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It's technically Friday, so LET'S loving GO: https://www.youtube.com/watch?v=xAST0hM0H4E Mixcloud link Google Drive downloadable link Like I said, I've been in a terrible funk lately, depressed and anxious and all that sad poo poo. I haven't downloaded - or really even listened to - any new music since the end of last year. So, I used that as an opportunity to make this mix kind of a retrospective. Trying out some transitions with songs that I'm less familiar with than the usual routine. This is also the first time (I think) that I've re-used a couple of tracks from previous OPS mixes, because those are some of my favourite 'bridging' selections - first one to spot all three of them gets a free avatar on me or something? lol idk, anyway I'm pretty loving proud of this mix. It was labour-intensive and it really paid off. Tracklist: Break - Jungle Desire (ft. Kyo) Nick the Lot - Sound Business Bladerunner - War Dub Myth - Horror Kiril - Turn Back Time Ill Truth & Brann - Bounty Kanine - Deal Wit Dem (ft. Killa P) Smooth - Rougher Atom - Tearout Sub Focus - Last Jungle (Camo, Krooked & Mefjus remix) Klax - Ritalin Dub Phizix - Doberman (ft. Ward 21) Goldie & Rufige Kru - Dark Rider (Scar remix) Break - Whispers In My Ear (ft. MC GQ) (Break remix) Benny L - Morse Code Corrupted Mind - Beacon Camo & Krooked - Heat Of the Moment (Bensley remix) Technimatic - Flashbulb Enei - Get Low Was A Be - Plateau Jam Thieves - Mista Lava Lava (alternate version) Fracture & Alix Perez - So High Anais - Bill Rohaan - Traffic (X&G remix) Whiney - Slingshot Richie Brains - Splatta (ft. Fox) Alix Perez & Chimpo - Dead Truth - Jack Ripper (ft. Strikez) Alix Perez & Fracture - Archetype Emperor - Made of Light (Klax remix) Apashe - Majesty (Chuurch remix) Blaine Stranger - Into You 1991 - Kabuki Sam Binga - Bad Bish (ft. TT) (Klax remix) The Upbeats & Truth - Feral Ivy Lab - Amber Truth - Monster (ft. Strikez) Joe Ford - Immobilise Black Sun Empire - Arrakis (Rilium remix) Hive - Ultrasonic Sound EDIT: Oh drat, page snipe, #93 that's Mark Marquez' number! Tiiiiiight. Mister Speaker fucked around with this message at 07:18 on May 6, 2022 |
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May 6, 2022 05:22
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Mister Speaker posted:It's technically Friday, so LET'S loving GO: 
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May 6, 2022 19:18
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 Just excellent, incredibly dense and well-mixed! A lot darker and harder than the stuff I usually reach for, but you gotta love a set that inspires a karate kick in the middle of it! It's very clear that a ton of work went into this, you should be proud! Do you mind sharing what your process looks like for putting something like this together? With the exception of my entry for this thread (I jotted down a rough track list and put stuff in a playlist), for the last 10ish years I've usually just picked a tune to start with and gone from there based on my mood.
