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mitztronic posted:What is your goal? I want to play at the clubs that I like which play the music I enjoy. Basically that means rap/trap/jersey nights. My current plan to get back involved with stuff is to wait for a DJ competition that I've been tipped about by a promoter of a relatively new monthly club night. I want to win that competition, and then from there I can send him a mix which he can put on the nights soundcloud page. I have already recorded the mix, which is up to / above the standard of mixes that he has been posting from other djs who play at his event. The genre I am mainly focusing on with the mix and what I will play is jersey and PC music style stuff as it is better for opening gigs. To get myself taken seriously I am also trying to make my social media look more professional and similar to the styles of the artists I am playing. I'm not especially strong on the numbers front with support so hopefully making my pages look better will help that. More soundcloud plays and facebook likes would likely help me to get some gigs, which I want to work on through marketing myself better. I'm going to wait to do the invite all my friends to my page style stuff until everything is looking 100% and I've won that competition. Then it'll be more likely to be effective and people will want to support me so they can be like 'yeah I'm friends with that really white dj who is wearing the gucci mane shirt and kept spamming samples of different people saying booty.' Plus me and my friends get a hard on from following teamsesh and wedidit with all their marketing and imagery so I want to create that kind of stuff myself too just because I like it.
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Jan 30, 2015 08:23
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You shouldn't rely on a DJ competition to boost your career. 90% of the time it's one of those competitions where you get more points if you bring people or you'll get a point for every drink that a person buys with your name. Like 19 o'clock was saying, just bring girls to the club when you play. Promoters will see that, appreciate that and book you more often. They'll look past the fact that you're some really white dude wearing a Pizzaslime shirt. edit: Forgot to ask, what city are you in? keevo fucked around with this message at 11:32 on Jan 30, 2015 |
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Jan 30, 2015 11:28
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I have a similar but different question. I have no problem getting gigs but haven't much of an online following - I'm finding it's really difficult to get likes/plays on Soundcloud. Right now I own two domains (JQAM.xyz and ceritfied.com) and want to put up a web page soon but right now they just redirect to my soundcloud. I live in Asia so my gigs don't exactly result in hits, likes, or plays. I want to launch a website soon with bunch of downloadable content - what can I do to reach out to people I'm not able to meet IRL?
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Jan 30, 2015 11:36
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keevo posted:You shouldn't rely on a DJ competition to boost your career. 90% of the time it's one of those competitions where you get more points if you bring people or you'll get a point for every drink that a person buys with your name. Like 19 o'clock was saying, just bring girls to the club when you play. Promoters will see that, appreciate that and book you more often. They'll look past the fact that you're some really white dude wearing a Pizzaslime shirt. Yeah I know this but I don't think this competition will be like that, as the club is very music orientated. I will obviously bring people though. Last time I was in a DJ competition was about 9 months ago and I would have easily won it if it was today. That said, I could be surprised, but it isn't like I can't change up this plan at any point. My music will be very girl orientated though. There is no point of bringing girls if they leave the dance floor! Perf, Straya
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Jan 30, 2015 11:36
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What kind of store sells musician's earplugs? I just found out I'm going to an event tomorrow night and don't have time to order some online. My ears are still sensitive from last weekend. 😐 e: Found some at a mom & pop music store. Whew! Peteyfoot fucked around with this message at 23:43 on Jan 30, 2015 |
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Jan 30, 2015 23:05
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bad day posted:I have a similar but different question. I have no problem getting gigs but haven't much of an online following - I'm finding it's really difficult to get likes/plays on Soundcloud. Right now I own two domains (JQAM.xyz and ceritfied.com) and want to put up a web page soon but right now they just redirect to my soundcloud. I live in Asia so my gigs don't exactly result in hits, likes, or plays. Produce and make your website something that will attract expats and beat competition. Try to interview the big names that come by, promote ALL events that expats might like, have reviews and such. But yeah if you want a following outside the city/country you're at, then hopefully you're a producer that can network well. Mash ups of popular songs work well well and is a faster way to get hits than self production.
