es domāju, ka Tev vecīt viss vēl priekšā. Spriežot pēc visa Tu mācies vēl pamatskolā un izpratne par dziesmām un visu pārējo nāks ar laiku.
Paskatījos vēl ka Tu pats ķimerējies ar pastūžiem un kko būvē no tiem. Man liekas, ka ja tu šādā garā turpināsi, pēc pāris gadiem vai pat ātrāk mēs par Tevi vēl dzirdēsim.
Viena lieta, ko saklausīju ir tas, ka Tu filtrus lieto daudz un biezhi vien bezjēgā. Paanalizē kāpēc tas filtrs tur ir vajadzīgs. Man prasās lai tas būtu sakārtotāks.
Kim Wilde - you came ir shausmiigi nekvalitiivs pirmavots gadiijies.
Izvairies no mp3, kas ir zem 300 kbps
Pieraksti pie remiksiem kas tas ir par remiksu.
ceru ka angļu valodu mācies, ja nē, tad labāk sāc to darīt
there are three types of remixes. The first remix is extended
, that is a longer version of the original song containing long instrumental sections making it more mixable for the club DJ. The first known disco song to be extended to ten minutes is â€œTen Percent,â€ by Double Exposure, remixed by Walter Gibbons in 1976.
The second remix is selective
; it consists of adding or subtracting material from the original song. This is the type of remix which made DJs popular producers in the music mainstream. One of the most successful selective remixes is Eric B. & Rakimâ€™s â€œPaid in Full,â€ remixed by Coldcut in 1987.  In this case Coldcut produced two remixes, the most popular version not only extended the original recording, following the tradition of the club mix (like Gibbons), but it also contained new sections as well as new sounds, while others were subtracted, always keeping the â€œessenceâ€ of the song intact
The third remix is reflexive
; it allegorizes and extends the aesthetic of sampling, where the remixed version challenges the aura of the original and claims autonomy even when it carries the name of the original; material is added or deleted, but the original tracks are largely left intact to be recognizable. An example of this is Mad Professorâ€™s famous dub/trip hop album No Protection, which is a remix of Massive Attackâ€™s Protection. In this case both albums, the original and the remixed versions, are considered works on their own, yet the remixed version is completely dependent on Massiveâ€™s original production for validation. The fact that both albums were released at the same time in 1994 further complicates Mad Professorâ€™s allegory. This complexity lies in the fact that Mad Professorâ€™s production is part of the tradition of Jamaicaâ€™s dub, where the term â€œversionâ€ was often used to refer to â€œremixesâ€ which due to their extensive manipulation in the studio pushed for allegorical autonomy.
veelu veiksmi un turies vecīt!