THE ECLECTIC MIX FORMAT
A bit like Balearic the term Eclectic is often overused, misused and / or misunderstood. A simple Google search will often send you on a drawn out wild goose chase filled with "filler" tracks largely of the House variety. You will also find some awful EDM and techno under the same description and a whole scene almost of radio stations that seem to use the term eclectic whenever whatever they are doing doesn't fit into mainstream definition/s.
In our understanding true eclectic and Balearic both bear common factors including an acceptance of commercial / pop elements. They can also both veer particularly left field and if done right, totally get away with it. The range of eclectic however separates the common areas here. There can also be said to be a common "feel good factor" inherent in both musical scenes. Finally as opposed to many other dance floor related genres, DJ's of these get more BPM scope overall and naturally this means more chilled out or slower tempo tracks included.
We include over 50 genres in our personal definition of eclectic but do not enforce this to be the "right" or correct measurement option, basically if you get away with it and its out of the mainstream (or used out of its normal context) then it can be defined as "eclectic". This does not mean that the mix will be any good and in which case a number of other factors come immediately into play such as timing, mixing, progression and the "feel" of the overall journey.
In summary we would say a good mix remains just that; simply a good mix. If its drum and bass or say a hip hop set then that will be apparent. If on the other hand the mix features a range of music we would call it eclectic. If the selections and mix stand up together in unison, then that would in turn define what a "good eclectic mix" would be in each and every instance.
Our own personal methodology of what equates to a good eclectic mix is also concerned (like a recipe) with the right amount of the right ingredients but this will vary from DJ to DJ and dependent on personal taste / preference.
Being purely dance-floor orientated means exclusion of the more chilled tracks included in this guide and being truly eclectic in our own personal view means that you get allowed access to a far greater and wider range of music overall. Therefore in terms of the actual mix or subsequent mix tape project there is huge scope of both where to start and where to plan on ending up.
Our definition is by no means exclusively the right one, as we said already it's a term heavily over and / or misused as it is. That said we are huge fans and long term followers of the scene from the original turntablist days and have remained integrated with the chilled, live and dance music scenes respectively throughout all that time.
As far as we are concerned anyone is welcome to take what you like and discard what you don't like or don't need as you may see fit with regards to this guide.
We felt it more important from our side to be overall more comprehensive, less dismissive in our approach in an effort to ensure we got something (hopefully) for everyone in the overall mix and that we provides as many listening options as to a wider audience as possible.
We don't pretend to know too much about anything or more than anyone else, we are simply lifelong music fans with passion and enthusiasm for all sorts of things surrounding cool music, nice food and dope movies. We also like to share our finds and loves and hope that a head full of what some consider useless knowledge may be of some use or service to you (as another music fan) personally etc.
As such we aim to cater for as wide an audience as possible here not discounting the pioneers on the new initiates into far out sounds. We try to avoid unnecessary distinctions and debates wherever possible (or at least keep discussion/s and analysis to a minimum) hopefully leaving the way clear for as much musically relevant and pertinent information for the reader as possible.
WHERE IT ALL BEGAN Vs. WHERE ITS HEADING
Turntablists were really the originators of the mix tape concept making full utilisation of snippets, samples and hard to find tracks in order to make their sets unique and stand out in nature. Technological developments in the sounds of the 80's further enhanced the mix prospects and dance music made it into its own. The flowing nature of eclectic mixing had been discovered and pioneered by the likes of Alfredo Fiorita from Cafe Del Mar Fame.
Convergence of the Trip hop and a subsequent reemerging Indie / live scene also opened up new aspects as live instrumentation was heavily featured and allowing numerous tonal mix opportunities and
perfect background for scratching and further subsequent effects. Furthermore technological advancements in terms of both hardware and software and today's eclectic mix is literally a world of possibilities confined only by the time allowed for each mix.
Getting it absolutely right is an art in itself but as ever it is the pure quality of each tune in question which ensures a well received response. In fact more than ever the mixing itself counts for less than the calibre of the playlist. Plenty of happening and successful nights now focus on the music rather than the DJ ability.
This is not to say of course that the DJ is held in less regard, in fact conversely pound for pound its probably more lucrative than ever with the Worlds top earners now raking in excess of £8 million per annum. To be honest even without the involvement of a single penny if you catch the right DJ on the right night with the right set then it can be priceless for the viewer / listener / witness to the event.
Finding someone DJ wise"in the zone" and connecting with both them and the audience can be way beyond a magical experience. A lot of the time even the best DJ's in the world do not repeat this time after time, like most things / people there are good and bad days and stuff all over the internet to prove testament to the worlds best clashing a mix or suffering a live mishap.
