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Old Man Pants posted:The funny thing about the whole sync debate is that CDJ's allow you to do the same thing, set both cd players to the same bpm, and all you gotta do is get the start right and they will stay locked for the most part. Not really. The CDJ only tells you the tempo to the nearest BPM (if it is even accurate to begin with) which isn't close enough for any kind of blend longer than a bar.
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Apr 18, 2012 21:51
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Old Man Pants posted:The funny thing about the whole sync debate is that CDJ's allow you to do the same thing, set both cd players to the same bpm, and all you gotta do is get the start right and they will stay locked for the most part. Except if youve ever touched a CDJ in your life youd know this wont work unless you consider being locked a 1.5 second transition.
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Apr 19, 2012 08:53
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With the 2000s and their decimal point accuracy you can just lightly ride the jogwheel every couple of seconds though, especially when you've prepared all your stuff in Rekordbox. It's not that different from using a pure software solution.
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Apr 19, 2012 10:14
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I've never figured out how to properly use the master BPM option on my CDJs... It seems like I have to set it on every single track which kinda seems silly but whatever, I've never needed it. I happily use Rekordbox to read all my files. Question though, on loads of mixes I've seen people do and like Koesj mentions below they use the jogwheel loads. I use the tempo slider as it seems far more accurate. Purely preference for people or what?
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Apr 19, 2012 11:09
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I think it's a preference thing, mostly People who came from a vinyl/turntable background are probably more likely to ride the pitchfader than mess with the jogwheel. No, I don't have any data to back that statement up
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Apr 19, 2012 16:38
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vanilla slimfast posted:I think it's a preference thing, mostly I'm the 15+ years of vinyl dude that likes to use sync and the jog wheel, almost never touches the pitchfaders. I think part of it is that the pitchfaders feel WAY twitchier to me than 1200s do, and I have trouble not overshooting in a major way. That said, it's still not that difficult to beat-match without sync on a controller. Honestly the hardest part of DJing is getting gigs, performing well, and getting better gigs.
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Apr 19, 2012 18:41
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The technical side and workflow issues are very much a rote learning thing, actually playing cool songs and getting a party going is way harder yeah. I'm glad I don't have to make any money off of it.
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Apr 19, 2012 20:39
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Koesj posted:With the 2000s and their decimal point accuracy you can just lightly ride the jogwheel every couple of seconds though, especially when you've prepared all your stuff in Rekordbox. It's not that different from using a pure software solution. This is exactly what I was getting at, sorry for not elaborating.
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Apr 20, 2012 01:47
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Just bought a Traktor Kontrol S2 instead of a Numark Mixtrack pro because I'd rather pay the extra $250 then have to pay an extra $500 to upgrade later. I. Can. Not. Wait. edit because I didn't feel like posting again: Is it worth it to try to learn mixing with Traktor (on the demo) with just my keyboard/mouse? It has worked so far with virtual dj because I just bound a lot of functions to different keys. Or should I just wait to learn with my S2. edit again: nevermind I figured out most of it I can't wait to get started with my kontrol. Blowdryer fucked around with this message at 04:04 on Apr 24, 2012 |
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Apr 23, 2012 17:43
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Blowdryer posted:Just bought a Traktor Kontrol S2 instead of a Numark Mixtrack pro because I'd rather pay the extra $250 then have to pay an extra $500 to upgrade later. I. Can. Not. Wait. I sold my mixtrack pro for the kontrol s2. Night and day. 
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Apr 23, 2012 18:58
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JohnnyMondo posted:I'm the 15+ years of vinyl dude that likes to use sync and the jog wheel, almost never touches the pitchfaders. I think part of it is that the pitchfaders feel WAY twitchier to me than 1200s do, and I have trouble not overshooting in a major way. On the flipside (i'm the irritating kid who used to spin vinyl but got back into it a year ago with an S4 and the SYNC button), i feel the same way. With my 1200s, i ride thr pitchfaders because they have a bit of resistance and overcompensating isn't a big problem - maybe the occasional platter drag or spindle pinch, but mostly all pitchbend. The CDJ2000s have almost NO resistance on the fader and i can totally see myself trainwrecking from an overcompensated pitchbend. The platters have a nice, high resolution so i ride them all day. Obviously the S4 platters are similar in this regard. I still need to work on that last part. I think i'm OK, but i have little confidence and 'selling myself' (interviews/bookings/etc.) has always been a problem. I've been talking with some quality DJ/producer friends about setting up a 'bass music' night somewhere, but i don't want to fall into the same 'Bassmentality-wannabe' category as all the kids these days - even though i'm a sucker for that poo poo.
