright holders for the songs. The remixer doesn't get any royalties (except in certain uncommon exceptions for top remixers). Usually, all the money is made by the original artist (or I should say, more accurately, by the studio). Of course, you do also have to recognize that a bad remix of a track doesn't help much, because it won't get played and therefore won't drive radio-play or other royalties. Some artists/studios will provide vocals under strict conditions that the artist/studio gets to review the remix first before it is allowed to be released, and they have the right to prevent the remixer from releasing the remix if they don't like his/her version of the song.


So anyway, the moral of the story is that if you have your heart set on remixing one specific song, sometimes there are options. But usually, I find it is best to listen to some of the thousands of vocal recordings that are already out there, and choose one of those readily-available tracks to remix.

Good luck with your remixing projects!










Follow Jonathan Clark on other sites:
        Twitter: twitter.com/djbolivia
        SoundCloud: soundcloud.com/djbolivia
        YouTube: youtube.com/djbolivia
        Facebook: facebook.com/djbolivia
        Main Site: www.djbolivia.ca
        Music Blog: djbolivia.blogspot.ca


Halifax Classics Reunion 2009

on Thursday, August 27, 2009
This past weekend I played at a private event, held in Nova Scotia at a private camping site with a number of cabins and chalets. Approximately a dozen DJ's played in total, and the sets were a lot of fun, because I was playing with a bunch of old friends. Essentially, the guest list for the event included a lineup of DJ's who have all been playing in Halifax and throughout Atlantic Canada & beyond for at least ten years or more, and the attendees at the Reunion (a little under 100 people) were all people who partied a lot in Halifax in the 1990's.

The rules were simple. Each DJ got about an hour to play, and the goal was to try to play on all vinyl, and to use only tracks that were produced in 2000 or earlier. There were some legendary Halifax DJ's playing: Tommy Knuckles, Jorun Bombay (possibly my favorite set), Charife, Nick Nonsense, Mad Mike Mathers, and half a dozen others. In addition, legendary house DJ Terrence Parker flew in from Detroit to play a two hour set as a headliner for the evening.





I recorded my set, and if anyone is interested, it's available now for downloading. Be forewarned: this is old music! And not just old songs, but old vinyl, so the sound quality isn't quite as good as most mixes that would be released nowadays. Some of the tracks that I played were definitely big favorites many years ago, and I've played them so many times that the vinyl was almost worn out.

Here's a track listing:

   01. Echomen, "Substance"
   02. 16B feat Morel, "Escape (Driving To Heaven)" [Omid's Dark Dub]
   03. Trancesetters, "Roaches" [Peace Division Remix]
   04. Halo Varga, "Future" [Original Mix]
   05. Tilt, "Seduction Of Orpheus" [Tarrantella vs Redanka Remix]
   06. Datar, "B" [Tarrantella & Redanka's NYSC Mix]
   07. Jason Downs, "Cherokee" [John Creamer & Stephane K Remix]
   08. Killahurtz, "West On 27th" [A Tribe Called KHz Mix]
   09. Jimmy Van M, "ECIPS" [Medway Remix]
   10. Art Of Trance, "Madagascar" [Cygnus X Mix]


As you can see, the set was mostly very heavy and darker progressive/tribal stuff, although I did end things off with a trance classic, in honour of a good friend of mine, Darin Lee (Thrills), who couldn't make it for the weekend.

Click here if you want to see a small photo gallery from the event.

Enjoy!

-Live at Photosynthesis- mix now available

on Wednesday, August 19, 2009
The set that I played at the Photosynthesis 2.0 Festival in Trout Lake, Washington (on August 7th) is now online. Here’s a direct link to download the set. Just right-click on the link and chose the "save target as" or "save link as" option:



http://www.chma.fm/DJ_Bolivia_-_Live_at_Photosynthesis.mp3



We recommend that you use FireFox 3.0 or higher for large downloads, or any other browser that specifically has a download manager plug-in installed, unless you're on an extremely reliable connection. This mix is about 289 megabytes.