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May 7, 2022 01:07
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 Thanks friends, that really means a lot.nullfunction posted:Do you mind sharing what your process looks like for putting something like this together? With the exception of my entry for this thread (I jotted down a rough track list and put stuff in a playlist), for the last 10ish years I've usually just picked a tune to start with and gone from there based on my mood. Sure! This is actually something I've wanted to make a video about for a long time - I have a process of importing songs that I call 'the bulletproof DJ library', which was borne largely out of the need to be ready to play on crap gear, old gear, any gear really (it's evolved beyond this but some people still keep those goddamn CDJ850s around), and still have a fresh set of tracks at your fingertips. I still haven't gotten around to it because I hate the sound of my own rambling voice. Basically, the most important part is not to be afraid to create tons of playlists - I don't use Serato, but I like their use of the term 'crates' instead of plists, because the implication there is that crates aren't set plists, they're just organized by some common theme. So I have a set of 'master playlists' in both Traktor and Rekordbox, that are largely but not entirely delineated by genre. Of course, genre is a subjective thing and if some seasoned DJs saw what went into my "Jungle" or "Neurofunk" plists, they'd probably punch me. I don't care, because I look at my crates and know at least some degree the sound of what's in there. These playists are further subdivided by 'energy level', which is another thing that's subjective but less so. I have three tiers of energy level for most subgenres. But it doesn't end there. If you want to stay fresh playing out live (lmao which I rarely do anyway), another smart step is to create playlists by release date; I call these my 'quarterly reports' and as you might imagine I create a new set of them every three months, which are drawn from the master plists that stretch back to like 2011. I don't keep quarterlies of every single genre in the master playlists, just the stuff I find myself playing the most. In this way you can find your newest stuff. These quarterly playlists are sorted by musical key, to facilitate easy harmonic mixing. Rekordbox, and I think Traktor too, has a neat feature where you can re-order playlists by any field, just sort the list, right-click and there's an option to reorder tracks so they'll always appear in the same order when you play them on hardware. Keep a set of USB sticks around and every three months, ditch the oldest set of quarterly reports on it and put on the newest. So that's well and good for playing live and staying simultaneously fresh and spontaneous, but for pre-planned sets like this one, well... it's more playlists. If I'm making a new OPS mix, I'll create two plists, one 'crate' and one 'program'. Tracks I like, particular tracks that work well together, go in the crate and once I've dumped a few hundred in there, it's time to find a flow. Rarely does this 'finding a flow' start from the beginning of a mix, or the end, although sometimes I have a good idea of where I want to start or finish, usually a mix comes out of some set of fun transitions somewhere in the middle that I end up working around in both directions, if that makes sense. It's a bitch of a process, and before I completely fell off the face of the Earth this January I was adding new music every week or two weeks. If you leave it too long, it's a huge bitch to catalogue more than a couple hundred songs at a time. It's my compulsion, my curse in a way. EDIT: I forgot about hotcues and memory locations, also a pretty important part of these mixes. I'll elaborate on that later, but for now I have to head out to the Department of Civilian Dance Party (to work the door  ).EDIT: Here are some pictures of what things look like in Rekordbox, hopefully they make things more clear.   The first photo is the 'MASTER PLAYLISTS' section I described. Plist names are truncated and capitalized to facilitate easy reading on a CDJ screen. The number at the end refers to the 'energy level' of the tracks. Like I said, it's usually but not exclusively sorted by genre. You can see some holes in that already; for one, 'two-step' (2STP), 'halftime' (HAFT), 'triplets' (TRIP) and '140D' aren't really 'genres' so much as they are the common element that unites those tracks. There's a LOT of D&B that's a two-step rhythm, from Techstep to Jump-Up to Neurofunk etc. Well I don't have time for categorizing every single subgenre so I simplified it by grouping together anything with a two-step rhythm that isn't obviously Jungle or Liquid. Same as everything that's got a triplet rhythm (which I generally can't stand so it's my least-played D&B), goes in one of the 'TRIP' plists, anything with a half-time rhythm is 'HAFT', all of my deep Dubstep and Dubstep-adjacent tunes like ~140BPM Garage goes in '140D'. The Liquid, Jungle and Neuro playlists are a bit more nebulous. I could literally go on for hours about what delineates all of these playlists and energy levels, but it'd be a rant very heavy on the music theory side of things, with words like 'hemiola', 'syncopation' and 'counter-melody'. Suffice it to say, this is one of those things that's better figured out on your own - and that's the beauty of DJing, isn't it? Music has objective and subjective qualities, and as curators we build a mix by looking