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Anyone have any opinions on an S2 vs an S4?
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Jan 6, 2012 00:39
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Tomahawk posted:Anyone have any opinions on an S2 vs an S4? I believe the big dealbreaker I've heard is that there is no filter effect knob. Other than obvious changes, which specifically deal with what you want (4 decks vs 2, etc).
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Jan 11, 2012 23:29
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mstrkrft posted:I believe the big dealbreaker I've heard is that there is no filter effect knob. Other than obvious changes, which specifically deal with what you want (4 decks vs 2, etc). The filter is on a shift layer with the gain knobs-I don't know why this is a big deal to people. The thing that irritates me is the lack of loop recorder. That was the only one I was actually missing.
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Jan 12, 2012 03:14
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So I have been having some trouble with beatmatching. When people beatmatch by ear, do they usually get the BPMs exactly right? or do they get within a couple decimals of the correct BPM? Also, when the tracks are very similar in BPM, what is the easiest way to discern which track is faster/slower? I really want to learn to do this by ear, and I know it takes practice practice practice, so any tips would be extremely helpful, thanks.
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Jan 12, 2012 05:16
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phractured posted:So I have been having some trouble with beatmatching. When people beatmatch by ear, do they usually get the BPMs exactly right? or do they get within a couple decimals of the correct BPM? Also, when the tracks are very similar in BPM, what is the easiest way to discern which track is faster/slower? I really want to learn to do this by ear, and I know it takes practice practice practice, so any tips would be extremely helpful, thanks. Yeah, you will get them well within .1% once you know what you're doing. Here is a rough sketch of what goes on in my head when I'm beatmatching: 1. Identify which part of the incoming track you want to beatmatch with. High hats are usually the best since they subdivide the beat evenly and are really consistent. Snares work alright too. Kick drum, melody, or bass should be used when you don't have any other percussion in the intro. This part is tricky when you're dealing with a broken beat and everything has weird timing. 2. Cue up the incoming track at the start of a 16 bar phrase and play it in your headphones when the outgoing track starts a new phrase. Keep your attention on the tune playing and just the hi hat (or whatever part you chose) from the new track. 3. Imagine you're a percussionist and you're playing the hi hat on the new track. Are you ahead? Are you behind? Push or pull a bit to correct for it. 4. Repeat step 3 until you notice that you're consistently pushing the incoming tune forward or pulling it back. Adjust the speed of the incoming track a little bit in the corresponding direction. Once you're really good you can pretty much skip step 3. Dopo fucked around with this message at 07:54 on Jan 12, 2012 |
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Jan 12, 2012 07:51
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Dopo posted:good stuff I would also like to add that first of all, this depends entirely on the equipment you are using. On 1200's you'll be eventually able to get it exactly right. On cdj's not always depending on how long your overlap is. Even the newest CDJ 2000's only go to +/- .02%. If like me you prefer a 2-3 minute overlap you will need to develop an ear for which way you need to adjust +/- depending on if you start to hear a double beat or that shoes in the dryer trainwreck sound.
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Jan 12, 2012 16:10
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Old Man Pants posted:I would also like to add that first of all, this depends entirely on the equipment you are using. On 1200's you'll be eventually able to get it exactly right. On cdj's not always depending on how long your overlap is. Even the newest CDJ 2000's only go to +/- .02%. If like me you prefer a 2-3 minute overlap you will need to develop an ear for which way you need to adjust +/- depending on if you start to hear a double beat or that shoes in the dryer trainwreck sound. Pretty much this. Eventually once your ears really figure out what's going on you'll figure out a way that works for you to match and adjust the +/- on the slider. While others have no problem with touching the platter, record, tweaking the spindle to speed up or down, I was never a fan of this method. If you were to mistime it, use too much pressure or touch the record (even by accident), you could end up with a weird sound or unintended "squawk". Worse yet, with a loose record that is not snug on the spindle, if you touch it wrong you could throw it off by who knows how many beats. And if you were to do this when the channel is live and everyone else can hear.... I myself ride the pitch (adjusting by over-correcting) and rarely touch the platter and if I do it's only to slow it down the slightest bit while adjusting the pitch. Over-correcting may sound counter-intuitive, but the way the 1200s speed up and down, it is a very smooth and gradual transitions in speed and not instant. So the over-correcting is what actually helps you align the beats without touching anything else. But again, find the way that works best for you. It's more re-wiring your hearing to notice the differences between tracks and tempos and knowing what to adjust than how you adjust it.
