It’s been five long years since DJ Veronica made a new mix set. She was over here at my home-studio less than two weeks ago, having her latest mix-set It’s About Time mastered. It took me over 10 days to come up with and edit a really super cool intro at the beginning of the mix, after the mastering was finished. I super spliced and edited two tracks together with my own voice on the vocoder on top of it … plus a lot of audio engineering and automation, such as the panning. The two tracks used as intro were (1) Grace Jones – “Slave To The Rhythm” and (2) Kano – “It’s A War.”
DJ Veronica – “It’s About Time”…
Artist: DJ Veronica
Title: It’s About Time (DJ mix set)
Year: 2010
Comment: Intro edits & vocoder by Hashmoder; mastered by Hashmoder (Omar Hash)
DJ Veronica – “It’s About Time”" (mp3)
http://homepage.mac.com/cavecybernation/DJVeronica_ItsAboutTime.mp3 (link path)
From DJ Veronica to you…
After spending 17 glorious days and nights in Whistler during the 2010 Olympics, I became motivated to make a new CD. Now this is something that I used to do just about every month back in the 90s, and I have released many CDs in the past, but for some reason, which to this date I cannot explain, I have not made a CD in five years.
When my girlfriends and I were at the Chalet, apart from numerous suitcases of clothes and ski equipment, we also brought up all the sound gear and set it up in the living room where one could mix a CD and look out onto the snow-covered trees while the living room transformed itself into a dance-floor. With audiences such as Team France and Team Mexico and a few local Whistler DJs, the party never stopped. Sarah-Hannah and I had some great mix sessions together and we often could not stop well into the wee hours of the morning. Having DJ Rhiannon as your little sister is also a great motivator for me as she is always putting out killer mixes!
Whenever I would hit the slopes or the patio of La Bocca it seemed there was always a soundtrack coursing through my mind. I was again inspired. And I mean really inspired. I have been playing out at nightclubs for over 13 years in places such as New York, Hong Kong, Spain, Australia, Seattle, Oregon and I have held many residencies of course in my hometown of Vancouver, but for some reason the urge to make a new mix faded a bit…but it’s now back with a vengeance!
When I came back from Whistler, I put this mix together one evening over a glass of wine while my little dog Hana watched me curiously, and occasionally jumping up for me to lift her up and do a little dance with her. I think she likes this mix, and I hope that you do too. It’s perfect for driving in the car or listening to after the club at an impromptu after-party. It’s not exactly what I play out at clubs, as I usually play a little harder, but this is a collection of what I am really into now, and I can say that without a doubt this is the best mix I have ever made. A big thanks to Hashmoder for taking the time to master this CD. You’re the best…
…DJ Veronica
While the norm for most tracks go anywhere between 3:30 to 6:00 minutes in length, I prefer 15:00 minutes or longer, like the four seasons. Give me 4 long tracks to fill the hour, and I’ll be one very happy Iraqi. I love tracks that take me on long journeys through various movements. One of my all-time favorite synth-pop groups is PROPAGANDA from germany … who sound like twisted ABBA + Industrial + TechnoPop + Darkness. My favorite Proganda track is P:Machinery. I’ve taken two 12-inch vinyl versions of that track and conjoined them together as one … the way I want to listen to P:Machinery by:
Propaganda
Although he produced only a handful of tracks of renown and disappeared into obscurity almost as quickly as he had emerged from it, Manny ( Man ) Parrish is nonetheless one of the most important and influential figures in American electronic dance music. Helping to lay the foundation of electro, hip-hop, freestyle, and techno, as well as the dozens of subgenres to splinter off from those, Parrish introduced the aesthetic of European electronic pop to the American club scene by combining the plugged-in disco-funk of Giorgio Moroder and the man-machine music of Kraftwerk with the beefed-up rhythms and cut’n'mix approach of nascent hip-hop. As a result, tracks like “Hip-Hop Be Bop (Don’t Stop)” and “Boogie Down Bronx” were period-defining works that provided the basic genetic material for everyone from Run-DMC and the Beastie Boys to Autechre and Andrea Parker — and they remain undisputed classics of early hip-hop and electro to this day.
Man Parrish
What made Trevor Horn’s productions stand out was his unique and genius production techniques and the heavy use of state-of-the-art pro-audio gear, which made him become the torch-bearer for the kind of technology-led pop music which was hip and incredibly disciplined. Trevor Horn’s 12-inch remixes were uniquely long (anywhere from 8 to 13 minutes in duration) and told stories which took the listeners through long instrumental journeys at the begenning of tracks until the climax is reached (around the 5/6 or 7 minute mark). After the climax, the original or alternate full vocal version of the track takes over from that point on to the end, lasting additional 3.5 to 5 minutes in length.
Frankie Goes To Hollywood
Trevor Horn is the guy who produced and performed “
The Buggles
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