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Apr 23, 2012 20:49
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Mister Speaker posted:On the flipside (i'm the irritating kid who used to spin vinyl but got back into it a year ago with an S4 and the SYNC button), i feel the same way. With my 1200s, i ride thr pitchfaders because they have a bit of resistance and overcompensating isn't a big problem - maybe the occasional platter drag or spindle pinch, but mostly all pitchbend. The CDJ2000s have almost NO resistance on the fader and i can totally see myself trainwrecking from an overcompensated pitchbend. The platters have a nice, high resolution so i ride them all day. Obviously the S4 platters are similar in this regard. Sounds like it's not a flipside, but the same page! Hahah! The other thing is that the pitch faders on the VCI-300 have that "dead zone" near 0, like on the old Mk 2s. I have the Mk 3, which has the "pitch fader engage" button, removing the dead zone. Anyway point is, the jog wheel feels way more precise to me than the pitch faders on the VCI-300. Where are you based?
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Apr 23, 2012 23:47
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JohnnyMondo posted:Sounds like it's not a flipside, but the same page! Hahah! The other thing is that the pitch faders on the VCI-300 have that "dead zone" near 0, like on the old Mk 2s. I have the Mk 3, which has the "pitch fader engage" button, removing the dead zone. Anyway point is, the jog wheel feels way more precise to me than the pitch faders on the VCI-300. I feel the same way about the S4's platters and pitch faders, but mostly because the pitch faders are so damned small and sensitive. I live in Toronto.
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Apr 25, 2012 23:07
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Mister Speaker posted:I feel the same way about the S4's platters and pitch faders, but mostly because the pitch faders are so damned small and sensitive. Ah, how's the music scene there? I've spent a lot of time in Montreal, and it seems world-class for music! I was there last summer for Mutek, got to see Amon Tobin do the Isam premiere and Modeselektor / Siriusmo. Incredible shows!
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Apr 25, 2012 23:23
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Mister Speaker posted:
EDIT: First of all about "Bass night". For every 1 bass night ive seen succeed, 20 have failed. For every 1 "dance" night, 5 have failed. Think about that. BTW you will fail, just get over that. youll throw nights and noone will come and itll suck real bad. but im saying you have a 1/20 chance with bass night or 1/5 chance with dance night. Now onwards... Ok, so heres the deal. I swear to loving god this is the answer and it took me a while to figure it out and literally dozens and dozens of failures. Right this moment Im "reinventing" myself and this time around im going to brand myself ALOT harder and actually promote myself with the internet. So everything im about to tell you i did without internet, without mixtapes, and without even a consistant name. Every single person that has actually wanted to DJ a lot and listened to what i taught them have enough decent to great paying gigs. Here is the mother loving SECRET: the "underground" is a loving joke. Its nothing but scenester loving idiots and cling ons. Theres no money and no good consistent gigs, everyone with money is a drug dealer in some capacity. Its propped up with drug money directly or indirectly, and everyone involved is a half wit. The drugs are very very important here. Its not that drugs are bad(actually they are great) its that bars dont make money off drugs. The key to making it as a DJ that makes money is to SELL DRINKS. SELL DRINKS. That is your goal in life as a DJ. Sure you may say youre an artist and this is you artform and blah blah. Well, you are actually an artist but you are an alcohol sales artist. You are a DJ, not a musician, so your job is be the tour guide of bitchin rear end party land. And in party land alcohol is the most important factor to you. You need to play music to people that will spend lots of money at the bar. This is how you get and keep gigs. Im not going to bullshit you, you will have to play kesha and rihanna sometimes. Sometimes you even have to play like even nikki minaj or some other awful slut. But you can also play your favorite throwback rap(like that white people have heard) you favorite glitch hop mixed into that into some tupac into miley cyrus into jump around into ice ice baby mixed with wolfgang gartner. You see, there has to be a common denominator. People really truly do not goto DJs playing around to give a gently caress. They go to dance and not give a gently caress. So dont try to play alot of music theyve never heard. It doesnt work. Ive played "dubstep" shows where bros are out there playing ambient dubstep and the crowd digs it then i can go out and light it up with some top40, oldies, funk, 80s, 90s, dubstep, electro house, breaks because people MUST have songs they can sing along to and party with their friends. In addition to partying with their friends, THERE HAS TO BE GIRLS!!!! You must, absolutely MUST, play music girls like. Sexy, melodic, 4 on the 4 STUFF GIRLS LIKE. If there are women there enjoying themselves, everyone else will follow because everyone likes hot chicks, even other chicks, and especially