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Jan 31, 2015 16:17
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My bad luck streak has continued with my DJ backpack being stolen from literally right under me while I was playing. The only important things in there were my keys and wallet (which I got back with the license the next day) but now I have to go find a new backpack. 
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Feb 4, 2015 11:12
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keevo posted:My bad luck streak has continued with my DJ backpack being stolen from literally right under me while I was playing. The only important things in there were my keys and wallet (which I got back with the license the next day) but now I have to go find a new backpack. For gently caress's sakes, that sucks. I was playing a band gig the other week when a dude rolled up who wanted to sing, and proved it by producing a microphone from his pocket that he had stolen from another bar. It's a small town and in this line of work it means he stole that from a friend of mine. I'm no saint and did some stupid poo poo as a kid, but by time you are bar going age stealing would hopefully stop. I'm looking at upgrading my Namba big backpack. When I do I'll hit you back to see if you are still hunting and I can hook you up with the mega discount.
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Feb 5, 2015 05:52
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Harley C posted:Basically that means jersey nights. What genre is this? Is it a sports genre? If someone told me they play jersey music at jersey nights I'd think either dj for sports team or I've been teleported to new jersey. Harley C posted:My current plan to get back involved with stuff is to wait for a DJ competition that I've been tipped about by a promoter of a relatively new monthly club night. I want to win that competition, and then from there I can send him a mix which he can put on the nights soundcloud page. I have already recorded the mix, which is up to / above the standard of mixes that he has been posting from other djs who play at his event. The genre I am mainly focusing on with the mix and what I will play is jersey and PC music style stuff as it is better for opening gigs. To get myself taken seriously I am also trying to make my social media look more professional and similar to the styles of the artists I am playing. I'm not especially strong on the numbers front with support so hopefully making my pages look better will help that. More soundcloud plays and facebook likes would likely help me to get some gigs, which I want to work on through marketing myself better. Marketing yourself better will do a million times more for you than any stupid "competition" Protip: It isn't actually a competition, and the best dj won't win, it is a popularity contest and a scheme to basically pay to play on the most basic level. Harley C posted:I'm going to wait to do the invite all my friends to my page style stuff until everything is looking 100% and I've won that competition. Then it'll be more likely to be effective and people will want to support me so they can be like 'yeah I'm friends with that really white dj who is wearing the gucci mane shirt and kept spamming samples of different people saying booty.' Plus me and my friends get a hard on from following teamsesh and wedidit with all their marketing and imagery so I want to create that kind of stuff myself too just because I like it. Just start inviting them now, and don't spam your friends to go to that competition. Literally the only dj competition that isn't a pay to play/spam your friends/ scheme is the DMCs. If you could name me two dj's who have ever ever ever gotten more bookings or famous or better paid from winning some local dj competition I would be incredibly shocked. People that do local competitions (that aren't actually skill based) just get to do more gigs for free. I've done this for 10 years and never ever seen a "dj competition" that wasn't the DMC's where the best DJ actually won.
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Feb 5, 2015 10:42
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19 o'clock posted:For gently caress's sakes, that sucks. I was playing a band gig the other week when a dude rolled up who wanted to sing, and proved it by producing a microphone from his pocket that he had stolen from another bar. It's a small town and in this line of work it means he stole that from a friend of mine. I'm no saint and did some stupid poo poo as a kid, but by time you are bar going age stealing would hopefully stop. Old Man Pants posted:What genre is this? Is it a sports genre? If someone told me they play jersey music at jersey nights I'd think either dj for sports team or I've been teleported to new jersey. Jersey Club https://soundcloud.com/dj-hoodboi/marvin-chardonnay-dj-hoodboi-trippy-turtle Old Man Pants posted:Just start inviting them now, and don't spam your friends to go to that competition. Literally the only dj competition that isn't a pay to play/spam your friends/ scheme is the DMCs. If you could name me two dj's who have ever ever ever gotten more bookings or famous or better paid from winning some local dj competition I would be incredibly shocked. People that do local competitions (that aren't actually skill based) just get to do more gigs for free. I've done this for 10 years and never ever seen a "dj competition" that wasn't the DMC's where the best DJ actually won. Don't forget about Thre3style. I think it's the new DMC.