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Jan 12, 2012 17:38
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It's pretty much pure muscle memory for me at this point, but I also started DJing 14 years ago so.... Basically, keep practicing 
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Jan 12, 2012 20:01
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I have a cdj 200, 400 and a ddm 4000 mixer and I think I've fallen into a slump. I'm not really sure what I should be doing to take my mixes to the "next level." Is this just a much needed upgrade in hardware? I mean, I'm still having fun, but I feel my skill is plateauing after I've gotten the hang of using the eq to (as far as I know) it's full extent.
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Jan 13, 2012 08:28
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Professor Latency posted:I have a cdj 200, 400 and a ddm 4000 mixer and I think I've fallen into a slump. I'm not really sure what I should be doing to take my mixes to the "next level." Is this just a much needed upgrade in hardware? Gear is only part of the equation. While everyone likes the shiny and new, it's really how you use it that counts (cliched, I know, but true). There are guys that can take a set of Realistic turntables and rock a party. And there are DJs that have high end stuff and suck. Do you have some mixes online we could check out? What gear are you looking at specifically? What will it do that you can't do with your current setup?
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Jan 13, 2012 14:42
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The cop out response would be "selection is everything" but maybe if you post a recent mix we can give some technical pointers too.
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Jan 13, 2012 20:02
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Do you use a DVS or just plain CDs? If you use a DVS consider putting the DDM4000s MIDI capabilities to use. I used to own that mixer and when lugging around my 1200s was not practical, I would just fire up traktor and do some 3-4 deck mixing. There is so much more to DJing than just knowing how to mix. And yes please post a mix.
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Jan 13, 2012 22:18
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I am just using cds. I'll post a mix as soon as I buy more cds. Just moved across the country and it was sort of sudden and forgot my collection 
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Jan 13, 2012 23:46
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Wait...buy more CDs? You mean like you go to a store and buy albums/singles? Seriously? e: oh, maybe you mean buy more blanks
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Jan 16, 2012 00:40
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vanilla slimfast posted:Wait...buy more CDs? You mean like you go to a store and buy albums/singles? This cant be the case, you can get blanks at a drug store 4 for $2.
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Jan 16, 2012 15:14
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So my lovely soundcloud page got a message from a guy at this Afton company saying he was interested in booking me for a night he was putting together. I think I have a good idea of what the company is, but was wondering if anyone in here has interacted with them. Are they legit and helpful with getting some recognition, or is this one of those "we won't pay you and expect you to sell a hundred tickets in order to play in front of a dozen bored high school kids" things?
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Jan 18, 2012 07:01
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Sounds like a "pay to play" scam. Stay far away
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Jan 18, 2012 07:21
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Unless you're a producer getting a mad amount of traffic on soundcloud, or have connections with established big local DJs, anyone inquiring to book you is "pay to play" thats how the scene is.
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Jan 18, 2012 09:50
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What's the verdict on using 3.55mm headphone jack out for Djing on a Macbook as opposed to an interface? Seen a few people doing this and was also forced to recently after my interface bugged out. Got me thinking about a simpler setup. Any significant quality loss? Can them coreaudio drivers do the job fine?
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Jan 18, 2012 11:57
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Nindoze posted:What's the verdict on using 3.55mm headphone jack out for Djing on a Macbook as opposed to an interface? Seen a few people doing this and was also forced to recently after my interface bugged out. Got me thinking about a simpler setup. If there is only one headphone out, what will you use to cue up in your headphones? Would you attach a USB headset or something?
