Tracklist:

01. Open

02. Blondes – Synthesist

03. Desire – Under Your Spell

04. Kanye West (f. Chief Keef & Justin Vernon) – Hold My Liquor

05. Cassie (f. Fabolos) – Supermodel

06. LOL Boys – Changes (Shlomo Remix)

07. Hard Mix – Alright (Sumsun Remix)

08. Teengirl Fantasy – Portfino

09. Interlude: Clone FM

10. Mood Rings – Year of Dreams

11. Chaka Kahn & Rufus – Ain't Nobody (Frankie Knuckles Hallucinogenic Dub)

12. Zomby – U Are My Fantasy (Street Fighter 2 Theme Remix)

13. Ford & Lopatin – Green Field

14. CFCF – B. Aldrian

15. Kanye West (f. Assassin & Justin Vernon) – I'm In It

16. Salem – I BURIED MY HEART INNA WOUNDED KNEE

17. Alicia Keys – You Don't Know My Name

18. Burial – Truant

19. John Talabot (f. Pional) – So Will Be Now... (Club Revision)

20. The Chromatics – Tick of the Clock

21. Close

I made it back in 2013 after YEEZUS dropped, but Drive was the primary inspiration.

Download here: https://we.tl/JHl7ZTSp56

(http://www.autoadmit.com/thread.php?thread_id=3202252&forum_id=2#30321519)

I mixed it all in the free audio editor program called Audacity.

I'm all self-taught, I've been doing it for years so I've learned more and more ways to seamlessly mix taxes, and this one is definitely my best.

Really, at bottom, most of what I'm doing in this mix are:

(1) choosing a sequence of tracks that I can blend into one another;

(2) playing with the amount of overlay during the transition between tracks and how to adjust the volumes of both the track ending and the one starting;

(3) changing the speed, tempo, and pitch of tracks -- e.g., the Alicia Keys track is at like half-speed;

(4) making a duplicate copy of a track that I add an effect to -- like a high or low pass filter -- which I then overlay the unaltered original and adjust the volumes of the two so that the altered version overtakes or is overtaken by the unaltered track -- a good example of me doing this is the outro of "I'm In It";

(5) looping portions of tracks to ease transitions; and

(5) most basically, choosing tracks that I can manage to make work together.

(http://www.autoadmit.com/thread.php?thread_id=3202252&forum_id=2#30321985)

(http://www.autoadmit.com/thread.php?thread_id=3202252&forum_id=2#30321717)

try the full URL? https://www.wetransfer.com/downloads/8db40e350d3b3fe0a26b508a976b9c0f20160422004811/5a5b7d

lemme know

(http://www.autoadmit.com/thread.php?thread_id=3202252&forum_id=2#30324939)

1. The coin dropping and the phone ringing is a very brief snippet of sound from a track that is alluding me presently. It begins with the outdoor ambience, so I took the outdoor ambience, pre-coin drop, looped it a bunch of times and overlaid over the snippet.

2. I almost immediately started slowly faded in the first 2:30 of "Synthesist" -- seeking the desired effect of a UFO abduction -- and then faded out into

3. Under Your Spell, which I shortened by cutting out chunk in the back half. Looped the synth at the end to fade it out

4. The fade into the Fabolous track, which I didn't alter meaningfully

5. Didn't meaningfully alter the LOL Boys track, except for the transition out where

6. I fucked with the Sumsun remix track to blend them together, but otherwise didn't alter. Transitioning out of it was easy because there's no beat.

7. So the slow fade into Portofino took little effort

8. The interlude is actually the first 30ish seconds of Queen of the Stone Age's "You Think I Ain't Worth A Dollar, But I Feel Like A Millionaire"

9. I basically just drenched the Mood Rings track in reverb which made the fade out of the interlude into it really easy

10. Didn't alter the Chaka Kahn dub much, just faded it out at the end

11. I slowed the Zomby remix by like 10 or 15%

12. The Ford & Lopatin track is ambient and plays from the Zomby fadeout until well into the CFCF track. I recall fucking with the speed of the F&L track to get it to end where I wanted.

13. Then there is significant overlap with the CFCF track still on full blast with the first verse of "I'm In It" softly playing at the same time.

14. Then for "I'm In It," I added an extra couple of seconds before the beat drops, but the outro was tricky. I ended up making a duplicate copy of the last verse and put the duplicate through a high pass filter, then synced it up with the unaltered end verse and adjusted the sound envelopes of the two, so the high pass filter version goes from being inaudible to being the only thing you can hear.

15. I ripped the Salem track out of the middle of a mix they posted, but it was really short, so I looped it a few times.

16. The Alicia Keys track is slowed (both tempo and pitch) by 30% and truncated

17. I only used one portion of Truant, which was easy to transition into from the piano keys of Alicia and was easy to transition out of and into the Talabot track, which starts out pretty minimal

18. I used about half of Tick of the Clock, which was easy to transition into given the Talabot track's ending

19. Finally, I used a piece of sound capture software from a pirated copy of Drive, where I recorded Gosling's voice and overlaid him speaking during a portion of Tick of the Clock, which actually ends before Gosling finishes speaking.

20. But the whole concept between naming the first and last tracks open and close is cuz a phone dialing is the first thing you hear and a phone call ending is the last thing you hear.

(http://www.autoadmit.com/thread.php?thread_id=3202252&forum_id=2#30322281)

Kavinsky - Nightcall

(http://www.autoadmit.com/thread.php?thread_id=3202252&forum_id=2#30324336)

Date: April 21st, 2016 9:01 PM

Author: ned pointsman (dead)

Here are a few sets I really love:

https://soundcloud.com/john-talabot/summerized-mix

https://soundcloud.com/factmag/fact-mix-315-john-talabot-feb

https://soundcloud.com/i-push-miracle-whips/sets/beats-in-space-radio-show-723

(http://www.autoadmit.com/thread.php?thread_id=3202252&forum_id=2#30324950)