First I tried to figure out the bpm of the loops. I got something around 115bpm that worked for me. I then wrote out the lyric loops to see what I could work with. After that I started to create new loops from the original loops by mutilating them in the 1st version of the freeware program TUAREG. I accidentally sent a two measure loop into Tuareg and it converted it into one measure by speeding it up to 230bpm and raising it an octave. This ended up being the metal sounding riff at the begining after going through some effects.Then I did a bunch of other stuff, but I only get one paragraph.

I stuck with the Future Boy loopset on this one. All the wacked synthlike sounds were created using pieces of the vocals.

I sliced out 16th note pieces of a bass and a synth part to make my own riffs and mangled some drum loops. I was going for rockabilly but the mix took on a life of its own and got away from me.

About 15 years ago I bought an adult beginners piano book and this mix is based on the first lesson, which is as far as I got. I figured I learned all I needed to know.

This one’s longer than my usually remixes, but shorter than the original.

When I got done with this remix I realized I only used three of Deron’s loops to make it.

I liked the quality of the vocals from the loopset alot. They made it easy to structure the song.

Puce really knows how to get an awesome guitar tone.

I want to get in this fight, so I kept it simple and made the loops into a two chord reggae thing. I stayed within the loopset and used alot of delays.

We seem to get alot of minor key songs to remix around here, so I decided to change this to a major key and make it a happy mix. I stayed within the loopset and even though I didn’t read the revisions I feel it is safe to say my remix fell within the parameters of the license.

I got a little carried away with the scratching, but it felt so good while I was doing it.

I stayed within the infinite possibilities of the loop set and used five different plugin FX to get all the delay delay delay.

Since this was the last fight for 2005 I felt I had to do it.

I flung the loop set around like an ape flinging shit at people teasing him at the zoo.

I added some vocals from the Prelinger Archive and The Shadow. WARNING: I have made nastier mixes but you should probably not crank this at work or for young children.

You can dance if you want to.

I added some audio I got from radiolovers.com

I performed a lot of unnecessary surgery on the source tracks.

This was an excuse to dust off a few stomp boxes.

A Royale with cheese.

I do not like it when politicians use fear as a tool to manipulate the voters!

I wanted to see if I could use a stuttering glitch effect on a couple of copies of the main vocal track to create backing vocals.

I made this remix using the acoustic guitar, drum and vocal loops. I turned an amp simulator up to 11.

Does participating in remixfight mean I’m associating with audio terrorists?

Short and artificially sweet

If I can’t come up with a good solid remix idea I go weird.

The source material is so beautiful it was hard to add music to it.

I used the initial kick drum hit to make all my drum sounds and I used 8th note and 16th note slices of the bass and guitar loops to make the music.

Originally the heavy effects on the vocal loop made me want to pass on this fight, but Mystic Fields added me as a friend on myspace so I figured I had to help a friend out. I hope Mystic Fields is Australian slang for marijuana because that would help sort out the chaos of my mix

I added vocals from librivox.org. It is from their Science Fiction Short Stories vol.11. The story is called, “The Last Evolution”, by John W. Campbell Jr., read by Gregg Margarite. I also added my own drums to it. The rest is straight from the Admiral. Ahoy!

Because the source material had an odd bpm I decided to just jam along with it. I was messing around with a gating effect on the source track and stumbled across a setting that cut out everyother measure, so I went with it.

I added some vocals from the Librivox book “The Ideal Bartender” by Tom Bullock. The readers/vocals I used are from Kirsten Ferreri, Rosalind Wills, jimbo and David Barnes.