I’ve listed all the mixes below, along with their related sound files, critiques, and forum responses.įor the purposes of the critiques I refer to the song structure as follows: All of these were subsequently updated for final submission, and joined by one more late entrant. Read the brief in its original context here. The loudness of the mix was not a contributing factor in the competition adjudication, but the way in which the mix responded to loudness processing was taken into consideration, depending on the market expectations for the target style in each specific case. That said, Diesel was also interested in hearing mixes with a modern sensibility, things that might compete in one way or another with current artists in today’s music market. Diesel said that he welcomed any slant people chose to take on his music – even if they wanted to get radically creative with the multitrack elements or completely change the style. Otherwise, the brief was wide open, and as such no commercial reference tracks were provided.
( These multitracks are still available for download here.) I agreed to critique all mixes submitted within the first two weeks of the competition, after which contestants were allowed to continue updating their mixes until the final submission deadline a couple of weeks later. Contestants had access to a ZIP archive of Diesel13’s raw multitrack recordings, as well as Joe Lonsdale’s original mix, made in collaboration with the artist.
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