for commonality in the subjective qualities based on our own preferences. Your set of playlists to draw from isn't going to look or sound like mine, nor should it. The second photo shows the 'QUARTERLY REPORTS' section, on one of my 64GB USB sticks (the 'C' denotes that it's the third of three identical sticks I travel with, in case of unlinked CDJs). As you can see, not every subgenre from the MASTER PLAYLISTS section is reflected here. Triplets, and hard syncopated Neurofunk, are absent, because I play that stuff live very infrequently. You'll also notice that the energy level formatting is different, and pared down to two levels (High-Energy and Low-Energy) for each genre. I've found this to be much more efficient than worrying about middle-ground stuff. Either I'm opening with some minimal Techstep or low-energy Liquid, or I'm tearing the place up with hard loving two-step Neurofunk/Jump-Up. Mister Speaker fucked around with this message at 21:55 on May 7, 2022 |
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May 7, 2022 01:27
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OK so hotcues and memory locations. I use these more as visual indicators than anything else, although as you can tell with planned mixes like these there's a lot of jumping around to create double-drops. And hotcues are malleable; while I do place them on importing new songs I tend to change some of their positions (namely hotcue 3) before a planned mix - sometimes this even means placing 3 before 2 and starting a song before the previous tune has 'dropped'. Memory locations on the Pioneer hardware can be tabbed to if the song is paused, but hotcues can be jumped to on-the-fly while a track is playing. Most other software/hardware works the same way, although in Traktor memory locations are called something else (grid markers?). A hold-over from using older gear is that I tend to keep things to three hotcues per song - legacy CDJ2000s only support three, and if you're perceptive you've already noticed that there's an error in this system, because hotcues A/B/C correspond to mem locs 1/2/3, not 2/3/4 as they shiuld. This is unfortunately how Rekordbuddy translates Traktor metadata to Rekordbox - I really should find a new piece of bridging software, but for the time being it's not really a problem because in the event I'm playing out on a set of legacy CDJs, I'm not using the hotcues anyway. The first memory location (doesn't necessarily matter if this is a hotcue; see above re: legacy CDJs) is the downbeat, or more accurately simply where you want to bring in the song. If you've got a track with a big huge intro for example, you might want to place it 16/32/48 bars ahead, so you can get the track in sooner. Most DJ software is smart enough to place the grid in the right place, but on songs with some silence in the beginning or percussion-free intros (or my favourite fascinating thing about analyzing triplet-rhythm tunes where it gets the tempo wrong entirely) it can miss. So find the drop, and tab back there in multiples of 8 bars and you can usually find an appropriate place to put memory location 1. Songs that have an extra bar or two before the drop can gently caress with this, in that case I'll place a bunch of memory locations indicating the extra bars, so visually I can see that they're there and use some looping or simple stop/start on the other track to keep them in line. Hotcue 2 is the drop, most of the time. More accurately it's when you want the song to take over the focus of the mix (obviously you know how to use your faders and EQs to do this. This is almost entirely a visual indicator; I don't remember the last time I've actually had to hit that button during a mix, it's just there to indicate "bass EQ comes up here, now you're mixing around this song." Hotcue 3 is simply there to indicate where the next song should start. Like I said, on import I will place all of these cues somewhere some multiple of bars after hotcue 2, but when I'm testing out transitions for a planned mix, the position of cue 3 changes a lot. Sometimes it even ends up before hotcue 2, if I'm really working on getting tracks in as quickly as possible (and if it sounds ok). This is also rarely used, unless I really gently caress up and need to backtrack to get the next song in. Hotcue 4 is usually the second drop, sometimes not. It's the one hotcue I'm touching most often during pre-planned mixes. If the drops work together, it goes there, but sometimes a 'double drop' is too busy so it goes a few bars later so I can ride the song right to its outro. Sometimes the venue's CDJs aren't set up to load hotcues, or they're 900s (or older) that don't even have the option. Also important to note is that if you're coming from using Traktor, Pioneer doesn't auto-load cues unless you tell it to (select all the tracks in the plist, right click, 'enable auto load hotcue'). Also a point against the Pioneer hardware is that the hotcues take time to load into the CDJ memory, unlike Traktor where they're immediately available. So for all of these reasons, hotcues are largely only something I use for planned mixes, and double-drops don't happen as often live. I think that's mostly everything. Hopefully you can see from that cumbersome process how it helps to expedite figuring out transitions, staying fresh while live and also being able to dig into your older material with some degree of efficiency. I wish I was inside at DOCD right now but I'm stuck ushering folks in from the road. EDIT with more pictures:   These are two tracks that I used