Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt

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"You left the cyanide capsules next to the Valium, you old fool. That's just asking for trouble!"

I had a helper ticket with one of my co-workers this morning. I called him to touch base with him, and he informed me that he was at the 30th Street Central Office. He had to make the phone calls to find out what was up with the jobs as I had no practical information in my work, just dummy tickets. I didn't hear from him for a while, so I called him back. Apparently, his mention of his whereabouts was supposed to imply that I was to meet him there. Our job was at 11 Madison Avenue, on 23rd Street, the 30th Street C.O. is between First and Second Avenues. It made no sense for me to meet him at the C.O., it was way out of my way and would have served no purpose whatsoever. I informed him that I would meet him at the site when we found out what the situation was; he insisted that he told me to meet him at 30th Street, which I know that I never would agree to.

For the meeting on Friday, I am planning on creating a diagram like the one Ted uses to illustrate to Dougal the difference between what happens inside one's head and what happens outside; unfortunately, I think that I would probably have the same result:

In working on these past few mixes, I have recently come to realize that I have three basic transitions I use, and I use all of them methods when compiling a mix, and the approach I take is determined entirely by the music, what I'm hoping to accomplish with it and how each track fits into the structure as a whole. Most of my mixes will have examples of each. The most obvious is the 'arbitrary track mark' method, which is when the music continues unbroken from one track into the next without an audible cue of succession; this is a method I use to build larger musical movements out of shorter individual tracks. Then there is the 'continuous transition' method, in which while the music never stops, there is a musical transition that occurs. The last is the one I refer to as the 'next breath' method, in which there is a musical pause but not necessarily a sonic one; the next track may come in on the sustain of the previous. The last might sound like it is the easiest, but it can be surprisingly difficult to accomplish. If you have the inpoint of the next track come to early, the disc sounds like the music is falling on top of itself. If you place it too late, it can break the flow of the album.

This one has been going around, I'm curious as to what I will get:

  • Describe me in one word... just one single word. Positive or negative.

  • Leave your word in a comment before looking at what words others have used.

  • Then post this meme to your own journal, if you feel like it.
Tags: memes, mix workshop, work
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