Editing Remix (section)

==History==
{{Listen
|filename=Scott Brown - Elysium.ogg
|title=Scott Brown - "Elysium" (1999)
|description=29 second sample from [[Scott Brown (DJ)|Scott Brown]]'s "Elysium" - original.}}
Early pop remixes were fairly simple; in the 1980s, "extended mixes" of songs were released to clubs and commercial outlets on vinyl [[12-inch single]]s. These typically had a duration of six to seven minutes, and often consisted of the original song with 8 or 16 [[bar (music)|bars]] of instruments inserted, often after the second chorus; some were as simplistic as two copies of the song stitched end to end.  As the cost and availability of new technologies allowed, many of the bands who were involved in their own production (such as [[Yellow Magic Orchestra]], [[Depeche Mode]], [[New Order (band)|New Order]], [[Erasure (duo)|Erasure]], and [[Duran Duran]]) experimented with more intricate versions of the extended mix. [[Madonna (entertainer)|Madonna]] began her career writing music for dance clubs and used remixes extensively to propel her career; one of her early boyfriends was noted DJ [[John Benitez|John "Jellybean" Benitez]], who created several mixes of her work.

[[Art of Noise]] took the remix styles to an extreme—creating music entirely of [[sampling (music)|samples]].  They were among the first popular groups to truly harness the potential that had been unleashed by the [[synthesizer]]-based compositions of [[electronic music]]ians such as [[Kraftwerk]], Yellow Magic Orchestra, [[Giorgio Moroder]], and [[Jean-Michel Jarre]].  Contemporaneous to Art of Noise was the seminal body of work by [[Yello]] (composed, arranged and mixed by [[Boris Blank (musician)|Boris Blank]]).  Primarily because they featured sampled and synthesized sounds, Yello and Art of Noise would produce a great deal of influential work for the next phase.  Others such as [[Cabaret Voltaire (band)|Cabaret Voltaire]] and the aforementioned Jarre (whose ''[[Zoolook]]'' was an epic usage of [[sampling (music)|sampling]] and [[music sequencer|sequencing]]) were equally influential in this era.

After the [[Second Summer of Love|rise of dance music]] in the late 1980s, a new form of remix was popularised, where the vocals would be kept and the instruments would be replaced, often with matching backing in the [[house music]] idiom. [[Jesse Saunders]], known as The Originator of House Music, was the first producer to change the art of remixing by creating his own original music, entirely replacing the earlier track, then mixing back in the artist's original lyrics to make his remix. He introduced this technique for the first time with the [[Club Nouveau]] song "It's a Cold, Cold World", in May 1988.  Another clear example of this approach is [[Roberta Flack]]'s 1989 ballad "Uh-Uh Ooh-Ooh Look Out (Here It Comes)", which Chicago House great Steve "Silk" Hurley dramatically reworked into a boisterous floor-filler by stripping away all the instrumental [[Music track|track]]s and substituting a minimalist, sequenced "[[Music track|track]]" to underpin her vocal delivery, remixed for the UK release which reached No1 pop by [[Simon Harris (musician)|Simon Harris]].  The art of the remix gradually evolved, and soon more [[avant-garde musicians|avant-garde artists]] such as [[Aphex Twin]] were creating more experimental remixes of songs (relying on the groundwork of Cabaret Voltaire and the others), which varied radically from their original sound and were not guided by pragmatic considerations such as sales or "danceability", but were created for "art's sake".

In the 1990s, with the rise of powerful home computers with audio capabilities came the [[Mashup (music)|mashup]], an unsolicited, unofficial (and often legally dubious) remix created by "underground remixers" who edit two or more recordings (often of wildly different songs) together. [[Girl Talk (musician)|Girl Talk]] is perhaps the most famous of this movement, creating albums using sounds entirely from other music and cutting it into his own.  Underground mixing is more difficult than the typical official remix because clean copies of separated [[Music track|track]]s such as vocals or individual instruments are usually not available to the public. Some artists (such as [[Björk]], [[Nine Inch Nails]], and [[Public Enemy (band)|Public Enemy]]) embraced this trend and outspokenly sanctioned fan remixing of their work; there was once a web site which hosted hundreds of unofficial remixes of Björk's songs, all made using only various officially sanctioned mixes. Other artists, such as [[Erasure (duo)|Erasure]], have included remix software in their officially released singles, enabling almost infinite permutations of remixes by users. The band has also presided over remix competitions for their releases, selecting their favourite fan-created remix to appear on later official releases.

Remixing has become prevalent in heavily synthesized electronic and experimental music circles. Many of the people who create cutting-edge music in such genres as [[synthpop]] and [[aggrotech]] are solo artists or pairs. They will often use remixers to help them with skills or equipment that they do not have. Artists such as [[Chicago]]-based Delobbo, [[Dallas]]-based [[LehtMoJoe]], and Russian DJ Ram, who has worked with [[t.A.T.u.]], are sought out for their remixing skill and have impressive lists of contributions. It is not uncommon for industrial bands to release albums that have remixes as half of the songs. Indeed, there have been popular singles that have been expanded to an entire album of remixes by other well-known artists.<!-- examples here -->

Some industrial groups allow, and often encourage, their fans to remix their music, notably [[Nine Inch Nails]], whose website contains a list of downloadable songs that can be remixed using [[Apple Inc.|Apple]]'s [[GarageBand]] software.  Some artists have started releasing their songs in the [[U-MYX]] format, which allows buyers to mix songs and share them on the U-MYX website.