in OPS vol. 22. At the top of the track stripes you can see the hotcues and memory locations - hotcues labelled alphabetically; mem locs are downward-pointing arrows. You can't see it but every hotcue is also a memory location. In Doberman you can see that hotcue A is placed not at the actual downbeat, but 16 bars after it. This is the mix-in point, although like I said I'm rarely using the actual hotcue A button, rather the CUE/LOOP CALL buttons on the CDJ to tab to its memory location before starting the song. You can also see that there's another mem loc 16 bars after that, directly between cue A and cue B (the drop). This is partly to help with counting bars (although I don't need that anymore) and partly as a failsafe, in case I forget to play the tune at the A cue, I can wait 16 bars and go from there (if you're playing with CDJ2000s, the 'beat jump' feature can help with this also). Funny enough, I think this is exactly what happened with this song during OPS vol. 22. The second track is later in the mix, a favourite of mine from Dubstep dons Truth; Monster (ft. Strikez). Here you can see that the C hotcue is actually before hotcue B, indicating that to get the flow the way I want it, the next track (Immobilise by Joe Ford) has to come in before the drop, creating a perfect double-drop that switches up into Immobilise's breakdown 32 bars after both tracks have their first drop. Also funny that I picked this example, because I'm pretty sure I also hosed this one up, lol. Those 'beat jump' buttons on the CDJs really are a godsend. Mister Speaker fucked around with this message at 21:59 on May 7, 2022 |
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May 7, 2022 04:13
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Mister Speaker posted:EDIT: Oh drat, page snipe, #93 that's Mark Marquez' number! Tiiiiiight. lol, that dudes an alien I swear will listen in next few days, wanna give it full attention, will be back with trip report but preemptive thank you for effort.
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May 7, 2022 04:40
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Mister Speaker posted:It's technically Friday, so LET'S loving GO: Hey dude, I’ve spent the last 3 nights throwing this mix on and playing video games until 2-3 in the morning and I just wanna say the vibe you’ve crafted here is just pitch perfect dark and heavy and badass, a real joy to sink into. Def gonna run it back a few more times, reminds me a lot of Dieselboy’s Black Bassline series in a good way. Did first two nights sober to see if it would give me anxiety the way some harsher DnB does but the vibes are perfect, last night I got torched on dabs and was just shredding in my games having a blast to these beats. Ty ty ty
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May 8, 2022 16:01
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Oh shiiiiiit, this is a jam https://www.youtube.com/watch?v=I_DZ5o2VdUE
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May 9, 2022 22:57
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Mister Speaker posted:It's technically Friday, so LET'S loving GO: Some heavy horsepower here. I've also been in that same funk with not really listening or downloading much new esp from DnB at the moment, only recognized a couple things and those were heavily remixed. Cool to see Last Jungle get it's time to shine, always loved that one and thought it should have been bigger but I think the original was like ~145bpm so tough to fit into sets. Technimatics Flashbulb was very cool too, I like the confidence you have throwing something softer in there, nice switch-up. And that's something I love about DnB in general, so many different moods and vibes all at the [roughly] same tempo so if you got the tunes that work you can really flip the sound (and back sometimes) with one track. Fav track was prolly at the 48 min mark. I liked the first ~25min section the most, but impressed the energy level stays throughout the mix. There was like one of those foghorn type tunes in there and it really shows how good those are when used sparingly, I think I actually did the bass face thing. The halftime stuff is really foreign to me but I enjoyed listening, seems like it lends itself well to that quick mixing too. Great production quality; sounds great, multiple cameras, nice room. You put work into it and it shows, again thank you for your effort! ...oh yeah the tracksuit owns too lol
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May 11, 2022 06:27
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https://open.spotify.com/album/4OoqrSbmdPHjdr3GAKGZaQ?si=H1mNSkYuQlquS34ysEEeSA click for a nice surprise
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May 13, 2022 07:28
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New Calyx & Teebee LP out today too. https://www.youtube.com/watch?v=iSTqLgY_r20 Absolutely HUGE day for releases
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May 13, 2022 19:40
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Holy poo poo, I listened to 3 new albums that came out today and thought I was done with new releases 
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May 13, 2022 20:44
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switched up the set-up, built a shelf, and mounted a camera... https://www.youtube.com/watch?v=tRegYTBGSkI happy friday!
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May 20, 2022 20:21
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That setup fucks. Good poo poo, my dude.