Contrarily often a killer set will come from somewhere obscure like a 15 year old Brazilians bedroom as showcasing the musical knowledge and DJ skills of a 40 year old seasoned purist! This is some of the beautiful stuff that has been made possible via the internet and thus something musically we cannot consider as negative against the vinyl / musical collecting industry / scene.
As in the wider sense as music has fragmented into almost immeasurable sub genres and new sounds / cross overs and thus we have DJ's doing all sorts of unheard of things previously. Live production and remixing are now mainstream as well as custom red-edits and exclusive mash ups the staple diets of even mid level DJ's.
With more DJ's than ever before competition is fierce and quite often can be more about the crowd you can personally bring rather than the collection and / or skills you possess. Of course real impressive and outstanding talent will always shine through eventually but for the majority and especially during the formative years, a DJ's progression within the scene may often depend on his / her networking and
marketing skills to get them prominent within the market place, that however is another guide for another day and here we will remain utterly concerned with musical content alone.
Internet based forums and doing your own radio show can be a good way to enhance your social networks and make new contacts and find new links to extra resources for music can be an on going thing with even a minimal net presence. There are many great groups and blogs out there to be
dutifully trawled and included later in this guide are some of the best for your perusal.
Also organising your own events however small or intimate is an ideal way to develop a loyal crowd base and help you avoid having to fit into anyone else's predefined idea of whatever a particular night should be like.
Both of the above lending way to the opportunity of increasing some branding aspect to your concept / style and thus allowing you to further convey the image you wish to portray. Once again this may grant you access into new scenes or areas to gain contacts and search out ACE new music.
Getting even a mix-tape series up allows you to grow / develop socially via the internet and with zero cost plus allows the most needed real-time feedback that will prove essential in your personal growth as a rounded aspiring DJ, if indeed this is the case in your own personal example. As we are catering to a far wider audience than DJ's alone we have tried to keep all technical and / or industry specific dialogue to a minimum, whilst still not excluding this sector as a very probable and indeed specifically marketed reading target.
Seasoned producers all know the importance of a decent foundation in musical history and crate digging is a natural extension for these types as they get further into their own musical progression. Not only in terms of musical influence but in studying keys, chords, changes and progressions, not to mention the all important and blatantly obvious sampling option/s.
Purists lean towards traditional turntablist endeavors or the art of mixing House in the main. The newer proponents edge into EDM, Dub step and related dance floor orientated sounds. Beat mixing always remains a bonus although by no means essential in today's' terms. Overall it could be said that the ideal modern mix should contain examples of many / various types of mixes that showcases ability and
diversity. That said; it should never be at the expense of the mixes flow or progression.
Samples can further enhance the journey as do exclusive re-edits and / or mash ups. Often high end purist elements such as Balearic will depend highly on bringing something new and spectacular sounding to the table (often rarer the better.)
Out of all the mixes it can be said that true eclectic mixing is one of the hardest both in terms of tunes required and diversity of mix skills required.
By operating within such a vast range of BPM's traditional beat mixing can often be out of the question. Naturally absence of traditional all out beat mixing will inevitably affect the flow of any given mix and thus extra thought and attention paid to pre-mix planning, unlike traditional club DJ's generally working around a 10BPM range (i.e. 120-130BPM) and thus generally rely on just tweaking pitch control on the fly and as they go.
Eclectic mixing often relies heavily on tune knowledge and knowledge of each of those particular tunes and obviously pre set planning these days made even easier as it is now possible to view WAV files pictographically i.e. Identify the breaks quickly / easily by sight (even if later mixing live via vinyl.)
It is also not so essential to mix in key as with traditional dance floor / clubbing DJ sets in the eclectic genre.
The crowd (in the main) are seeking tunes that they want / need to know the name of. As such there is often a lot of train spotter tune hunting types frequent the live events scene.
Ideally we believe that the ideal eclectic mix should start at one place and end somewhere completely different and unexpected, there should be timeless sing a long classics fused with a hefty portion of new (even if retro) tunes that consistently build and overall pack a monster punch to build into a groove on the dance floor. It can be a range of tempos from chilled out to banging and depending on the length of the set obviously defines how fast it will reach the final destination / pace. Unlike other mixes it is often acceptable to "ebb and flow" and build up / break down the overall tempo of the mix but as ever if being done live then a dance floor emphasis will always be paramount.
