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Lee Burridge - Burning Man 2014 [Remastered Audio / Combined Clips]

141K views · Nov 14, 2020 · Gaming

Croner Yveit

343 subscribers

Comments · 98

@croneryveit9070 · 2 years ago · pinned
Keep in mind, ALL the timestamps will shift after minute [103] because I had to skip that song due to copyright. [000] Blond:ish - Wunderkammer [005] James What & Dan Berkson - Lost Solina [013] System 7 - Positivenoise (Carl Craig Remix) [022] Bicep - NRG106 [029] Romano Alfieri & Luca Bear - Leave The Valley [033] ? [037] David August - Epikur [044] Karol XVII & MB Valence - Butterfly [052] Odd Parents - Learn To Fly (Maceo Plex Flight Home Remix) [057] Ian Pooley - The Beginning (Dub) [064] Kollektiv Turmstrasse - Ordinary (Lake Peoples Circle Motive Remix) [070] Rebelski - Paper Tree [079] Storm Queen - Look Right Through (The Kenneth Bager Experience Remix) [084] Jamie Lloyd - May I? (Quarion Remix) [092] Soundmonsters - Feed My World (Powel Remix) [097] Igor Vicente - Mystericordia (Rodriguez Jr Remix) [103] Rodriguez Jr - Persistence Of Vision [109] Dan Croll - From Nowhere (Âme Remix) [117] Nils Fram - Peter (The Drifter Remix) [123] Powel - Crash Landing On Laputa [129] Nupacific - Mahana [136] Few Nolder & Kurak - Houly Pouly (Dave DK DJ Version) [142] Lehar - Sargas (Mario Basanov Remix) [149] Gabriel Ananda - Tale Of The Oblivious Llama [156] Kaiser Souzai - 1976 [167] Trentemøller - Always Something Better (DJ Tennis/Mind Against Remix) [173] Behrouz - Endless Summer [181] Pitto - You [187] AEONIX Feat. Kelly Day - A Star Was Born
@charuvitkanchanawong4472 · 3 years ago
This 2014 is one of the best set that Lee Burridge Played for Burning Man.
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@BobbyFirmino87 · 3 years ago
Wow, what a set! So much harmony and peace in it.
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@felipemotta300 · 2 years ago
Boss of ADID for a reason. Incredible
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@jeff-x8m4k · 2 years ago
Gorgeous stuff as usual from Lee 🙏🏼❤️👌🏼
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@DJPaulWest · 3 years ago
For anyone who’s interested in getting a deeper understanding of what you're listening to…  I’ve pulled together a mini-study of the set - demystifying the ‘art of DJing’ and showing that it isn’t just pushing buttons! :)   Overview There are DJs who select tracks at random (and the outcome isn’t necessarily bad) however in my view the very top DJs have an acute understanding of (i) storytelling through the track selection and (ii) the mix & blend detailing to allow the tracks to interact. To create powerful storytelling (whether in DJing, in music production, in film, in art, etc) there are elements which are designed to bring unity to the story – such that it feels like it hangs together. And there are other elements which are designed to provide movement – this creates interest, makes the art-form feel alive and keeps the audience engaged. Both are required for effective storytelling. For this set, Lee creates unity by carefully maintaining the energy-level of the music. The energy-level is what I would describe as low/mid-intensity (more than swaying to the beat, but not full-on raving!). This low/mid intensity was driven by the intensity of the tracks chosen but also by the relative stability in the BPM (fluctuating between 122 and 124 BPM). In my view this intensity is perfect for the location, the time of day and the bohemian-looking crowd! Note – Interestingly Lee didn’t move the BPM to generate energy (as many DJs choose to do) but from what I can tell he used the BPM to lift the energy of tracks that were of lower intensity and lower the energy of tracks where the percussion was ‘too’ energetic – to ensure stability in overall intensity. In contrast to the unity / cohesion created through intensity, there was movement created in the story through some fairly distinct ‘chapters’. This was driven by the mood/feeling of the tracks as well as the frequencies which drive those tracks (more details below). In terms of key observations and emphasising what was done very well: Chapters of the Story As mentioned, Lee appears to purposefully craft distinct sections or ‘chapters’ to the set – the way he achieves this is through the mood of the tracks and the driving frequencies of the main motifs of the track. (To note - when I say ‘motif’ – this is the loop or most noticeable repeating element of the track. Perhaps to put it more simply – if you had to whistle the track to someone, such that they could recognise it – what part would you whistle? This is the main motif. And if you count the number of beats it takes for that motif to play out before it begins to repeat again – this is the motif length. For example, for the track @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=1544">25:44</a> you can count the beats that it takes for organ loop to play through before it repeats again – you’ll note that it takes 8 beats and the organ is what I would describe as mid-range frequency (not occupying the low or high frequencies). Hence this is an “8 beat motif driven by the mids”). To take another example, for the track @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=3520">58:40</a> you can count the 16 beats that it takes for the bassline to complete before it repeats again (its just two notes, held for 8 beats each) - hence an “16-beat motif driven by the lows”.) With this in mind, the set starts off with a Blond:ish track - “Wunderkammer” – which has a dark tribal feel to it, driven by a 4-beat bass motif. This sets the tone for the first 4 tracks (<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc">0:00</a> – <a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=1680">28:00</a>) which are more rhythmic in nature (4 and 8 beat motifs), driven by the low frequencies and are dark/tribal/deep and often minimal in nature. For example, if you click on the following timestamps: @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=360">6:00</a>, @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=840">14:00</a>. The