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May 20, 2022 23:18
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Virgil Vox posted:switched up the set-up, built a shelf, and mounted a camera... 
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May 21, 2022 00:18
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Virgil Vox posted:switched up the set-up, built a shelf, and mounted a camera... Smooth vibes! Love the new setup too. That's a camera angle I've wanted to get but it would involve more ceiling drilling and SmallRig arms than I'm comfortable with right now. How do you like the DJM2000? I've never played on one but I'd love to try out that seven(?)-band cross-EQ.
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May 22, 2022 00:31
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Virgil Vox posted:switched up the set-up, built a shelf, and mounted a camera... sick as hell, just beautiful
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May 22, 2022 03:39
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Thank you for listening guys, gals, postersMister Speaker posted:Smooth vibes! Love the new setup too. That's a camera angle I've wanted to get but it would involve more ceiling drilling and SmallRig arms than I'm comfortable with right now. How do you like the DJM2000? I've never played on one but I'd love to try out that seven(?)-band cross-EQ. Thank you, your vid was the motivation I needed. Love the DJM2000, mostly b/c of the space; it doesn't feel as cramped as a 900, places to rest your hand and stuff, love the ergonomics of it. There's also a built in ethernet hub so link is super easy. Was excited by the multiband eq mixer part as well but it's completely nerfed because of the vol curve on it. Instead of a gradual curve it's constant till the middle then it fades down, it's difficult to blend smoothly. If the indicators are in the middle that means it's at full 100% vol  so in this case it would be max vol highs and mids on both channels and on the low end you'd get 100% of ch3 bass and ~25% of ch2 bass. If that makes any sense lol. You almost have to combine it with the eq knobs or faders so it's hard to work and I mostly just ignore it. You can do some sudden cutting and bassline swaps with it nicely. There's an entire effects sampler thing built in too but the coolest thing is routing the mic to that, you can sample your voice and then have it be triggered by sounds in another channel, it can get wild and it's mostly beyond me, I just like to listen to tunes. However that eq mixing was a big selling point to me I thought I would use it all the time. In the early 2000s a DJ/producer equipment store had this weird 2channel mixer with three crossfaders, one for each eq band (you could turn it off and just use the bass one like a normal crossfader). I thought that was the coolest thing, loved messing with it in the store but no one believes me that it existed, and I can't seem to find any record of it online.
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May 22, 2022 05:55
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Woah, gonna ask around about that. I know a guy who was into rad weird DJ gear who might have some ideas. I’m the dumbass who DJed for years with no filters or effects and only rudimentary EQing. I’ve got an Akai AMX now, because it simplified the routing over having a Denon Serato box and another mixer, and the built in EQs and filter work a treat. Plus my beloved Numark DXMPro died in a move, so I bought a cheap scratch mixer when I was poor and never bothered to upgrade. Anyway, the AMX has some nice features, full EQ kills, a fairly useful filter, and I can mix in regular vinyl and time coded vinyl along with Serato. Or I can use it as a controller and not have to schlepp so much gear when someone needs music for, like, a gallery opening or some other low key gig. I think it has some issues with not being terribly loud, but again…works fine for my purposes. Tl;dr, I wish I’d had more guidance as a babby DJ, but meh, I’m happy with what I’ve accomplished. Now to nail down my mix for the thread. I’m strongly considering going back to my roots (lots of 00s neurofunk, basically the Ohm Resistance/Obliterati catalog) and raiding my vinyl collection’s oddest tracks.