It should also contain a few surprises along the way and progress seamlessly to take you on a magical musical journey through the music in question. If done properly time literally seems to fly by. Being eclectic obviously variety plays a large part in the structure and lost B sides and rediscovered album tracks or outrageous cover versions always seem to serve well in gaining a good response.
In our understanding true eclectic and Balearic both bear common factors including an acceptance of commercial / pop elements. They can also both veer particularly left field and if done right, totally get away with it. The range of eclectic however separates the common areas here. There can also be said to be a common "feel good factor" inherent in both musical scenes. Finally as opposed to many other dance floor related genres, DJ's of these get more BPM scope overall and naturally this means more chilled out or slower tempo tracks included.
We include over 50 genres in our personal definition of eclectic but do not enforce this to be the "right" or correct measurement option, basically if you get away with it and its out of the mainstream (or used out of its normal context) then it can be defined as "eclectic". This does not mean that the mix will be any good and in which case a number of other factors come immediately into play such as timing, mixing, progression and the "feel" of the overall journey.
In summary we would say a good mix remains just that; simply a good mix. If its drum and bass or say a hip hop set then that will be apparent. If on the other hand the mix features a range of music we would call it eclectic. If the selections and mix stand up together in unison, then that would in turn define what a "good eclectic mix" would be in each and every instance.
Our own personal methodology of what equates to a good eclectic mix is also concerned (like a recipe) with the right amount of the right ingredients but this will vary from DJ to DJ and dependent on personal taste / preference.
Being purely dance-floor orientated means exclusion of the more chilled tracks included in this guide and being truly eclectic in our own personal view means that you get allowed access to a far greater and wider range of music overall. Therefore in terms of the actual mix or subsequent mix tape project there is huge scope of both where to start and where to plan on ending up.
Our definition is by no means exclusively the right one, as we said already it's a term heavily over and / or misused as it is. That said we are huge fans and long term followers of the scene from the original turntablist days and have remained integrated with the chilled, live and dance music scenes respectively throughout all that time.
As far as we are concerned anyone is welcome to take what you like and discard what you don't like or don't need as you may see fit with regards to this guide.
We felt it more important from our side to be overall more comprehensive, less dismissive in our approach in an effort to ensure we got something (hopefully) for everyone in the overall mix and that we provides as many listening options as to a wider audience as possible.
We don't pretend to know too much about anything or more than anyone else, we are simply lifelong music fans with passion and enthusiasm for all sorts of things surrounding cool music, nice food and dope movies. We also like to share our finds and loves and hope that a head full of what some consider useless knowledge may be of some use or service to you (as another music fan) personally etc.
As such we aim to cater for as wide an audience as possible here not discounting the pioneers on the new initiates into far out sounds. We try to avoid unnecessary distinctions and debates wherever possible (or at least keep discussion/s and analysis to a minimum) hopefully leaving the way clear for as much musically relevant and pertinent information for the reader as possible.
WHERE IT ALL BEGAN Vs. WHERE ITS HEADING
Turntablists were really the originators of the mix tape concept making full utilisation of snippets, samples and hard to find tracks in order to make their sets unique and stand out in nature. Technological developments in the sounds of the 80's further enhanced the mix prospects and dance music made it into its own. The flowing nature of eclectic mixing had been discovered and pioneered by the likes of Alfredo Fiorita from Cafe Del Mar Fame.
Convergence of the Trip hop and a subsequent reemerging Indie / live scene also opened up new aspects as live instrumentation was heavily featured and allowing numerous tonal mix opportunities and
perfect background for scratching and further subsequent effects. Furthermore technological advancements in terms of both hardware and software and today's eclectic mix is literally a world of possibilities confined only by the time allowed for each mix.
Getting it absolutely right is an art in itself but as ever it is the pure quality of each tune in question which ensures a well received response. In fact more than ever the mixing itself counts for less than the calibre of the playlist. Plenty of happening and successful nights now focus on the music rather than the DJ ability.
This is not to say of course that the DJ is held in less regard, in fact conversely pound for pound its probably more lucrative than ever with the Worlds top earners now raking in excess of £8 million per annum. To be honest even without the involvement of a single penny if you catch the right DJ on the right night with the right set then it can be priceless for the viewer / listener / witness to the event.
Finding someone DJ wise"in the zone" and connecting with both them and the audience can be way beyond a magical experience. A lot of the time even the best DJ's in the world do not repeat this time after time, like most things / people there are good and bad days and stuff all over the internet to prove testament to the worlds best clashing a mix or suffering a live mishap.