other hot chicks. Ok, thats how the gently caress do it: play music people have heard and know well, sell drinks, play music for girls. Other than that you can mix in, loop, effect, whatever the gently caress other kind of music you originally wanted but you have to mix in top20 stuff of the last 40 years. Mix in your style of music while still providing everyone something to get down to. If you think about, playing only what YOU want to play is really selfish and kinda silly if you think about, if you want to do that, you should just stay home. Youre there on stage to entertain people and if you think you know the best music for them right at that moment id say you are an arrogent bastard. Its really that simple, im going to repeat because its very important: 1. Play music your crowd wants to party to. Take requests. I bet ive played "Get Low" at 99% of all my shows and it killed it every. single. time. It doesnt matter who is, everybody wants to party to that song with a girl/guy after youve have a few drinks. 2. Sell drinks. If you play "Get Low" you will sell $500 of drinks right then. Play LMFAO shots later youll sell another $500. Everybody wants to drink to party songs like that, and dudes will buy girls drinks especially during songs like shots. 3. Play music for girls. If girls want to come dance to your music you will make it to the top of the world. Dont think of it as "Selling out", but think of it as "Selling up". Its the world we live in and if you want continuous great paying DJing gigs youve got to play pop music from the current and past. Obviously mix it up thats what is your style, but think you are a party curator first and plan everything around that. Sorry that was so long but its what ive learned, its my path but trust me it wasnt my first choice, but ive been playing 100+ times a year for the last few years and its been working great for me while i see people get stuck playing no pay gigs(i played em) and eventually just kinda quit. On the flip side i see people who go the more pop direction get gigs and stay in the scene. Im not bragging because really its not much money at all, but as a college student working 2-4 nights a week for about 3-4 hours total away from my house so 12-16 hrs a week making near a $1000 a week on good weeks and never less than $500 and its just the greatest to be able to do what i really love. Yeah, so i have to play lil wayne or kesha sometimes, but gently caress you im a DJ i literally get paid great money for playing around on my turntables and getting drunk! And, man, if you dont have an old lady, the pussy is unbelievable. Like unbelievable. Like i wouldnt believe me if i was trying to tell you all the poo poo thats happened. I have a girlfriend so im not even getting laid but its insane the lengths they will try. Im not sure if youre into that sort of thing though, im not so much but its still hilarious and insane at times. And last but not least, remember you are there to be party leader. You need to be smiling and dancing around and singing along with your music and giving shout outs every now and then for birthdays and poo poo like that. It gets people excited to be there with you blasting some tight music and partying with their friend. I swear to thor that if you take this advice and bend it to fit your situation you will succeed in any ways you desire for DJing. I didnt just come up with this poo poo a lot of smart older dudes taught me most of it both DJs and musicians. Obviously its actually alot harder work than it seems, like if you had a lovely day or your girl broke up with you, you still have to goto work and act happy and be in a good mood. You also need to be well above competent at DJing. If you dont think you could plug your computer in and play a better set than the person before you need to get to a place where you think you can. You have to feel the crowd and the mood and the music that you dont even have the capacity to think about twiddling your gear or any of that bullshit. It should be automatic, completely. Like good practice is getting blind drunk and see if you can still mix like you are sober. This is important because you will likely get blind drunk DJing at some point, but also it means its muscle memory at that point and you can focus your everything on the music/mood of your room. No body cares about how well or creatively mix songs as long as the songs or mixes are good. Also, dont play alot of cheesy top40 remixes, just play the original perhaps with every 10th a remix, people generally dont care for them, unless they do then be able to play nothing but those cheesy remixes. Good luck, and seriously, just try playing some more pop, itll allow you to play(and thus get residencies) at many more places than without top40 music. Haha, sorry this was so long and rambling, but i tried to tell you everything i learned was important to getting and maintain well paying jobs over the years. oredun fucked around with this message at 09:12 on Apr 26, 2012 |
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Apr 26, 2012 09:08
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oredun posted:I bet ive played "Get Low" at 99% of all my shows and it killed it every. single. time. It doesnt matter who is, everybody wants to party to that song with a girl/guy after youve have a few drinks. this is the most important part of that post by the way I am laughing so hard I am crying right now. but crying because you're right.