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May 22, 2022 07:39
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Virgil Vox posted:DJM2000 EQ mixer Aw, well shucks that's kind of bunk. I saw it in one video where the guy was mixing Tech House (of course) and it seemed to work all right, but given what you've said that's kind of a bummer. I often wonder what I'd do with a four-band EQ or even a sweepable Mid frequency; if it would make the long blends of which I'm so fond sound any better, maybe better vocal isolation, IDK. That Sampler feature does sound neat, and I'm always interested in seeing how new technology gets integrated into the art of DJing... Dirt Road Junglist posted:I’m the dumbass who DJed for years with no filters or effects and only rudimentary EQing I was sort of the opposite, at least when I got back into it after college (with a Traktor S4). I went whole-hog on the effects, even routing the DJ controller through my Access Virus to use its Atomizer effect to chop/repeat beats (because holding down a keyboard key was easier than diving around in the tiny FX section on the S4). I've since moved away from effect use; my poor DJM900's effects section is largely ignored except for the Auto Filter (much easier to hit a button twice than have to worry about rolling the LPF/HPF inline knob yourself while also tweaking EQs) and the occasional Flanger use. Like I said, always fascinated by new developments in DJ tech, but these days I'm pretty comfortable with four decks and three-band EQs. When 'Stems' format was a new thing I had already thoroughly immersed myself in Ableton, and had little faith that many artists would adopt the file format so it could take off - again, I strongly suspect it's mostly saturated with Tech House artists, but there's some D&B in there for sure. I find it very fascinating when a DJ makes that their thing, but see it mostly as a novelty and figure that if I'm going to play stems of tracks, they're going to be stems of my own tracks and I'm going to build my own Ableton/hardware rig to do it. If I still had money coming out my rear end I would definitely build a Live PA setup with some of the gear I already have, some samplers and another DJM. You don't really see too many Drum & Bass artists doing the Live PA thing - there are a handful of MPC wizards who can do the live Drumfunk Jungle stuff with their fingers but most of the time when you see a bunch of samplers and synths wired together on a table you're most likely about to hear a Nu-Disco/Electro kind of set. I wonder why that is - nearest guess I have is that despite powerful computers and synths, resampling is still a large part of the thickness that defines many Neurofunky bass sounds. My not-so-guilty pleasure is Pendulum (and to a much less guilty extent, Prodigy), and a part of me has always wanted to combine the live PA aspect with a friend whose guitar playing is competent and play Buttrock D&B shows like that, but Swire and McGrillen already ran that into the ground... OK, question time! I haven't posted on DogsOnAcid in years, probably also like a decade. But I want to expand Opposing Force's reach, because honestly for the quality of mixes that are on that drat YouTube channel, I practically don't even exist. Have I mentioned that I've always been shy and bad at networking/self-promotion? So I'm wondering if DOA has a 'Post Your Mixes' thread, or if it's really more chaotic with users posting their own threads every time they make a mix? It seems like the latter, but I want to be sure before I come barging in with HEY GUYS CHECK OUT THIS THING I'VE BEEN DOING FOR A FEW YEARS. I just want more subscribers so I can finally change my custom YouTube URL.
Mister Speaker fucked around with this message at 00:37 on May 26, 2022 |
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May 26, 2022 00:33
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What’s the difference between resampling and a really long and drastic FX chain? 
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May 26, 2022 00:39
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Pollyanna posted:What’s the difference between resampling and a really long and drastic FX chain? My understanding is that the sampler's character is part of the sound. Things like time-stretching and transposition impart distortion that you can't get from a simple effect chain - and a lot of Akai rack-mount units and MPCs etc. have a particular character that's still emulated today in both hardware and software. DC Breaks released a series of patches for the Access Virus synths a few years back, that are good, but while you can hear parts of their sonic signature in their music, they're very clearly not played directly out of the synth through some effect automation. I saw a bit of success with Ableton's Sampler's FM engine and distortion on top of heavily pitching and time-stretching my own synth patches, but it's still a lot to wrap my head around and I got easily frustrated. There is a lot of modern D&B (and other 'Neuro' genres) that's straight out of the synth though, you can hear Serum in everything. It makes me mad sometimes how good those softsynths sound out of the box, where the Virus sounds incredible but needs a lot of post-processing to give it the same presence as Massive or Serum. Mister Speaker fucked around with this message at 00:51 on May 26, 2022 |
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May 26, 2022 00:48
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Huh. Interesting. I’ve pretty much only learned and tinkered in software (and a little bit if hardware synths), so I’ve never experienced platform/module-specific sampling. I guess Renoise would have its own sound. Maybe I’ll gently caress around with samples some more.