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Feb 5, 2015 10:52
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Old Man Pants posted:What genre is this? Is it a sports genre? If someone told me they play jersey music at jersey nights I'd think either dj for sports team or I've been teleported to new jersey.
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Feb 5, 2015 10:55
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Old Man Pants posted:Just start inviting them now, and don't spam your friends to go to that competition. Literally the only dj competition that isn't a pay to play/spam your friends/ scheme is the DMCs. If you could name me two dj's who have ever ever ever gotten more bookings or famous or better paid from winning some local dj competition I would be incredibly shocked. People that do local competitions (that aren't actually skill based) just get to do more gigs for free. I've done this for 10 years and never ever seen a "dj competition" that wasn't the DMC's where the best DJ actually won. Only other counterpoint I can think of (aside from DMC/Thr33style/etc) is James Zabiela winning the "Bedroom Bedlam" competition for Muzik magazine and that being his big break, but that was ages ago http://www.mixesdb.com/w/2000_-_James_Zabiela_-_Muzik_Bedroom_Bedlam_Winning_Mix
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Feb 5, 2015 23:34
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keevo posted:I appreciate the offer but it's alright. I still made enough money that night to cover the cost of a new Jetpack backpack (unless someone has a better recommendation) and still make money. You're absolutely right, I'd say that is a legitimate competition as well. vanilla slimfast posted:Only other counterpoint I can think of (aside from DMC/Thr33style/etc) is James Zabiela winning the "Bedroom Bedlam" competition for Muzik magazine and that being his big break, but that was ages ago He did win that, but it was someone giving his mix to Sasha and basically telling him "listen to this right now" and Sasha taking him under his wing is the real reason he got big. slogsdon posted:Are you this insufferable about every style of music you've never heard of? Just about there being a billion new made up genres every month. Edit: "I play real world house, it is all songs about fightin with your roommates!" or "I play Jersey Shore house, mostly tracks about gettin' crunk, fuckin bitches and fightin people who step to me" These aren't actual genres, or even sub-genres. They are themes to a style that have been given a dumb name to try to differentiate them from what they really are. B-More Miami Bass and Detroit Techno are the only actual examples of their style being a different sound. B-more because it originated there and was different than anything else at the time, Miami bass is from where that style came from (also different from anything at the time), and Detroit techno because that is where it originated. Yes it is a bit pedantic, but these new sub-genres aren't a new style despite people trying to push themselves as "The biggest (subgenre) DJ" instead of just putting in the work, making good mixes, building a following, building a network, and setting a real name for yourself. Sneak, Craze, Rectangle, Hawtin and a ton of others put in the hard work and will be remembered forever, but all these newbies want to be "Big Name Dj" without putting in the real work. Either you are an superstar DJ, a working DJ, an exceptional producer, someone who does it for fun/as a side gig, or someone who got lucky. I consider myself a working DJ as I have made my living entirely off of DJing for the last 10 years as have many of my peers. No I'm not some famous person headlining festivals nor am I some dude doing weddings all the time (which actually pays a fuckload), but I've paid my bills by playing music for 10+ years full time, and the rise of a bajillion sub-genres is as dumb to me as the gimmick dj (celebrity, I throw cakes, etc) is. Your entire job as a DJ is to make people dance/have a good time. Sorry for the rant. Old Man Pants fucked around with this message at 10:39 on Feb 6, 2015 |
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Feb 6, 2015 08:32
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That sure is a lot of words when a one word answer would have told me the same thing.
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Feb 6, 2015 16:10
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Old Man Pants posted:Yes it is a bit pedantic, but these new sub-genres aren't a new style despite people trying to push themselves as "The biggest (subgenre) DJ" instead of just putting in the work, making good mixes, building a following, building a network, and setting a real name for yourself. Sneak, Craze, Rectangle, Hawtin and a ton of others put in the hard work and will be remembered forever, but all these newbies want to be "Big Name Dj" without putting in the real work. When I started gigging around 19 or 20 I was going this route. I was still learning how to be a good guitarist and singer and needed something to help differentiate me. It wasn't long before I fell in with some good players who showed me that people are going to respond best to just some good music. Instead of introducing gimmicks or trying too hard to be cool, it was now a matter of just doing the job well. One thing that will never go out of style? Being good at what you do.