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Apr 26, 2012 10:03
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I quite like oredun's massive posts about how it is in the world of starting parties. poo poo makes sense... I will hopefully apply this knowledge here soon. Much appreciated.
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Apr 26, 2012 13:48
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oredun nailed the top40/"open format" scene. the money is better and you will get more gigs. in fact, i don't even promote myself...people come to me. it's great. leave the underground poo poo to the dj mixes thread. edit: the other side of it is that sometime management can be a little hard to deal with, but overall it's pretty good.
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Apr 26, 2012 15:47
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I agree with almost everything oredun says. Please don't start a bass night. Don't start any party unless you're fine with being alone with your dudes all night for a while, or if you really don't care and just want to hear your tracks on a soundsystem. If you're thinking that you start a BASS NIGHT (bonus points if the name is a play-on-words with base/bass) and girls show up to throw down to the gnarliest in futuristic rhythms, well, I hope you're incredibly popular locally or that you have enough money to book names that will draw crowds. There are exceptions of course, if you're in a location that needs a good party and there's a demand for it and you think you can do it well... go for it! On the other hand if you just want to party and have girls in dresses slur "CAN YOU PLAY RACK CITY" in your ear then follow oredun's advice. Top 40 / party music DJing is fun and there's still a lot of room for creativity. And honestly, yeah, I'd rather play Rack City for the 100th time than play dance music to an empty bar again. I make house mixes and produce weird music that nobody will ever hear at home and when I play out I play party music and it's a lot of fun. TheWevel posted:oredun nailed the top40/"open format" scene. the money is better and you will get more gigs. in fact, i don't even promote myself...people come to me. it's great. Can you elaborate on how you're getting Top40 gigs? I have a couple but I feel like those are harder, at least where I am, because the DJs in those spots are super solid (and well-branded) and all the clubs have regular nights.
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Apr 26, 2012 17:33
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Well, I've finally gotten off my rear end and done something I have been talking about doing for years Went and saw an audiologist this morning and got a hearing test done, just to see how bad my hearing really is. It's definitely not perfect, but not as bad as I had feared either. I also got ear molds done for musician's earplugs, which I'm super stoked about
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Apr 26, 2012 19:12
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oredun posted:
A thousand times, thank you for this. I get that there's a relationship between bar sales and repeated gigs, but that's great detail (and hilarious). Now to find some bars to cut my teeth in...
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Apr 26, 2012 21:32
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oredun posted:
I have been following this thread for awhile and wholly approve of everything here. I am currently a one-man-band style entertainer who plays bars on the weekends. I can play my whiny emo songs all night or play bar standards that get everyone dancing and singing along. Have fun with it, throw a few twists and turns in through the night, sell drinks, and live the (semi)rock-star lifestyle. You are there to get people there. Kick rear end at it. Suck it up and check your artist persona at the door. You have a job to do. Have fun with it, drink with everyone, and lead the party to Valhalla. Edit: Oh yeah, still be creative. Just understand what will go over well and what will make people stop dancing in a hurry.
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Apr 26, 2012 21:52
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Haha! Im glad anyone read this and didnt get into an argument with me that im a sell out or anything! IM really glad people got something out of that. But yea, just sell out enough to make money. Something that helped me was checking my ego at the door and having a stage persona. Its funny because people that meet me when im working think im some sort of dj stud or something, but really i have two cats and sit in my studio all day and im pretty boring. And IMO, when people think you are way cooler than you actually are, youve done your job as a performer. A good way to start is find some bars/venues that really need a good dance night. Go in there and pitch your idea and just ask for a few weeks at a cheap rate to start out and then go from there. You will fail and you will be fired from gigs. Its just life. But some will work, and just go from there.