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Jan 18, 2012 14:39
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Yea forgot to mention the obvious forfeiting of the cueing output, so the question is aimed mainly for the headphoneless style of djing/live set performance.
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Jan 18, 2012 15:08
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OG KUSH BLUNTS posted:Unless you're a producer getting a mad amount of traffic on soundcloud, or have connections with established big local DJs, anyone inquiring to book you is "pay to play" thats how the scene is. That's what I figured, thanks! Since I currently wouldn't even book myself for a gig based on my soundcloud I knew anyone else asking about it had to be a bit shady. Vidmaster fucked around with this message at 15:49 on Jan 18, 2012 |
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Jan 18, 2012 15:47
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Nindoze posted:Yea forgot to mention the obvious forfeiting of the cueing output, so the question is aimed mainly for the headphoneless style of djing/live set performance. This depends entirely on how much you trust your software. Traktor screws up the beatgrids all the time.
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Jan 18, 2012 16:06
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Nindoze posted:Yea forgot to mention the obvious forfeiting of the cueing output, so the question is aimed mainly for the headphoneless style of djing/live set performance. Don't do headphoneless DJing, just don't.
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Jan 18, 2012 18:19
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Nindoze posted:What's the verdict on using 3.55mm headphone jack out for Djing on a Macbook as opposed to an interface? Seen a few people doing this and was also forced to recently after my interface bugged out. Got me thinking about a simpler setup. it sounds like poo poo. all the tons and tons of shows ive played and run sound, theres always some know it all or newbie(which is fine) that says they like the output (why??) and it sounds fine to them. well, it does sound fine, until you hear it against an output from a real soundcard. and it sounds muffled, a lil distorted, and grainy. you can buy a soundcard from GC for like 75$, thats like half a gig at the most. just go buy one. or hell, theres a pawnshop near me with a nice 8 in MOTU for 150$, and thats not really a rare deal, you just gotta look around.
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Jan 18, 2012 20:12
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OG KUSH BLUNTS posted:Don't do headphoneless DJing, just don't. Jesus christ, this. There is a venue I used to have a residency at and they didn't have any booth monitors, so you had these guest DJ scrubs trying to beatmatch using the sound in the lounge. Trainwrecks everywhere when they did that. Oh yeah, headphone-less too. Pissed me off playing there too, hate mixing in my headphones.
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Jan 18, 2012 23:47
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THAT drat DOG posted:Jesus christ, this. There is a venue I used to have a residency at and they didn't have any booth monitors, so you had these guest DJ scrubs trying to beatmatch using the sound in the lounge. Trainwrecks everywhere when they did that. Oh yeah, headphone-less too. I don't get it. You said the guest DJs were trainwrecks because they mixed headphoneless. Then you said you hate mixing in your headphones. What?
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Jan 19, 2012 00:59
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epswing posted:I don't get it. You said the guest DJs were trainwrecks because they mixed headphoneless. Then you said you hate mixing in your headphones. What? I think he means he prefers mixing to the booth monitors, rather than headphones. But the other guys weren't using either, so trainwreck.
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Jan 19, 2012 01:21
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When you don't have any booth monitors everything you hear outside the booth is delayed. If you try to beatmatch with the delayed sound you're gonna be off by quite a bit. Having a monitor cuts down the audio delay to 1/256th of a second (at 1 meter), and when you're using a DVS too, reducing the latency between everything helps.
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Jan 19, 2012 06:45
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So I know trainwrecking is a bad thing but are there any audio examples of particularly lovely mixing? I mean what's the threshold on what's just poor and what's actually "oh gently caress, my ears!"?? I've always wondered this.