The set is a little over two hours long, and it was a spontaneous show. I showed up at the festival on Friday night, just to relax for the weekend and help my friend TProphet, who was running the Techno Barn stage for the weekend. However, five minutes after I arrived, someone asked me if I would be willing to play since the scheduled DJ was stuck in traffic and couldn't make it in time for his set. I ended up playing in that slot, plus the one immediately afterward (for the same reason), which gave me a completely unexpected two-hour set. I wasn't really mentally prepared for this, so my programming & mixing was a bit disjointed for the first half hour, but then I got into a groove and had a lot of fun with the set.











Here’s the track listing from the set:





   01. Arnold, "Am I."

   02. DJ Wope, "My Generation."

   03. Artificial Dreamer, "Dusted."

   04. Audionova & Electrobios, "Pacific."

   05. Prospect, "Tok."

   06. Wawa & Thomas Gold, "Latin Thing."

   07. Dfuzhion, "Unidentified."

   08. Carl Jurgen, "City Lights."

   09. KT, "Riders On The Storm."

   10. Sensorica & Omen, "Another Day."

   11. Mark Ronson, "Oh My God."

   12. Danny Teneglia, "D'Ibiza."

   13. Nicholas Van Orton, "Evil Forces."

   14. Etienne Osborne, "Drums Of Afrika."

   15. Creamer & K, "Forget The World."

   16. Reead, "Nobody's Innocent."

   17. Basement Jaxx, "Raindrops."

   18. Kurd Maverick, "All Over The World."

   19. MattLok, "Rock The Box."

   20. Heaven & Earth, "And Let's Disco."

   21. Bailey & Fauvrelle, "Pushing Beatz."

   22. Cedrick Gervais, "Electro Therapy."

   23. Maska, "Late."

   24. Chris Scott and Dmitry Bobrov, "Too Much Is Not Enough."




You'll notice that I didn't list the exact remix that I used for each track. That's because none of them are conventional remixes. I've started taking every track that I play in sets and doing a "Bolivia's Edit" on the track. I usually cut out the major breakdowns entirely, to keep the dance floor moving. Sometimes I mix and match between a couple different remixes of a particular track. For mid-volume breakdowns, I often increase the volume a few decibels. I add one or two effects throughout the track, or drop-outs on key beats. And then finally, I boost with a hard limiter so the volume ends up being fairly consistent throughout, even through the breakdowns. All in all, that keeps the dance floor a lot more aggressive and energetic. If I ever want to give the dancers a quick break, I can reduce volumes on breakdowns on the mixer. I find this keeps things fresh and higher energy. I'll keep a few originals with breakdowns in my crate, so I can play to a lower energy level early in the set if necessary, or so I can give the dance floor a real break late in the night, but 90% of the tracks that I play are ones that I've modified before the show.



This was the second year for Photosynthesis. The festival was organized by Kyle Bove, a friend of mine from Seattle who is a talented musician himself. It featured some really amazing acts over the weekend, including the Lawn Chair Generals, Amon Tobin, Daedelus, and Kid Koala (and about fifty other talented acts). In addition, a big highlight for me was getting introduced to the music of Bryan Zentz, who played a set starting about an hour after I finished. To put it quite simply, he rocked. It's probably been about three or four years since I've enjoyed a set as much as his, and I've seen some pretty top notch "A-Class" DJ's in the past few years. I think that a lot of the tracks he played were his own productions, and I was thoroughly impressed. If you like progressive house, check out his work.



Anyway, please email the link to the mix to any of your friends who might like listening. It's not quite as professional as the set that I recorded in Vegas the week before, but there are a lot of good tracks in here. Only eight of the twenty four tracks in this set were also in my recent Vegas set, so the two mixes don't overlap much.



Enjoy!