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Apr 26, 2012 22:43
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Muck and Mire posted:Can you elaborate on how you're getting Top40 gigs? I have a couple but I feel like those are harder, at least where I am, because the DJs in those spots are super solid (and well-branded) and all the clubs have regular nights. I got very lucky when I moved to Atlanta a few years ago and met a DJ (who is now my good friend). That just lead to networking with other DJs and eventually bar and club owners directly. I still have a facebook, hand out business cards to people that come up to me, etc but I have yet to get any gigs from that. 19 o'clock posted:Edit: Oh yeah, still be creative. Just understand what will go over well and what will make people stop dancing in a hurry. 
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Apr 26, 2012 22:54
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oredun posted:A good way to start is find some bars/venues that really need a good dance night. Go in there and pitch your idea and just ask for a few weeks at a cheap rate to start out and then go from there. You will fail and you will be fired from gigs. Its just life. But some will work, and just go from there. I was actually thinking more about this at work today and that's one thing I wanted to bring up in more detail. When I say I'm bad at "selling myself" - low confidence or whatever - I mean I really have little idea what my skills are worth at this particular point in time. Somewhat related anecdote: In college (I took recording engineeringAHAHAHAHAHAHA) a lot of the profs stressed to us that "it's time to start charging" for our services - no more "hey bro ill do ur mixtape 4 free", even if our studios were entirely Mickey-Mouse'd, with pantyhose pop filters an' poo poo - naturally, nobody wants their kindness taken advantage of. Thing is, I can't recall a solid discussion of what rates we should have been asking for, and that's kind of where my confidence falls short here, too. I've heard numbers tossed around like "ask for 5% of bar sales" or "have a small cover and take none of the bar" (TBH the former sounds more realistic even if 5% seems optimistic), but I don't really know what's 'selling myself short', what's 'ballsy' and what's on the unrealistic side. Seriously though, thanks a million for DROPPIN' KNOWLEDGE, oredun et al.
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Apr 27, 2012 08:54
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oredun posted:Here is the mother loving SECRET: the "underground" is a loving joke. Its nothing but scenester loving idiots and cling ons. Theres no money and no good consistent gigs, everyone with money is a drug dealer in some capacity. Its propped up with drug money directly or indirectly, and everyone involved is a half wit. Here is the secret ladies and gentlemen. Just to add my own 2cents, knowing all of that, I still push "underground" jams. I don't deal drugs, therefore its mostly money out of my pocket going into this. Throwing parties is like pulling teeth, and at some point if you wanna make it big you gotta join the circle jerk or get used to maybe making some cash once in a while but its mostly you and your friends for a while. Also echoing the retard statement, most people you'll be working with aren't some sort of entrepreneurial geniuses with a love for music, it's mostly 30 year old dudes who live with 3 other room mates who have an extensive list of friends and access to a booking agent. Oh and those resident DJs/promoters at your favourite club who all play tech house? They are all car salesmen during the day. All of them. Also pro tip: handing out drink tickets to your friends means no bar sales. Your friends are probably likely to buy the most alcohol especially if its someones birthday. Don't be an rear end in a top hat but give out 10 drink tickets thats a lot of money that you don't get at the end of the night. Firaga fucked around with this message at 09:27 on Apr 27, 2012 |
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Apr 27, 2012 09:19
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Firaga posted:Oh and those resident DJs/promoters at your favourite club who all play tech house? They are all car salesmen during the day. All of them. The funny thing is that the guy I got my CD players from was a used car salesman. What do you think it is that attracts these guys to DJing?
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Apr 27, 2012 18:06
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Most of my mixing so far has been slow blends or just dropping in tunes with loops and stuff but since I just bought an S2 I was wondering if anybody could throw me some specific tips or techniques I can try out with it to make things interesting, or just general ideas?
