Talk:Remix

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I'd like to incorporate a section about the possible "significance" of the remix idea, but haven't got enough material yet -- here's a start, if anyone would like to run with it. Catherine\^talk

John Von Seggern of the ethnomusicology department at the University of California, Riverside says that the remix "is a major conceptual leap: making music on a meta-structural level, drawing together and making sense of a much larger body of information by threading a continuous narrative through it. This is what begins to emerge very early in the hiphop tradition in works such as Grandmaster Flash's pioneering mix recording Adventures on the Wheels of Steel. The importance of this cannot be overstated: in an era of information overload, the art of remixing and sampling as practiced by hiphop DJs and producers points to ways of working with information on higher levels of organization, pulling together the efforts of others into a multilayered multireferential whole which is much more than the sum of its parts." [1]

Sorry but I think this theory is a pile of crap. I know there are subleties involved in remixing, but this text places remixing above original creation of a music score. Well, to me is clear that no amount of remixing can create works of genius like Beethoven's symphonies for example. At least a counterview should be included in the article.Marius63 (talk) 15:15, 10 February 2011 (UTC)[reply]

Good additions to the article; all of a sudden it looks more rigorous. User:Acb

Thanks -- your nice additions gave me the impetus to research the rest of the story -- there's a whole lot more to it than Puffy and J-Lo, isn't there? Catherine\^talk

Great addition, the immediacy of culture in the electronic age is the direct parent of the serial remix concept (and the necessity for such as well!).

I wonder if this article shouldn't be expanded. The definition of "remix" is increasingly applied to different media, from text and still images to video. Maybe this deserves a mention? --164.107.185.34 18:18, 14 November 2005 (UTC)[reply]

This is addressed at the end in the section on broader context. Maybe a bit on that could be added to the intro and to the history, putting remix in context with the history of collage and postmodern art. Smmurphy 18:31, 14 November 2005 (UTC)[reply]

Now there's even remixed soft drinks --Nerd42 14:36, 3 April 2006 (UTC)[reply]

Yeah the definition says remix is only a mix of music...but there are tons of remixed videos out there which follow the same guidelines that a mixed song does. They take a popular video and edit it and add more effects and such into it. Shouldnt the definition be altered? Words DO change their meanings over time.. Joooeeeelllll 19:41, 20 June 2007 (UTC)[reply]

I added a "distinguish" from Remix culture as part of a graduate school presentation arguing Wikipedia is in fact a form of remix as a cultural practice. I believe this begins to help address the (I think) insufficient amount of information regarding remix as a form of digital literacy. 69.245.61.183 (talk) 22:10, 7 December 2010 (UTC)[reply]

Shouldn't the 'Roots of the remix' go back further beyond recorded media to the "variation" on sheet music of what classical composers did for theirs & others pieces? Nagelfar 17:12, 31 December 2005 (UTC)[reply]

It should at least link to Variation (music), you're right. — Catherine\^talk 19:14, 19 September 2006 (UTC)[reply]

Seems out of order here and too geared towards the present. Page should start with a definition (which is currently sloppy), the roots of the remix and its development, then proceed thru the first remixes in the disco era and into the 80's. It needs to be mentioned that many early disco era remixes were promotional only but later more remixes were commercially released by labels to the public on 12" singles. I own over 18000 12" singles and certainly more needs to be said about the early to mid-80's remixes, as some were simple as listed but others were very altered and had tons of edits in them. Additionally we started to see remixes not just of dance music but of new wave, rock, pop, etc. We also saw dub mixes included that were more instrumental. As we proceed to the later 80's the genre specific remix was born, such as the "house" remix of a pop track and multiple remixes to suit different audiences. The early 90's saw the power of remixes as the remix of Everything But The Girl's "Missing" and DNA's remix of Suzanne Vega's "Tom's Diner" among others were responsible for making the songs hits. The mid to late 90's saw the proliferation of the rap/r&b remix, where often additional rappers and production was added to create a different version. Also remixes of country songs started appearing.

It is obvious that some of the influental remixers listed are the well known ones but others are barely known and shouldn't be in the listing. I would interpret influental as having a worldwide impact on dance music which would certainly include people like David Morales, Tom Moulton, Roger Sanchez, Todd Terry, Shep Pettibone, Love To Infinity, Larry Levan, Jellybean, Latin Rascals, Almighty, etc and not DJ such and such from nowhere. Who is promoting themselves or their friends here??? STOP IT! This list should include more of the major 70's and 80's remixers as well.

I appreciate Morales work, but his impact is not pioneering in nature, and I've seen his name forcefully inserted into a lot of dance-related subjects. Please people, write from knowledge and not "fandom". I've been on a personal mission to credit the originals such as Moulton, John Morales, Latin Rascals, and Shep (who also was not really a pioneer, but who did provide a notable bridge between eras), and I echo the call to actually do some listening and research before just sticking your favorite mixer into a piece with total ignorance of historical precedent. THANKS TO ALL!

Also the mention of mashups should really be with the underground remixers and more mention of this starting as an internet phenomenon and breaking into the mainstream with some mashups going commercial like Blondie vs Doors from gohome productions.