PS: Join my Facebook fan page: www.facebook.com/djbolivia

Best Live Rock Concerts

on Tuesday, August 18, 2009
Although the name "DJ Bolivia" probably makes most people think of dance music, I've got a much broader musical background than just electronic beats. I probably listen to more classic rock and indie rock than dance tracks, and I also listen to classical and jazz music fairly often. Anyway, I was asked a few weeks ago what my favourite live album would be, and that was a really tough question that got me thinking. So I came up with a list of my top seven picks for live rock albums.

I also have to comment on one thing that's always bothered me. Quite often, the soundtracks to live albums have very little resemblance to videos produced from the same shows. Bands have frequently remastered the soundtracks, adding overdubs, combining parts from multiple performances, and even adding studio tracks into the middle of the albums. And almost without exception, I've preferred the soundtracks to the videos. I know that they are usually less "true" to the original show, but the sound quality and content is usually a lot better, in my mind.


Top Pick:

01. Genesis, "Seconds Out" – Genesis released several live albums, but this one has got to be my favourite. This album was recorded after Peter Gabriel left the band and Phil Collins took over as lead singer, but still contains many older tracks that were originally sung by Gabriel. "Three Sides Live" is another great Genesis live album, but I prefer "Seconds Out" because it focuses more on the band's more complex older material, before they started writing shorter mainstream tracks. Strangely enough, of the top seven live albums that I'm listing here, I think this is the one that most people would enjoy the least. But personally, I like it a lot, so there you go. Sorry, there is no film version available.




Other Favorites:

02. Dire Straits, "Alchemy Live" – I listened to this album hundreds and hundreds of times before I ever knew that it was also available on film. You don’t need to see the film. Put the album on, close your eyes, and enjoy. Now you’d know where "Romeo & Juliet" (The Killers) originally came from. Incidentally, I just noticed a couple days ago that the film version is going to be re-mastered and re-released next spring.




03. Pink Floyd, "Delicate Sound of Thunder" – This album, more than any other, turned me into a Pink Floyd fan, and this is one of the rare picks where I prefer the film version rather than the album. This was recorded in 1988, and was not received as well as their 1994 live album/film, "Pulse." I’ll admit that the production and film quality of "Pulse" is a lot better. However, there’s something about "Delicate Sound Of Thunder" that just stands out for me, even though it’s quite a bit shorter than "Pulse." I think it might be because of the recording for "That Great Gig In The Sky." The version on "Delicate Sound Of Thunder" is far better than the "Pulse" version, and the video shot of the girl in the crowd fluffing her hair always blew me away (this was maybe at a live show at Versailles Palace, if I recognize the background correctly). I think that for a long time I was in love with Rachel Fury, the first of the three singers in the "Delicate Sound Of Thunder" version, although admittedly the next two singers gave better vocal performances during this track. Unforgettable. Watch the movie, don’t just listen to the soundtrack.




04. Talking Heads, "Stop Making Sense" – If you don’t know this one, you’re missing out on some classic Rock 'n' Roll history. But first of all, let me admit something embarrassing. I have listened to this soundtrack for twenty years, and I only saw the film for the first time ever this week. And that's crazy, because I've known about the film for twenty years. The premise is simple – the show starts out with just the lead singer (David Bryne) performing "Psycho Killer" on an acoustic guitar with a synthesized drum track. As the concert progresses, more and more band members and equipment are slowly added to the stage. Anyway, the soundtrack only contains nine songs, whereas the film contains almost twice as many. And the soundtrack was heavily re-edited, so when I saw the film last week I thought it must have been from a completely different concert, but it wasn't. My recommendation is that you stick with the soundtrack here, although you need to watch the film at least once to understand it better.




05. Tom Petty, "Pack Up The Plantation" – This is classic summer cottage rock at its best. Apparently, a video exists to accompany this album, but you don't need to watch it. This is all older Tom Petty material which some people might not recognize, but it is great stuff. Do you remember the "American Girl" sequence in the movie "Silence Of The Lambs"? This soundtrack has, in my opinion, the best recording that I've ever heard of "American Girl."