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Apr 27, 2012 19:08
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Blowdryer posted:Most of my mixing so far has been slow blends or just dropping in tunes with loops and stuff but since I just bought an S2 I was wondering if anybody could throw me some specific tips or techniques I can try out with it to make things interesting, or just general ideas? Try bringing a tune in with the bass cut, or the highs cut so it's JUST the bass, and then bring the other EQs in slowly, or jump them in at a 8 bar phrase. You can also play with leaving the tune with the bass cut, and jump over to that track solo for like 2 beats at the end of a phrase, then drop in the bass. Little things like that that draw attention to what you're doing can be fun. I find the best mixing to be so subtle I don't realize the next tune is in, and then at a 8 bar phrase the DJ calls attention to the fact that there is another tune already in the mix and I hadn't noticed. reichsten fucked around with this message at 22:00 on Apr 27, 2012 |
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Apr 27, 2012 21:52
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I just started working with video the other night. It's loads of fun and my ADD brain loves it because it's more cool stuff to think about. All I did was buy the Serato Video plug, and create a custom controller with TouchOSC on my phone. Pretty drat slick, but I'm still gonna start saving for a Sixty Two and a faster computer with a dedicated graphics card. Serato Video beats the poo poo out of my little Macbook Pro, even at 800X600 on the external monitor and SV in "low" quality mode. Anyone here doing video who can recommend a site to legally obtain material? People on the Serato forums seem to be pretty into smashvidz, but Promo Only has a decent selection too.
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Apr 27, 2012 22:13
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oredun posted:words This is great advice if you want to play poo poo music to people who couldn't care less, and don't really have any career aspirations in music. There is a roof you will reach (I've seen many people I know and in my local scene reach it) where they can't progress any further playing commercial music, because at the end of the day, a kid can come in and do what you do for half or a quarter of the price. You need to have a point of difference, a 'sound' that is unique to you. However, if you really want to 'make-it' as a musician (DJing or Live), the only way you are going to do that is if you are content with never 'making-it' and just do what you love (and this means playing what you love). If there aren't many gigs or nights in your area that play the music you want to play, move. There are enough places in the world that have active and involved music scenes that don't revolve around commercial music. But this whole conversation depends on what you definition of 'making-it' is. If making it is getting paid enough to not have to work in another job, then sure, take the easiest path there. However if your perceptions of 'making-it' are getting flown around the world for gigs, then don't play commercial music, or you never will. Edit: Also to note, you will never become an internationally acclaimed DJ without producing music (unless you are world DMC championships type material). Those days are behind us. blacksun fucked around with this message at 00:21 on Apr 28, 2012 |
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Apr 28, 2012 00:19
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blacksun posted:This is great advice if you want to play poo poo music to people who couldn't care less, and don't really have any career aspirations in music. There is a roof you will reach (I've seen many people I know and in my local scene reach it) where they can't progress any further playing commercial music, because at the end of the day, a kid can come in and do what you do for half or a quarter of the price. You need to have a point of difference, a 'sound' that is unique to you. This is the same with any art, really. If you want to make money painting, well get a gig painting mass-produced corporate art. If you want to make money as a band, play covers. If you want to push things forward or explore your potential and do what you love, start loving Ramen noodles and your day job.
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Apr 28, 2012 00:28
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I'm content playing underground house and techno to friends and other cool people in crowds of 500-1000 people, and opening for cool underground headliners But that's what I aspire to do, so it works for me
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Apr 28, 2012 01:58
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We can't all DJ in Denver, bones.
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Apr 28, 2012 02:37
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I consider myself fairly lucky that Denver's scene is as good as it is, relative to the size of the city itself. LA, SF, NYC all have us beat for sure though
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Apr 28, 2012 04:32
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TheWevel posted:We can't all DJ in Denver, bones. Sure we can. Denver has about a billion locals already, why not add more?
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Apr 28, 2012 04:49
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Since I'm just going to be djing at home I'm going to just use my computer speakers. My speakers just have one cord that goes into my desktop that's a 3.5mm jack. Do I need a converter/splitter/etc. to plug it into my S2? (Planning on using it as a soundcard) edit: \/ thanks Blowdryer fucked around with this message at 01:11 on Apr 29, 2012 |
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Apr 28, 2012 23:29
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I use computer speakers in my home setup too, I use one of these: http://www.amazon.com/Male-3-5mm-Stereo-Female-Y-Cable/dp/B000I23TTE Speakers go into the female 1/8", and the other end is RCA male which goes into the back of the S2.
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Apr 28, 2012 23:45
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oredun posted:
Allow me to illustrate: http://www.youtube.com/watch?v=nQg4G7aR4t4 I haven't played that song in a few months so I thought I would take a video of the reaction Saturday night. edit: sorry its in portrait mode, you might have to make it full screen
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Apr 30, 2012 15:31
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blacksun posted:Edit: Also to note, you will never become an internationally acclaimed DJ without producing music (unless you are world DMC championships type material). Those days are behind us.
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Apr 30, 2012 16:44
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