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Jan 19, 2012 17:02
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88h88 posted:So I know trainwrecking is a bad thing but are there any audio examples of particularly lovely mixing? I mean what's the threshold on what's just poor and what's actually "oh gently caress, my ears!"?? They call it a "trainwreck" for a reason Another apt description is "boots in a dryer" edit: had almost forgotten about this internet gem from the wayback: http://www.spectrumzero.com/dj_trainwreck/djtrainwreck_notepage.html
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Jan 19, 2012 19:10
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88h88 posted:So I know trainwrecking is a bad thing but are there any audio examples of particularly lovely mixing? I mean what's the threshold on what's just poor and what's actually "oh gently caress, my ears!"?? I don't think many exist. Or if they do they were released by a DJ who probably has no self-awareness or shame. One of my all time favorite clusterfucks of a set is a Sasha set floating around from the early 90s. I think I still have it, I'll have to check out my backup drives. Three things happen during that set. 1) "DJ Sasha! Nice and easy lemon squeezey" (MC repeats this constantly and pronounces Sasha as Shocksha) 2) The music suddenly stops - Sasha left the booth to go hit on some girls 3) Massive trainwreck. Sasha passed out on the decks. Right after in the dead air you hear MC say: "DJ Shocksha!"
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Jan 19, 2012 20:32
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88h88 posted:So I know trainwrecking is a bad thing but are there any audio examples of particularly lovely mixing? I mean what's the threshold on what's just poor and what's actually "oh gently caress, my ears!"?? Here's how to approximate trainwrecking: 1) open two youtube videos of songs at roughly the same tempo 2) hit play on both alternatively click here http://youtubedoubler.com/?video1=h...orName=Bob+Jobs
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Jan 19, 2012 21:19
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vanilla slimfast posted:edit: had almost forgotten about this internet gem from the wayback: http://www.spectrumzero.com/dj_trainwreck/djtrainwreck_notepage.html Oh man, this is great. Dopo fucked around with this message at 22:53 on Jan 19, 2012 |
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Jan 19, 2012 22:50
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geeves posted:One of my all time favorite clusterfucks of a set is a Sasha set floating around from the early 90s. I think I still have it, I'll have to check out my backup drives. Three things happen during that set. This sounds amazing. Hopefully you can dig it out.
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Jan 20, 2012 15:02
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I've seen top bills djing without headphones. For example, le castle vania at I think spookfest 2010 in SF (cant remember for sure), played his entire 1 hour set without headphones. I was there for the guy after (I think, long time ago). He had a really good timeslot too. His songs also sucked. Pretty sure it was prerecorded. I was with people who don't go to EDM events often and they were asking me if it was normal for the DJ to not use headphones. 88h88 posted:So I know trainwrecking is a bad thing but are there any audio examples of particularly lovely mixing? I mean what's the threshold on what's just poor and what's actually "oh gently caress, my ears!"?? Check out any Oakenfold live mixes from mid 2000ish onward. I remember his set at EDC 07/08 had me rolling around laughing it was so loving terrible. Occasionally someone new will post a mix in the mix thread that is really terrible. Sometimes they are just new and it's fine, whatever, everyone starts somewhere! Additionally, a large majority of mixes posted on reddit/r/mixes are really bad mitztronic fucked around with this message at 19:22 on Jan 20, 2012 |
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Jan 20, 2012 19:13
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vanilla slimfast posted:They call it a "trainwreck" for a reason That is freakin hilarious. The tracks aren't bad tho. Decent oldschool drum n bass.
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Jan 20, 2012 20:27
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mitztronic posted:I've seen top bills djing without headphones. For example, le castle vania at I think spookfest 2010 in SF (cant remember for sure), played his entire 1 hour set without headphones. I was there for the guy after (I think, long time ago). He had a really good timeslot too. His songs also sucked. Beautiful, thanks for that it'll give me some research to do. I too posted a mix in the mix thread here, it was barely mixed and didn't receive any terrible comments so I guess I'm not awful which is nice.
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Jan 20, 2012 21:21
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vanilla slimfast posted:had almost forgotten about this internet gem from the wayback: http://www.spectrumzero.com/dj_trainwreck/djtrainwreck_notepage.html This is amazing. It's understandable that someone might get overly enthusiastic and record a mix with some wonky transitions, then send it out before actually listening to it, but there are trainwrecks here that go on for literally MINUTES.
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Jan 22, 2012 03:41
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Where is the Professorbx breakdown of namm?
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Jan 23, 2012 19:33
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