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Feb 6, 2015 17:41
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19 o'clock posted:When I started gigging around 19 or 20 I was going this route. I was still learning how to be a good guitarist and singer and needed something to help differentiate me. It wasn't long before I fell in with some good players who showed me that people are going to respond best to just some good music. Instead of introducing gimmicks or trying too hard to be cool, it was now a matter of just doing the job well. One thing that will never go out of style? Being good at what you do. This is 100% spot on advice, and exactly what I am trying to convey. I realize that "being a dj" has had a gigantic uptick in the last 2-3 years, primarily due to the significantly lowered cost of entry and skill, but a lot of new guys I see out have their entire setlist pre programmed, can't actually read a crowd to see what they are enjoying and aren't playing the right tunes to build the night for the venue they are working at and the timeslot they were given. These are mostly dance related, but still completely apply even if you're the only dj for the night: http://www.residentadvisor.net/feature.aspx?1095 quote:"I've [sometimes] had to kill the http://www.digitaldjtips.com/2011/08/how-to-warm-up-for-big-name-djs/ quote:Opening for another DJ is an art form. It's a lot different than DJing at peak time when the party is going nuts. Despite what you'll find at most of your local clubs, the opening DJ's purpose isn't to get the dancefloor going off. The opening DJ's role is to invite people into the room, make them feel comfortable and lure them onto the dancefloor just before the big DJ shows up. this is some serious good knowledge for making a lasting career at being a good dj.
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Feb 6, 2015 18:23
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I don't really see a problem with "making up a style"(which Jersey Style definitely isn't, much like if I said I was going to play Atlanta-Style Hip Hop people would definitely know what that means in my city). I know musicians that will make up micro-genres mostly as a way to help them establish how they want something to sound when going into a project, usually they don't really share that micro-genre except maybe as an aside, but it's useful for them. DJing isn't making music of course but it can be useful in the same sense. For certain gigs I'll do that sort of thing privately, like sometimes I'll go into a night wanting to play a lot of "deep trippy disco" which isn't really a thing but with the right tracks and mixing that's absolutely the best description of it. What's actually annoying is things like the current trend in referring to everything that isn't lovely festival house as "deep house". Taking an established genre and diluting it to uselessness is no bueno. I'd much rather those people make up some stupid micro-genre. E: like your advice in general regarding competitions and generally being competent as the most important thing is good but that's not really mutually exclusive with esotericism. Dubstep Jesus fucked around with this message at 19:31 on Feb 6, 2015 |
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Feb 6, 2015 19:28
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Rhode Island Trapstep
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Feb 6, 2015 21:23
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I remember a line from my chef buddy. We were watching the Food Network and I asked him if he thought any of the chefs on the competition shows were any good. He responded with something that I will never forget: "If they were any good, they wouldn't need to be on this show." Granted, the show serves a purpose, but he brings up a good point. If you're good at what you do you'll be fine. I agree that competitions are more a popularity contest than an actual examination of talent, but isn't that the point? Shouldn't the person the crowd liked the most win? Don't let it bother you either way. Take it as a fun experience to meet other people and see if the crowd/judges dig your style. I would only go if the judges asked me specifically, else I wouldn't bother hustling that hard for something that isn't guaranteed to pay off. Too many people doing too many gigs for "exposure" is a badness.
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Feb 7, 2015 03:23
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I played in a DJ competition that had a $1k prize and a residency at the club's afterhours a while back. I was suspicious because of the general reputation of DJ competitions, but the judging was mainly done on technical merit from what I could tell. They did place a little weight on "how many people can you get to show up on a Thursday night" but no one really made a big deal of it. I took it down. It was a blast getting to play in an actual club; the other DJs were actually all pretty good, and it was a great networking opportunity. I'm still friends with most of the people that I played against in the later rounds, and we trade gigs. The after-hours gig? Well, it was paid on how well the bar did... and it started at 3:30am... so unless I pulled us through to 6am (which happened twice in three months, and I was told I was the only DJ in that slot to ever pull that off) I didn't get paid. But I took it for what it was: "exposure", and experience. Reading crowds isn't exactly something you can practice in your living room. I wouldn't ever do it again, and I don't play for free anymore either. But it can turn out well.