06. Neil Young, "Rust Never Sleeps" – It's hard to get excited about such a short cross-section of Neil Young's career, as he is probably my favourite singer/songwriter, with hundreds of great songs to his credit over about five decades. But this album is great, especially the acoustic hits like "Thrasher" and "Pocohontas." Don’t worry about seeing the film – the album is good enough as a standalone product.




07. Allman Brothers, "Live at Fillmore East" – Classic, classic blues rock. From the opening licks of "Statesboro Blues," to the epic 23 minute long "Whipping Post," you can't go wrong. Grab a case of beer, head to the cottage, and start the party right by throwing this onto the stereo. I don't think there are film versions of this.





There you have it. A great selection of live shows, and almost without exception, you can focus on the albums rather than on the video recordings. Track some of these down and give them a listen today.

Now it's your turn. List some of your favorite classic (or indie) rock concerts in the comments below ...

-Live In Las Vegas- mix now available

on Sunday, August 16, 2009
The set that I played at DefCon 17 in Las Vegas (on July 31st) is now online. Here’s a direct link to download the set. Just right-click on the link and chose the "save target as" or "save link as" option:

http://www.chma.fm/DJ_Bolivia_-_Live_in_Las_Vegas,_2009-07-31.mp3


The set is about 77 minutes long. I actually played about fifteen minutes longer than that, but I cut the last couple songs out from the recording so it would fit onto a CD, for those of you who listen to mixes in CD players instead of on mp3 players or on computers.





Here’s the track listing from the set:

     01. David Jones & Aqua Diva, "Thriller."
     02. Electrixx, "Tetris."
     03. Creamer & K, "Forget The World."
     04. Sandy Rivera & Andy Daneill, "Whatever."
     05. Jean Elan, "Killer."
     06. Basement Jaxx, "Raindrops."
     07. Mark Ronson, "Oh My God."
     08. Reead, "Nobody's Innocent."
     09. Bailey & Fauvrelle, "Pushing Beatz."
     10. Chris Scott and Dmitry Bobrov, "Too Much Is Not Enough."
     11. Dextro, "My House Is Your House."
     12. DJ Wope, "My Generation."
     13. Heaven & Earth, "And Let's Disco."
     14. Leron Yves Eaux and Luke Star, "Fashionized."
     15. Felguk, "All Night Long."


For people who were at the party and who are wondering what the last tracks (not included on the download mix) were, I finished the set with:

     16. Levan, "Miau."
     17. Milk & Sugar, "Let The Sun Shine."


You'll notice that I didn't list the exact remix that I used for each track. That's because none of them are conventional remixes. I've started taking every track that I play in sets and doing a "Bolivia's Edit" on the track. I usually cut out the major breakdowns entirely, to keep the dance floor moving. Sometimes I mix and match between a couple different remixes of a particular track. For mid-volume breakdowns, I often increase the volume a few decibels. I add one or two effects throughout the track, or drop-outs on key beats. And then finally, I boost with a hard limiter so the volume ends up being fairly consistent throughout, even through the breakdowns. All in all, that keeps the dance floor a lot more aggressive and energetic, and if I ever want to give the dancers a quick break, I can reduce volumes on breakdowns on the mixer. I find this keeps things fresh and higher energy. I'll keep a few originals with breakdowns in my crate, so I can play to a lower energy level early in the set if necessary, or so I can give the dance floor a real break late in the night, but 90% of the tracks that I play are ones that I've bastardized prior to the show.

Please email the link to any of your friends who might like listening.

Enjoy!

Splitting the DJ Bolivia Blog into Two Blogs

on Tuesday, July 21, 2009
Starting effective immediately, DJ Bolivia will be splitting his blog into two separate blogs - one for music and one for personal thoughts.

Because of the popularity of DJ Bolivia's fan page, it makes sense to have one blog, Soporific Airs, feed to the Facebook page. That blog will deal exclusively with music-related posts.

Any personal posts will remain confined to the previous blog, From The Ridiculous To The Sublime, which will continue to be viewable to the general public and which will also feed specifically to Jonathan Clark's personal Facebook profile page.