A Monumental Breakthrough
The Greatest Risk Festival Mix
After the 30-minute attempts in the first two mixtapes, I was very unsatisfied with the fact I did not hit the industry standard one hour of continuous mixing. Then after I hit that barrier in The Very Daft Risk mix, I was determined to put those developed skills into a set that encompassed all genres. Enter The Greatest Risk, my first hour long set that went through an amazing 30 songs, totaling 1 hour and 8 minutes of total mix time.
The original idea was floating around from before The Very Daft Risk, and it was always my intention to do hour long sets, but I just didn't know how to execute. After the Daft Punk tribute mix, I was very confident in my ability, and decided it was time to start. The only track I knew i was going to use was the initial "Sweet Nothing (Bootleg)" track, I really thought it set the tone. From there though, all 29 were used on improvisation, something that still impresses me to this day.
Unlike the previous mixes, I was using my new Hercules MX-4 mixer, and unlike the Daft mix, I actually knew how to use the hardware. This combined with brand new software, led me in directions I never knew I had. I attribute this sets smooth transitions, and crisp mixing to the fact I was using superior software and hardware then in the previous "Risky Mixes." The Greatest Risk is still arguably the best set I have ever made, and public response has also been very receptive, which also explains the 500+ plays and 200+ downloads.
Interestingly enough, this was also my first set in which I incorporated (my now genre of choice) Trap music, and it really tied it all together. From this set on, Trap music has become a worldwide sensation, and a mainstay in my sets regardless of their style. This addition wasn't easy though, as most Trap songs are in 140 BPM, unlike traditional House music tuned at 128 BPM. This required plenty of practice and very fine adjustments to songs within the mix, and proved to be more of a challenge then I had originally thought. It all turned out fine in the end though with minimal mistakes.
This mix represents a very fine line in my DJing timeline, as the moment in which I had finally developed my skills far enough to compose very well done, engaging, hour long sets. I used a vast song selection that spanned from the obscure to the mainstream, with everything in between. Trap, House, Trance, Progressive, and Dubstep were all compiled into this set, something that is incredible due to the BPM's of the songs ranging from as low as 68 BPM to as high as 170 BPM.
I envisioned this set as something that could be played at any one of the major festivals, and even after four months after its release, it still features a fresh sound, thanks in part to its many changes and it's perfect progression for the listener. That term, "progression," is something I throw around a lot, and for good reason. Many DJ's throw together song after song, with no coherence or relation. Going from one banger to the next, not giving the listener any variation or pacing to the set. I attempt to build a story or a canvas for the listener to go on throughout the mix. Providing them with songs that slow the tempo so they can catch their breath, or speed it up to hype everyone up, etc.
Overall, I am very satisfied with this set, and enjoy listening to it whenever I get the chance. The incorporation of so many producers and DJ's that are relatively unknown is probably the thing I am most proud of, and of course the multiple on the fly mixing and transitions that just allow this set to flow beautifully. It definitely laid the groundwork for where I am today, and was the spiritual predecessor The Astounding Mix, the next comprehensive mix in the cycle.
The original idea was floating around from before The Very Daft Risk, and it was always my intention to do hour long sets, but I just didn't know how to execute. After the Daft Punk tribute mix, I was very confident in my ability, and decided it was time to start. The only track I knew i was going to use was the initial "Sweet Nothing (Bootleg)" track, I really thought it set the tone. From there though, all 29 were used on improvisation, something that still impresses me to this day.
Unlike the previous mixes, I was using my new Hercules MX-4 mixer, and unlike the Daft mix, I actually knew how to use the hardware. This combined with brand new software, led me in directions I never knew I had. I attribute this sets smooth transitions, and crisp mixing to the fact I was using superior software and hardware then in the previous "Risky Mixes." The Greatest Risk is still arguably the best set I have ever made, and public response has also been very receptive, which also explains the 500+ plays and 200+ downloads.
 |
| Hercules MX-4 |
Interestingly enough, this was also my first set in which I incorporated (my now genre of choice) Trap music, and it really tied it all together. From this set on, Trap music has become a worldwide sensation, and a mainstay in my sets regardless of their style. This addition wasn't easy though, as most Trap songs are in 140 BPM, unlike traditional House music tuned at 128 BPM. This required plenty of practice and very fine adjustments to songs within the mix, and proved to be more of a challenge then I had originally thought. It all turned out fine in the end though with minimal mistakes.
This mix represents a very fine line in my DJing timeline, as the moment in which I had finally developed my skills far enough to compose very well done, engaging, hour long sets. I used a vast song selection that spanned from the obscure to the mainstream, with everything in between. Trap, House, Trance, Progressive, and Dubstep were all compiled into this set, something that is incredible due to the BPM's of the songs ranging from as low as 68 BPM to as high as 170 BPM.
 |
| The Greatest Mix on Soundcloud |
I envisioned this set as something that could be played at any one of the major festivals, and even after four months after its release, it still features a fresh sound, thanks in part to its many changes and it's perfect progression for the listener. That term, "progression," is something I throw around a lot, and for good reason. Many DJ's throw together song after song, with no coherence or relation. Going from one banger to the next, not giving the listener any variation or pacing to the set. I attempt to build a story or a canvas for the listener to go on throughout the mix. Providing them with songs that slow the tempo so they can catch their breath, or speed it up to hype everyone up, etc.
Overall, I am very satisfied with this set, and enjoy listening to it whenever I get the chance. The incorporation of so many producers and DJ's that are relatively unknown is probably the thing I am most proud of, and of course the multiple on the fly mixing and transitions that just allow this set to flow beautifully. It definitely laid the groundwork for where I am today, and was the spiritual predecessor The Astounding Mix, the next comprehensive mix in the cycle.
Fun Fact:
Due to the incorporation of Trap music in this set, the album cover (which I design for each mix) features Admiral Ackbar from Star Wars. Ackbar is famous for his now infamous line, "IT'S A TRAP," in Star Wars Episode 6: Return of the Jedi. The Greatest Risk also marks the third time i have used a rendition of Zedd's Spectrum in a mix, my choice for 2012's song of the year. The ending also features a quick snippet of "Together" an early 90's song by DJ Falcon and Thomas Bangalter of Daft Punk.
Pictures From:
http://www.madridhifi.com/_published_files/_tiny/producto/10009380/hercules-dj-mx4-consola-controlador.jpg
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