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Feb 7, 2015 04:51
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19 o'clock posted:Shouldn't the person the crowd liked the most win? Yes. When you've been required to bring all of the crowd that is going to vote for you/cheer loudest/whatever you haven't really won anything but a popularity contest though. Dessert Rose posted:The after-hours gig? Well, it was paid on how well the bar did... and it started at 3:30am... so unless I pulled us through to 6am (which happened twice in three months, and I was told I was the only DJ in that slot to ever pull that off) I didn't get paid. But I took it for what it was: "exposure", and experience. Reading crowds isn't exactly something you can practice in your living room. This is all gigs you win from a local contest.
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Feb 7, 2015 05:04
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When I decided to start playing out, I went to shows with a stack of CD's with my mix burned in them, wrote my info on them, and left them everywhere. I tracked down the promoters, introduced myself, and slipped them CD. It didn't take too long before I was approached for gigs.
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Feb 7, 2015 19:44
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Old Man Pants posted:Yes. When you've been required to bring all of the crowd that is going to vote for you/cheer loudest/whatever you haven't really won anything but a popularity contest though. Yup. Kind of a waste of time at that point. I don't take exception to "contests", but I don't see the point either.
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Feb 7, 2015 21:20
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http://www.residentadvisor.net/feature.aspx?2268 Just thought I'd drop this in here for people confused about what jersey is somehow.
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Feb 9, 2015 18:42
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Harley C posted:for people confused about what jersey is somehow. It's because it is not as popular as you think it is (or maybe as it is where you live, to be fair?) Also, I feel I should point out that this is SA, hip hop/R&B & associated sub genres aren't that popular here. I can count on one hand the number of DJs who have posted hip hop-related/subgenres/etc mixes in the DJ mixes thread, as one example. I'm not saying that there aren't fans here, before I get eaten alive, just that it is wrong to assume a majority of people here will know about a sub-genre of hip hop. mitztronic fucked around with this message at 01:36 on Feb 10, 2015 |
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Feb 10, 2015 01:33
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Yeah people ITT have really narrow tastes, in terms of genre. I don't really get that - I tend to mix every genre, together. There's always been a sharp divide between hip-hop and techno DJs - people who like b-more or jersey club fall into the former, while the latter is exclusively into electro-minimal-progressive-deep-house-disco-trance. It's pretty hilarious someone is seriously like "WTF is Jersey Club That Is Not a REAL GENRE" - they've probably never heard of juke or footwork either.
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Feb 10, 2015 18:26
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^ lol yeah wth is juke We had a similar discussion here a little while back about 'Twerk'. The way I see it, I like to keep genre labels in my DJ library as minimal and broad as possible. It helps me commit more music to memory, and makes me less reliant to search by genre which I think increases variety in selection. What if your hot new subgenre is a flash in the pan and you end up with less than a dozen 'Raleigh Bass' bangers that never see play again because they're buried in your library under some stupid subgenre name nobody will ever speak of again? This isn't to say that I think these genres don't exist, I don't like to entertain such debates - it's simply for economy of library management. To me, 'Jersey Club' is Breaks. 'Miami Bass' is Breaks. 'Twerk' I'm still convinced is not a thing, but let's call it Trap.
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Feb 13, 2015 16:13
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Mister Speaker posted:^ lol yeah wth is juke I had a friend say I had an awesome juke mix. I still don't know what he was talking about. When i tried to google it i just come up with it as another name for booty house. It was a garage & triphop/electronica mix. Mister Speaker posted:What if your hot new subgenre is a flash in the pan and you end up with less than a dozen 'Raleigh Bass' bangers that never see play again because they're buried in your library under some stupid subgenre name nobody will ever speak of again? Can't help but think of that "yacht house" that hipster goon kept trying to peddle off a few years ago as a genre mitztronic fucked around with this message at 18:06 on Feb 13, 2015 |
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Feb 13, 2015 18:02
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it's really cool to talk about genres no one else recognizes because it makes you sound better than other people
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Feb 13, 2015 21:08
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https://www.youtube.com/watch?v=HCIBksDfxBU Back tats.
