I figure after all the hard work extracting the Bon Jovi acapella from a surround sound disc and then meticulously realigning those vocals up to a click track, I might as well actually release this. No use wasting all that hard work!
This one combines the vocals from Bon Jovi’s “You Give Love A Bad Name” with the electropop instrumental backing of Dragonette’s “I Get Around.” I’m sure it’s safe to assume that the Bon Jovi stuff is familiar territory, but chances are you might have never heard of Dragonette. They are a Canadian band that kind of reminds me of Elastica, although my friend Rudy — who introduced them to me — says they sound like a cross between Gwen Stefani and The Sounds. In any case, it’s a great band that’s worth checking out — after you’ve downloaded my mashup, of course!
Bon Jovi (“You Give Love A Bad Name”) vs. Dragonette (“Get Around”) You Get Around (A Bad Name) (DJ Matt Hite Mashup)
C Minor, 120 BPM
BTW, the awesome cover is created by one of the most talented designers in the scene today, Simon Iddol. Hire him!
Stumbled upon this while vanity searching YouTube this evening. DVJ Winger put together a cool little video for Me & You & Yazoo, one of my more popular dance mashups. Thanks Winger!
Absolutely hilarious and truly inspired is the only way I can describe the video podcast version of Radio Clash. My favorite part has to be where Tim starts giving himself a haircut at around the 7 minute mark. Wish I would have caught this when it was originally posted (as an April Fool’s gag?)!
In conjunction with Mininova, Simon Iddol has re-released the entire WHA!? bootleg series. See his post about it here or jump right on to Mininova and start downloading (part 1 and part 2). If you are wondering what the heck WHA!? is, wonder no more: it’s a collection of some of the finest mashups and bootlegs from the scene’s best producers. Definitely worth downloading.
If you’ve spent any time in Ableton Live, you are likely familiar with “warp markers” and how they are used to mark beats in an audio file. Using these markers, Ableton can time stretch or compress an audio clip to keep it in sync with a master project tempo. It’s a very neat feature, and one of the main reasons I started using Ableton Live in the first place.
Aligning all clips to a master project tempo works great for composing electronic music, but when you’re working with a rock track of varying tempo, you might not want to impose such exacting tempo quantization to your audio clips. Luckily, Ableton can use the warp markers from a specific audio clip (ie. your live drummer clip) as a real-time control for the master project tempo. In other words, as the clip markers of your rock track indicate a speed-up or slow-down in clip tempo, Ableton will automatically warp other clips in the project to that same tempo.
If you’re anything like me, you often find yourself with a large pile of MP3 files scattered about in your download directory that need to be moved into the iTunes library. Normally this involves highlighting and manually dragging these files into iTunes. Read on for my quick tip on how to automate this repetitive task.
