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Tag Archives | Technics

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

By on February 17, 2017 in Articles, DJ / Club Culture

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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The Original British Mixes

By on September 12, 2013 in Black Culture, Mixes, The Seventies

Complete with snap, crackle, pop, and even the odd skip and jump, these are 7 seminal mix albums pressed onto vinyl during 1977-79, the latter Disco period. 3 of these were officially released, the other 4 being DJ promo only copies. All 7 have now been uploaded to Mixcloud and are available to stream. This is presented in conjunction with last month’s blog post ‘From Garrard To Technics – How British DJs Began To Mix’ – you can get the full lowdown here:
https://blog.gregwilson.co.uk/2013/08/from-garrard-to-technics-how-british-djs-began-to-mix/

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On The Tube

By on February 25, 2013 in DJ / Club Culture, DJ Appearances, Interviews, Magazines, See, The Eighties, TV

Greg Wilson On The Tube 25.02.83

Exactly 30 years ago today, on 25th February 1983, I appeared on Channel 4’s influential music show, ‘The Tube’, demonstrating mixing for the first time on live TV in the UK – just my luck that the very point I was encapsulated in a cultural moment, it coincided with a brief phase where I looked like an extra from the Hair Bear Bunch, but that’s the way the mop flops. The footage is nowadays fondly regarded as part of British dance heritage, illustrating how the New York innovation of mixing was finally finding favour on this side of the Atlantic, where the microphone was still a key component of the DJs approach. For a full account of how UK DJs gradually put down the microphone and embraced mixing, check out ‘How The Talking Stopped’, an in-depth step by step account of its British evolution:
http://www.electrofunkroots.co.uk/articles/how_the_talking_stopped.html

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