Remixing has changed a lot since I first started in the 1980s, but for me, the core process hasn’t. Back in the day, I worked with reel-to-reel tapes, splicing together mixes by hand, cutting and taping segments to create extended versions, medleys, and reimaginings of tracks. That hands-on, physical approach to sound has never left me, even now in the digital era.
Sticking to the Roots
Many producers today rely on drag-and-drop software tools with automated features that handle a lot of the heavy lifting. While digital tools are undeniably powerful, I’ve always preferred an old-school approach. The way I put my remixes together still follows the same meticulous, hands-on philosophy I developed decades ago. Instead of physically cutting tape, I work with waveforms in digital audio workstations (DAWs), applying the same level of precision and attention to detail that I did back in the analog days.
One of the hallmarks of my technique is the way I structure an extended mix. Instead of simply looping sections or layering effects, I treat a remix like a full composition, carefully considering pacing, dynamics, and flow. This is something I learned early on when working with physical tape—you had to plan ahead, make every edit count, and ensure that transitions were seamless because there was no “undo†button.
The Process
1. Selecting the Right Track
Every remix starts with choosing a track that has strong bones—a solid groove, powerful vocals, or a unique element that can be reinterpreted. I don’t just remix for the sake of it; I choose songs that inspire me to create something fresh while still respecting the original.
2. Deconstructing the Original
Before I start building a remix, I break down the track into its core elements. This is where my old-school mindset really kicks in. Instead of relying on automatic stem separation, I do a lot of manual isolations and EQ adjustments to extract the parts I need.
3. Rebuilding with Precision
Once I have the elements, I start reconstructing the track in a way that mirrors my reel-to-reel process. I approach it like tape editing—manually aligning beats, creating seamless loops, and ensuring smooth transitions without relying on quantization or auto-sync features. This gives my remixes a natural, organic flow that many modern digital productions lack.
4. Adding Classic Techniques
I incorporate techniques from my analog days that digital producers often overlook. For example:
• Manual crossfading rather than automatic fades, ensuring a more natural sound.
• Layered delays and reverbs to replicate the warmth of 80s remixing styles.
• Tape-style edits, where I chop and reassemble sections in a way that mimics the rhythmic tape splices I used to do.
5. Final Adjustments
The final step is refining the mix, ensuring every element sits perfectly in the stereo field, and applying EQ and mastering techniques that stay true to the classic club sound. While I use modern tools for final mastering, I always keep in mind the sonic characteristics of vinyl and cassette releases from the 80s and early 90s.
A Pioneer’s Perspective
Back in the 80s, I was considered a bit of a pioneer for the way I approached remixing. While others followed standard formulas, I developed my own methods, experimenting with splicing techniques and restructuring tracks in ways that made them more immersive on the dancefloor. That mindset still drives me today.
Even in the digital age, I believe there’s something special about maintaining that hands-on, handcrafted approach to remixing. It’s not about pressing a button and letting software do the work—it’s about shaping sound with intention and passion, just like I did when I was physically splicing tape decades ago.
Technology has evolved, but the art of remixing—at least for me—remains deeply rooted in those early days. And that’s what keeps my mixes unique, bridging the past and the present in a way that few others do.
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