Contrarily often a killer set will come from somewhere obscure like a 15 year old Brazilians bedroom as showcasing the musical knowledge and DJ skills of a 40 year old seasoned purist! This is some of the beautiful stuff that has been made possible via the internet and thus something musically we cannot consider as negative against the vinyl / musical collecting industry / scene.
As in the wider sense as music has fragmented into almost immeasurable sub genres and new sounds / cross overs and thus we have DJ's doing all sorts of unheard of things previously. Live production and remixing are now mainstream as well as custom red-edits and exclusive mash ups the staple diets of even mid level DJ's.
With more DJ's than ever before competition is fierce and quite often can be more about the crowd you can personally bring rather than the collection and / or skills you possess. Of course real impressive and outstanding talent will always shine through eventually but for the majority and especially during the formative years, a DJ's progression within the scene may often depend on his / her networking and
marketing skills to get them prominent within the market place, that however is another guide for another day and here we will remain utterly concerned with musical content alone.
Internet based forums and doing your own radio show can be a good way to enhance your social networks and make new contacts and find new links to extra resources for music can be an on going thing with even a minimal net presence. There are many great groups and blogs out there to be
dutifully trawled and included later in this guide are some of the best for your perusal.
Also organising your own events however small or intimate is an ideal way to develop a loyal crowd base and help you avoid having to fit into anyone else's predefined idea of whatever a particular night should be like.
Both of the above lending way to the opportunity of increasing some branding aspect to your concept / style and thus allowing you to further convey the image you wish to portray. Once again this may grant you access into new scenes or areas to gain contacts and search out ACE new music.
Getting even a mix-tape series up allows you to grow / develop socially via the internet and with zero cost plus allows the most needed real-time feedback that will prove essential in your personal growth as a rounded aspiring DJ, if indeed this is the case in your own personal example. As we are catering to a far wider audience than DJ's alone we have tried to keep all technical and / or industry specific dialogue to a minimum, whilst still not excluding this sector as a very probable and indeed specifically marketed reading target.
Seasoned producers all know the importance of a decent foundation in musical history and crate digging is a natural extension for these types as they get further into their own musical progression. Not only in terms of musical influence but in studying keys, chords, changes and progressions, not to mention the all important and blatantly obvious sampling option/s.
Purists lean towards traditional turntablist endeavors or the art of mixing House in the main. The newer proponents edge into EDM, Dub step and related dance floor orientated sounds. Beat mixing always remains a bonus although by no means essential in today's' terms. Overall it could be said that the ideal modern mix should contain examples of many / various types of mixes that showcases ability and
diversity. That said; it should never be at the expense of the mixes flow or progression.
Samples can further enhance the journey as do exclusive re-edits and / or mash ups. Often high end purist elements such as Balearic will depend highly on bringing something new and spectacular sounding to the table (often rarer the better.)
Out of all the mixes it can be said that true eclectic mixing is one of the hardest both in terms of tunes required and diversity of mix skills required.
By operating within such a vast range of BPM's traditional beat mixing can often be out of the question. Naturally absence of traditional all out beat mixing will inevitably affect the flow of any given mix and thus extra thought and attention paid to pre-mix planning, unlike traditional club DJ's generally working around a 10BPM range (i.e. 120-130BPM) and thus generally rely on just tweaking pitch control on the fly and as they go.
Eclectic mixing often relies heavily on tune knowledge and knowledge of each of those particular tunes and obviously pre set planning these days made even easier as it is now possible to view WAV files pictographically i.e. Identify the breaks quickly / easily by sight (even if later mixing live via vinyl.)
It is also not so essential to mix in key as with traditional dance floor / clubbing DJ sets in the eclectic genre.
The crowd (in the main) are seeking tunes that they want / need to know the name of. As such there is often a lot of train spotter tune hunting types frequent the live events scene.
Ideally we believe that the ideal eclectic mix should start at one place and end somewhere completely different and unexpected, there should be timeless sing a long classics fused with a hefty portion of new (even if retro) tunes that consistently build and overall pack a monster punch to build into a groove on the dance floor. It can be a range of tempos from chilled out to banging and depending on the length of the set obviously defines how fast it will reach the final destination / pace. Unlike other mixes it is often acceptable to "ebb and flow" and build up / break down the overall tempo of the mix but as ever if being done live then a dance floor emphasis will always be paramount.
It should also contain a few surprises along the way and progress seamlessly to take you on a magical musical journey through the music in question. If done properly time literally seems to fly by. Being eclectic obviously variety plays a large part in the structure and lost B sides and rediscovered album tracks or outrageous cover versions always seem to serve well in gaining a good response.