following 4 tracks (<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=1740">29:00</a> – <a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=3360">56:00</a>) by contrast are more melodic – driven by the high and mid frequencies and have a more uplifting energy to them. For example: @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=1770">29:30</a>, @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=2220">37:00</a>, @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=2640">44:00</a> The following two tracks (<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=3420">57:00</a> – <a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=4200">1:10:00</a>) return to more bass-driven darker sounds before once again returning to the melodic & melancholy higher frequency-focused sounds for the 4 tracks from <a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=4260">1:11:00</a>-<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=5760">1:36:00</a>). It therefore seems Lee was conscious of the feelings (and frequencies) of these tracks (which you could argue are interlinked) and uses this understanding to create mini-chapters in the set. This helped to create movement in the mood of the set and maintain interest for the audience. Note - Beyond this point in the set, the sections are not so obvious (perhaps Lee was creating further chapters based on mood, but I couldn’t really see an obvious pattern). However, certainly for the first half of the set there was clear intention to create little pockets of related-emotions. Another important concept in crafting an effective story is the concept of ‘balance’. In this instance – balance between the frequencies/mood. Lee plays 28 tracks in this set. If every track was driven by a heavy bassline or every track was a softer more spiritual melody then the sound would become 'stale' after half an hour. There needs to be movement between tracks which are driven by the lows, the mids and the highs and the feelings that are communicated. By creating mini-chapters which appear to align with those frequencies, Lee achieves balance in the sound and therefore the story maintains interest throughout. Blending There are two areas I wanted to point out for people which relate to the mix & blend. The first of these is the use of loops to bridge between tracks and create a seamless mix. (Not wanting to be too self-promoting but this is something that I use extensively for the sets that I do. I feel there’s great value in creating long blends – which creates a new / unique unified sound). With this in mind, Lee plays a track called “NRG106” @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=1650">27:30</a>, where you can hear a vocal loop. The next track is brought into the mix @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=1710">28:30</a>. Lee loops the ‘yeah’ vocal loop – which you can still hear @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=1950">32:30</a> - 4 minutes after the mix has started! This creates a beautiful and seamless transition from one track to another – using the vocal loop as the bridge connecting the 2 tracks. I count Lee using this technique 4 times during the set. Another example is the track playing @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=2840">47:20</a> – a track called “Butterfly”. You can hear the 4 beat chimes looping. The next track is mixed in @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=2985">49:45</a>. @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=3105">51:45</a> you can still hear the chimes as well as a vocal ”oh, oh” (or something like that!) playing underneath the new track – again creating a bridge and seamless blend. The second area I want to point out is the notion of mixing tracks which are in the same key. The reason this is powerful is because they are ‘in harmony’ and seems very pleasurable to our ear. There are moments through the set where Lee uses this notion to marry 2 tracks together. However he takes this principle even further @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=7080">1:58:00</a>. This track is written in E Flat Major. The following track @<a href="https://www.youtube.com/watch?v=RJcAX_v3OSc&t=7380">2:03:00</a> is in E Major. The next track is in E Major. And then the following track is in E Minor. Therefore a string of tracks which are written in the note of E and are related to one another – and therefore from the audience's perspective appear to work really nicely together (without the audience knowing exactly why they work so well!) It is particularly interesting however to see Lee moving between Flat, Major and Minor keys of E – as most DJs would mix from 'major to major' or from 'minor to minor'. This invariably is because most DJs use the ‘Camelot Wheel’ method of finding harmonious keys - and wouldn’t have the underlying note understanding. In summary – Lee does a great job of creating unity through the energy intensity. And he creates both movement in the sound as well as balance with use of tracks with varying moods / frequencies. On a more micro-level, through mix techniques he creates some very nice transitions – using loops to bridge tracks as well as an understanding of mixing tracks together in same key or note.
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@tgabor24 · 3 years ago (edited)
Amaizing breathe taking :elbowcough:  massive beats 👽💗
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@DJ-Lazy-Lodger · 3 years ago
the music industry is suffering and he goes like this;-)
@mgoldenbarnes · 3 years ago
I was there! Not that I remember any of it HAHA. I do remember the feeling, but I have no concrete memories of the actual set. Thanks for creating this video, amazing work.
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@Damien-r4m5t · 4 months ago
Thanks à lot ⚜️
@Heliosvoadores · 2 years ago
Atemporal.
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@attilaratkai4105 · 4 years ago
still great mix listening it since years and love it💕💕🎈🎈
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