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Feb 13, 2015 22:51
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I just view the genre as "dance music" and all subgenres as adjectives. It helps more because a decent producer is not going to exclusively use one rhythm and BPM. For DJ purposes musical key and BPM are more significant to me than EDM subgenre - mixing the same kind of music for more than about ten minutes gets boring.
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Feb 14, 2015 03:50
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Genres aren't really important, just in my opinion useful to explain the sound you are going for with a mix. I wasn't really annoyed at people for not knowing what jersey is, but kind of arrogantly dismissing it as a genre. It has a history, with multiple producers who release Jersey tracks. In my opinion it is up to those people to call it whatever genre they like and not djs to decide afterwards. That said there is valid points about twerk, ect but it is mainly just notations to make sorting through songs easy. Twerk is basically (normally) just 100 bpm trap from what I see, which makes it slightly useful to have a different name.
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Feb 16, 2015 11:38
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Been DJing with CDJs and controllers for years- thinking about picking up scratching since my DDJ is DVS upgradeable and can act as a mixer besides. So I'm in the market for a turntable now. I see so many suggestions to the effect of, 'suck it up and drop the extra money on a used 1200'. Question is, is that the best idea, or are there satisfactory entry level turntables that might be better for my budget.
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Feb 17, 2015 22:57
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If you're serious about scratching you'll need a good direct drive turntable. The "super OEM" ones [even Pioneer] all come from Hanpin. I think the most popular are the Pioneers, Stanton 150s or the Reloop 7000s. I haven't been paying attention to used 1200 prices but the ones I mentioned earlier are in the $450-700 range.
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Feb 17, 2015 23:33
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Poizen Jam posted:Been DJing with CDJs and controllers for years- thinking about picking up scratching since my DDJ is DVS upgradeable and can act as a mixer besides. I have two stanton ST150s and I love them. No need to get 1200s when the super OEMs are just as good and come new. I was able to get my ST150s with road cases ($100 value) for $500 on eBay. These are the guys I went through, I don't think they are doing the roadcase deal anymore but $430 for these tables is a good deal. It says used but mine came new. http://www.ebay.com/itm/Stanton-ST-150-ST150-Digital-Turntable-with-S-Tone-Arm-/311295531467?pt=LH_DefaultDomain_0&hash=item487aa8d9cb Champ Baldoon fucked around with this message at 15:30 on Feb 18, 2015 |
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Feb 18, 2015 15:28
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Numark's TTX turntables are seriously good too, huuuuuuuuuuuuge amounts of torque.
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Feb 18, 2015 15:34
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Thanks for the suggestion of the stanton st150; thankfully I only need one of them though. 450 is kind of close to the used 1200s price of about 500 though, so I'm unsure. Guess there's nothing in the 250-350 price range to be had? As I said, I'm a predominantly digital DJ who used the DDJ SX2- but I have always found decks C and D cumbersome to use (just the deck toggle mechanic in general, same issue I had with s4). This opinion is mostly shared by a buddy of mine I sometimes duo with, so we brainstormed on ideas of what to do with decks C and D. I have an Ableton Push so We figured, 'why not feed that in through one of the decks?' And once we had that Figured out I had the bright idea of 'well now if only I had a turntable for acapellas/scratching We'd have it all,' So here I am. Best of the analog and digital worlds, I figure. Still trying to figure out if it's possible to sync Ableton and Serato because I really don't want to to back to a Traktor to pull this off. I could live without sync but it's super difficult if you have 3 or 4 decks goin. PoizenJam fucked around with this message at 16:22 on Feb 18, 2015 |
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Feb 18, 2015 16:12
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I'm interested in exploring a more hybrid setup using a traditional DJ controller (VCI-380) plus an outboard effects unit (Kaosspad 3) and some kind of performance controller to trigger some drum loops and hits (like a Push but more likely a Launchpad). It feels like a simple proposition but the biggest issue would be getting everything synced to the same BPM. I have not explored MIDI routing at all with Serato, Traktor seems a little more suited for this kind of thing (but Traktor also sucks  ).The software side of things would consist of Serato DJ and Ableton, I think it's easy enough to get those two talking to each other. Plus once you can clock into Ableton you can route as much MIDI as you want (I don't know about latency in this kind of setup but I imagine it wouldn't be that noticeable). Setting up the Kaosspad with the outputs on my controller would be a head scratcher too. I'd want to use the KP3 on both decks independently. I can easily wire it to effect the mix but that seems too basic for what you could accomplish with the KP3 otherwise. I guess I'd end up routing audio through Ableton but this will inevitably make things much more complex and add latency. The more expensive but less confusing route would be to wire the DJ controller into a traditional mixer and hook up the effects unit that way. Is there a better solution beyond "buy a bunch of new gear"?
