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Tag Archives | Credit To The Edit

Navid Izadi

Navid Izadi

Such tragic news to hear that Navid Izadi died earlier this month, aged just 32, when the Cessna light aircraft he was a passenger on crashed in a parking lot in Santa Ana, California, killing him, along with his mother and 3 others onboard.

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Substance Select

Substance Select

After having to put the Super Weird Substance label on the backburner for a while (although we were still very much active with last year’s ’14 Hour Super Weird Happening’ and the ‘Alan Moore’s Mandrill Meets Super Weird Substance At The Arts Lab Apocalypse in Liverpool’, we are now in the process of recalibration – the first step being this limited-run 12”, featuring 2 tracks previously released on the label that sold out of existing vinyl supplies, with a demand building since, plus 2 more never previously available on vinyl. The record can be ordered here:
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Credit To The Edit Vol.3

Credit To The Edit Vol.3

It’s always a buzz when a project comes to fruition, so today’s release of Credit To The Edit Vol 3, something I’ve looked forward to since we set the ball rolling around a year ago, seems perfectly timed with the much-needed rush of sunshine we’re experiencing after an extended period of shivering. Feels like the Spring has finally arrived, right on cue, and hopefully this will provide part of the season’s soundtrack for you.

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Credit To The Edit @ Sound City

Credit To The Edit

My latest Credit To The Edit compilation, volume 3 in the series, is issued next month – I’ll do a full post about the album and its contents once available, but, in the meantime, wanted to draw attention to the first in a number of Credit To The Edit parties I’ll be hosting, both in the UK and overseas, throughout 2018.

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Re-Edit Culture – A Potted History Of The DJ Manipulator

Reel To Reel Room

Back in 1966, The Beatles’ record producer, George Martin, executed my favourite singular edit of all time. John Lennon had been working on the now iconic ‘Strawberry Fields Forever’ – he’d recorded 2 versions, and was faced with the dilemma of wanting to use the first section of one recording, but take the rest of the track from a completely different and more progressive version. His comment to George Martin, when the producer pointed out the difficulties of matching pitch and tempo, was ‘you can fix it’. The fixed version is the definitive one that we all know, two recordings perfectly merged together by one decisive splice. You can hear it, if you listen carefully, at just before the minute mark, on ‘going to’:
https://www.youtube.com/watch?v=8UQK-UcRezE 

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