As far as the term "remix" used in other media like collages and soft drinks certainly should be mentioned as part of that wider context area

I think the lists of remixes and remixers should be moved to their own "List of..." articles, and this article should remain focused on the concept and its history. Any objections? — Catherine\^talk 21:52, 15 September 2006 (UTC)[reply]

No, go ahead, this article is one of the worst, least encyclopedic and most biased articles on a subject I've seen. - Chsf 13:25, 17 September 2006 (UTC)[reply]

Someone else removed the lists, but I've had a go at cleaning up what remains, and at least providing a clear definition in the lead section! It still needs help, especially in the hip-hop/R&B section -- please dive in! — Catherine\^talk 18:06, 19 September 2006 (UTC)[reply]

As I'm struggling with dial-up internet and generally getting a headache, I'll leave these points for another to add (if their not in there), hopefully someone who writes better than me!
1. Dan Hartman's Relight My Fire was serially remixed to keep in active in the clubs and charts, probably the first to do so and certainly the work that legitimized the use of serial remixes.

2. Tom's Diner, the first song to be broadly "mashed" by unsolicited parties, leading to its single release and in fact a whole album! The availibity of a capella material is the direct parent of mash mixing

3. Jean Paul Gaultier's "aou to do Zat" was the first whole cd release of nothing but remixed versions of one composition (it's not a song and he's not a musician, but there you are!).--Tednor 20:32, 9 December 2006 (UTC)[reply]

OK, I don’t see it in the article, but I, too, was wondering if “Tom’s Diner” was notable in the history of the modern remix. —Oh, this rain, it will continue 22:06, 16 December 2008 (UTC)[reply]

I think that Wikipedia also needs to add some information about what the difference is between a cover version and a remix (if there is a difference). 219.90.172.67

• Axwell]
• Afterlife (musician) (chillout)
• Antoine Clamaran : http://www.antoineclamaran.com
• Ben Liebrand : http://www.liebrand.nl
• David Morales : http://www.defmix.com
• Deep Dish : http://www.deepdish.com (Ali ‘Dubfire’ Shirazinia & Sharam Tayebi)
• Frankie Knuckles : http://www.defmix.com
• Hex Hector : http://www.hexmusic.com
• Pablo Flores
• Paul Oakenfold
• Robbie Rivera : http://www.robbierivera.com
• Steve Angello
• Thunderpuss (DJ Chris Cox : http://www.chriscoxonline.com et Barry Harris : http://www.barryharrisnyc.com)
• Timo Maas : http://www.timomaas.com
• Tocadisco
• Victor Calderone : http://www.victorcalderone.com

Category:Remixers

It seems to me that this page should include some mention of the Beatles as I am quite sure they did have remixes of their songs. Zeeman48 00:13, 18 December 2006 (UTC)[reply]

Agree. At any rate they were (together with Hendrix, Miles Davis and Simon & Garfunkel) among the first to really use the studio as a songwriting lab, and to remix and re-edit as a natural part of the recording process. Sgt.Pepper is the standout case, but songs like The Boxer, 'The Sounds of Silence and many on Electric Ladyland also went through major transformations and remixes before being released. With The Sounds of Silence, the version that became a hit was made and released - electric guitar/bass overdubbed - without either of them knowing about it, from the earlier released master done in 1964, so that's an obvious case of an early song that appeared in two clearly different mixes.

The section on remixes in literature (and opera?) should be discussed under some entry for 'parody' or 'literary tradition' - 'parody' in literature now has a wider meaning than just parodying for ridicule, it also means changing the perspective or garbling a story or a motive.Strausszek 2 December 2008, 19:15 (CET)

There is a sentence in the article that says:

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.

Does anyone have any idea how/what process one must go through to obtain these tracks?

Thanks. —The preceding unsigned comment was added by 82.21.66.72 (talk) 12:57, 8 April 2007 (UTC).[reply]

I too have been wondering how people manage to get hold of constituent tracks; post-processing can only achieve so much. Is there an established protocol for approaching artists with a view to doing a remix? If anyone knows about this, please can the article be amended, preferably with references? (*hopes that David Morales is reading this*) Steve 92.232.77.74 (talk) 20:46, 5 June 2008 (UTC)[reply]

This article needs massive cleanup... referencing (especially inline citations), a check for POV, and (possibly most importantly) verification. /Blaxthos 03:35, 19 April 2007 (UTC)[reply]

One part of the article says Depeche Mode has been remixed most (8,500 times) but near the end is gives that credit to Ayumi Hamasaki. Is it because DM is a band and Ayu is a single artist or is it a legitimate error? Abyssal leviathin 05:05, 11 September 2007 (UTC)[reply]

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BetacommandBot (talk) 19:40, 26 November 2007 (UTC)[reply]

Could you please add some information about "Variation in production" (VIP)?
It's a remix or rework of a song, usually by the original artist common to electronic music genres like Drum & bass and Dubstep.
--Fixuture (talk) 22:34, 5 April 2015 (UTC)[reply]

The redirect Instrumental version has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Readers of this page are welcome to comment on this redirect at Wikipedia:Redirects for discussion/Log/2023 July 29 § Instrumental version until a consensus is reached. Jay 💬 06:03, 29 July 2023 (UTC)[reply]