Necessity is the Mother of Invention

I came across this post from Jesse Saunders explaining how he got started with mixing records. The whole story is a great read, but this is what struck me:

"One day while sitting in my living room, I flipped the record over to check out the B-side and found a bootleg mashup. This song used the bassline from Player One’s “Space Invaders,” the “toot toot, heeeeey, beep beep” refrain from Donna Summer’s “Bad Girls,” and the horns from Lipps Inc’s “Funkytown.” It was called “On & On” and I knew right away that it was special. The first time I played it in a set, it created such a frenzy on the dancefloor that I immediately made it my signature record, using it as an intro every time I DJed. Looking back, it was probably the first mashup ever created.

Unfortunately — or fortunately, now that I have the privilege of hindsight — it was among a number of vinyl records stolen from the booth at The Playground. While I was devastated at the time, that record thief gave me all the inspiration I needed to create my own version.

I quickly found myself in my bedroom at 7234 South King Drive, piecing the elements of my prized record back together on a Tascam 4-track cassette recorder. I also began to see this as opportunity to take the original “On & On” and expand upon the things that made it great, fleshing it out into a more fully-formatted song. I banged out new drum programming on my TR-808; my songwriter buddy, Vince Lawrence, wrote the lyrics and the melody"

Sometimes, you're forced to create what you need, and thats a beautiful thing.

Here's Why NS10s Are So Popular

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I came across a great read for any audio engineers worth their salt. The reason that NS 10's work they way they do is not just because they suck but because well, kind of a mistake.

"The Yamaha NS10 was an accidental inverse of the ISO 226 equal-loudness contours curves and the Fletcher Munson curves. The Yamaha NS10 becomes a successful near-field ‘mixing monitor’ when it is placed sideways with the tweeters opposed and on the outside; and placed in the near-field referenced to a level between 80-100dB. Mixing with a loudspeaker like this causes revealing midrange (harmonics and subtle details) and invites the engineer to emphasize the lower frequencies proportionally; reduce the midrange dominance, and emphasize and adjust high frequencies accordingly. Proper editing and playback on reference grade loudspeakers at levels between 80-100dB will reveal a quality end result. I’m oversimplifying all of this a bit here because this is not only pure science… it’s also art."

Read the whole artcile here. Pretty interesting shit.