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Feb 18, 2015 17:15
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88h88 posted:Numark's TTX turntables are seriously good too, huuuuuuuuuuuuge amounts of torque. I'd cop these for value/features ratio. They're pretty good (and I've used every single Vestax, Hanpin, Technics, everything)
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Feb 18, 2015 17:25
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Dotcom Jillionaire posted:hybrid setup stuff Sync is the easy part. If Serato is anything like Traktor it should generate a clock signal that Ableton can hear; I just checked my Traktor laptop and it's listed it Ableton's MIDI/Sync preferences panel as 'Input: Traktor Virtual Output'. Look for something similar for Serato and turn its 'sync' tab on. With a track running in Serato, you should see a blinking light at the top left of Ableton's main window indicating the clock signal - next to this light, hit the EXT button to enable external sync. This forces Ableton's transport to follow the tempo of your DJ software. I should tell you though that I've found a supreme irony to Ableton Live - while having it follow a clock signal from Traktor/Serato is definitely possible, it's dicey. If you're using it for anything more than tempo-sync'd effects (eg: launching any sorts of clips) it won't follow tempo changes very well. More on this later. As for audio, are you using your VCI380's RCA I/O at all? If not, you should be able to use it as Ableton's audio interface. In this way you can use an input pair, and its 'booth out', as a return loop for your KP3 - that is, if the 'booth out' is just another output pair and not actually a dedicated, hardwired booth output (in which case you'll probably need another audio interface). The way it sounds to me, you should look into something like Soundflower for virtually routing audio from both decks in Serato into individual tracks in Ableton. Then set up a return track with External Audio Effect pointed at the physical I/O routed to the KP3. You can now send whatever you want - audio from your Serato decks, channels carrying clips, etc. - to the KP3. For this I'd recommend looking at a controller with at least a couple of knobs that you can map to these sends. I've been working on this sort of thing for a time now and finally have things sort of where I want them - except I need a keyboard stand, and right now there's no room for my 1200s  . Basically, all the bleep-bloop gear runs through a Traktor Audio10 into the Ableton laptop, through some processing and busses and then out to a spare channel on my DJM. The Ableton session carries a whole bunch of classic breakbeats that are warped straight, legato enabled, and set to 'repitch' mode. The KP3 is on a return track in Ableton, and I'm running a small enough buffer size that there is no noticeable latency. Like I said before, I've found a lot of frustration in trying to get Ableton to play well with Traktor. So I've basically gone 'gently caress it' and decided to run syncless. The TR8 is the tempo master of the Ableton session, for a couple of reasons. 1: I've also found much frustration using Ableton as the master, 2: The TR8 has a nice big 'play/stop' button, much nicer than the APC40's transport, and 3: It also has a fairly big, stepped tempo jogwheel. I ride this to keep the whole setup in time with my turntables and it works really well. Just some food for thought from a fellow gearhead. Mister Speaker fucked around with this message at 21:21 on Feb 18, 2015 |
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Feb 18, 2015 21:10
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