End of Procrastination Domination
The Managed Risk 2.33 Study Mix
Of all the mixes that I have put together, none have been a bigger hit than the subdued, downtempo, study mix; The Managed Risk. So much so that it is the first mixtape I have decided deserved a proper up-to-date sequel, in name, and in style.
The Managed Risk proved to those who listened to it, that EDM could be used and enjoyed in other ways than 128bpm's and huge drops. It is one of the biggest success stories of my DJ'ing career, and I credit it with being a turning point in my talent, and my recognition. Also on a plus side, it is fantastic music for focusing and stimulating creativity, and productivity.
Fast forward five months, and we have The Managed Risk 2.33, the official second incarnation of The Managed Risk. It starts where the last left off, and goes above and beyond its predecessor in almost every way. To start, it is twice as long, clocking in at one hour, double that of the first. Its song choice, transitions, and progression are among my finest and smoothest attempts to date. It features excellent utilization of effects and EQ manipulation, leaving it with a very personal mark on the whole endeavor. There are more examples, but you get the memo; it's bigger and it's better!
The production of The Managed Risk 2.33 has been up in the air for the past two months, with the first and original attempt at a sequel taking place in late August. This attempt however was not up to standard, and came off forced and unmotivated, and thus discarded. Since then, I have routinley been hinting at it's release, and was met with expectations by friends and peers whom listened to the first. It was the first time I had to outdo myself to make sure everyone would be pleased.
Overall since the start of the process, I had decided on 23 songs to bring into the mixing formula from an original 81. I had gone from 9 hours of music to just under 2 hours of material. From here I was able to better identify mixing patterns, cord changes, and possible cue points for transitions. Basically, I got to know these songs, and their structure like you would know your favorite songs. It's the only way you can have success mixing, and that's if you know your music inside and out.
At this point, I began thinking about directions to take the set, "Do I take it soft and sultry? Do I take it in a more Trance directions, and incorporate more electro house? Where does Trap fit into the picture?" You get the idea, it became a headache. I realized that I wanted to span all genres and not to get tied up on any one sound because that is boring, and boring doesn't help staying awake during an all-nighter. With very little in mind besides how I wanted to start and end the set, I waited for the perfect day in which I felt ready to tackle the decks and put together a relaxed fusion of all EDM genres.
The opening track "Moondust (Ianbord & Bronze Whale Remix) - Jaymes Young" was chosen well in advance, and was the eventual song that provided the final push of motivation to created the set. I knew I wanted to open with a loop of the intial effect, and bring it in piece by piece, creating a very hazing introduction into what will be for most listeners, a piece of music that will: inspire, motivate, and help focus during late night studying. "Moondust" provided the type of setting I wanted the whole set to revolve around, and I also wanted it to be the setting I leave the listener with. It is just a beautiful piece, and really set the tempo and creative drive for the whole set.
The introduction which is on par with any of the other live-sets from The Greatest Risk Mixtape (future writeup coming) and up, is provided by philosopher Alan Watts. He compares music composition to life, giving the listener a fantastic crossover into the correlation between education and music. That rushing to finish, shouldn't be the goal, but rather to enjoy the journey and everything in between.
At the end of the mix, the last climax of the reprise of "Moondust" represents Alan Watts analogy of the end and the beginning being exactly the same. That the journey to get there just leads you back to the start, and so it should be enjoyed. Maybe I'm going to deep into it, but at the time, that was the creative thought process. Anyway, I hope you enjoy The Managed Risk 2.33.
The Managed Risk proved to those who listened to it, that EDM could be used and enjoyed in other ways than 128bpm's and huge drops. It is one of the biggest success stories of my DJ'ing career, and I credit it with being a turning point in my talent, and my recognition. Also on a plus side, it is fantastic music for focusing and stimulating creativity, and productivity.
Fast forward five months, and we have The Managed Risk 2.33, the official second incarnation of The Managed Risk. It starts where the last left off, and goes above and beyond its predecessor in almost every way. To start, it is twice as long, clocking in at one hour, double that of the first. Its song choice, transitions, and progression are among my finest and smoothest attempts to date. It features excellent utilization of effects and EQ manipulation, leaving it with a very personal mark on the whole endeavor. There are more examples, but you get the memo; it's bigger and it's better!
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| The original Managed Risk Mix has amassed over 470 plays and 190 downloads! |
Overall since the start of the process, I had decided on 23 songs to bring into the mixing formula from an original 81. I had gone from 9 hours of music to just under 2 hours of material. From here I was able to better identify mixing patterns, cord changes, and possible cue points for transitions. Basically, I got to know these songs, and their structure like you would know your favorite songs. It's the only way you can have success mixing, and that's if you know your music inside and out.
At this point, I began thinking about directions to take the set, "Do I take it soft and sultry? Do I take it in a more Trance directions, and incorporate more electro house? Where does Trap fit into the picture?" You get the idea, it became a headache. I realized that I wanted to span all genres and not to get tied up on any one sound because that is boring, and boring doesn't help staying awake during an all-nighter. With very little in mind besides how I wanted to start and end the set, I waited for the perfect day in which I felt ready to tackle the decks and put together a relaxed fusion of all EDM genres.
The opening track "Moondust (Ianbord & Bronze Whale Remix) - Jaymes Young" was chosen well in advance, and was the eventual song that provided the final push of motivation to created the set. I knew I wanted to open with a loop of the intial effect, and bring it in piece by piece, creating a very hazing introduction into what will be for most listeners, a piece of music that will: inspire, motivate, and help focus during late night studying. "Moondust" provided the type of setting I wanted the whole set to revolve around, and I also wanted it to be the setting I leave the listener with. It is just a beautiful piece, and really set the tempo and creative drive for the whole set.
The introduction which is on par with any of the other live-sets from The Greatest Risk Mixtape (future writeup coming) and up, is provided by philosopher Alan Watts. He compares music composition to life, giving the listener a fantastic crossover into the correlation between education and music. That rushing to finish, shouldn't be the goal, but rather to enjoy the journey and everything in between.
At the end of the mix, the last climax of the reprise of "Moondust" represents Alan Watts analogy of the end and the beginning being exactly the same. That the journey to get there just leads you back to the start, and so it should be enjoyed. Maybe I'm going to deep into it, but at the time, that was the creative thought process. Anyway, I hope you enjoy The Managed Risk 2.33.
Fun Fact:
The Managed Risk 2.33's isn't just 2.0 for two reasons. One, I felt this was not just a redu, Part 2 type deal, that this wasn't just the same, but an improvement. The #33 however come from my basketball number that I was given back in grade school.
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