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May 26, 2022 22:16
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No Friday posts  https://www.youtube.com/watch?v=0_ybS90Nn3c Rediscovered this one in March and have been playing it a lot. Dirt Road play what you feel, nice to listen to all the different sounds
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May 29, 2022 07:30
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I just got some very early Seba records in the post, so good, i'm sure you'll spot them in a mix soon. Speaking of mixes Dirt Road how is it coming ?
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Jun 6, 2022 20:55
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Virgil Vox posted:I just got some very early Seba records in the post, so good, i'm sure you'll spot them in a mix soon. Speaking of mixes Dirt Road how is it coming ? Been in scramble mode with work after taking time off for a friend's wedding, and out of town again this week, but probably gonna get it done over the weekend. Unless you've got a mix on deck and want to take over and punt me to next month? //EDIT: Speaking of weddings and DJing, I've been on deck for two weddings as both best "man" and backup DJ, and the first wedding wrapped up a week ago. The band finishes up before the reception is over, and someone shoves me to the PA to get more music going. I'm running around trying to manage 3 different things, and decide to cheat by grabbing a "wedding playlist [decade]" off of Spotify until I can clear some poo poo off my agenda and focus on the music. The problem is, I forgot which crowd I was playing for. The other groom's party would go buck for a bunch of cheesy 90s love songs and bad MTV rap, but this is the crowd that hates the 90s and would rather listen to 70s R&B and dad rock. The groom shoulder tackled me and replaced my playlist with the one his wife curated and forgot to give me ahead of time, thank gently caress, because the dancefloor was getting restless. Lesson re-learned: Always remember what crowd you're playing for! Dirt Road Junglist fucked around with this message at 21:30 on Jun 6, 2022 |
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Jun 6, 2022 21:21
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Nah, I'll write you a tardy pass, it's all good; I really need to practice on my oldschool vinyl beatmatching skills for my mix, gotten rusty. So many things I took for granted or forgot about like "oh poo poo the needle skipped when queuing, this throws off my perfectly timed phrase matching ahhhhh". also re: weddings, I was best man for my brothers wedding and of course asked to be the DJ, that was a nightmare, I was much too inexperienced at the time for both those tasks.
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Jun 6, 2022 22:40
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https://www.youtube.com/watch?v=N5Z80jqLHZU
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Jun 11, 2022 19:14
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breakbeat seems ok to post here, here's a couple mixes from when progressive breaks was big in like 2003-2005. for the second one it's just the first part, the shiloh segment. For mix cds dj hyper bedrock breaks is really solid, first cd is more prog/chill, second is more on the nuskool side I have no idea what happened to any of these guys: luke chable, fretwell, shiloh, digital witchcraft, habersham and numinous, phil k (exception, he sadly passed away from cancer two years ago). https://www.youtube.com/watch?v=QRM8UA-_vME https://www.youtube.com/watch?v=-k8JVnWfMP8
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Jun 15, 2022 23:02
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Thanks for the breaks mixes, brings back good memories. Had a lot of y4k mixes and always liked Chable a lot. Sorry to hear about Phil K. I always liked the Chris Fortier atmospherics mix, has some good Hybrid tracks. https://youtu.be/q1KQaXcrodU Recently moondance and Dope Ammo released Together 2022, which features some remixed hardcore and jungle classics. https://youtu.be/oiqnbPEcPsk
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Jun 17, 2022 23:05
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in honor of phil k i'll add this https://www.youtube.com/watch?v=PRRUApoifFc https://www.youtube.com/watch?v=jKm1C0EkrIA
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Jun 18, 2022 16:54
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I was watching a film this evening when I finally realised where this sample is from.  https://www.youtube.com/watch?v=t8tNnbQgSkA
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Jun 18, 2022 19:53
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Jippa posted:I was watching a film this evening when I finally realised where this sample is from. https://www.youtube.com/watch?v=SiynmgbhpvQ
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Jun 18, 2022 20:00
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(more breaks) listening to the james lavelle GU albums, the romania one is mostly u.n.k.l.e. stuff on the first disc, check this one out dylan rhymes is amazing https://www.youtube.com/watch?v=kgCE1tdE0sI
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Jun 20, 2022 16:25
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Digging the Breaksposting. It's absolutely D&B-adjacent music and I'd hazard a guess it's also foundational to many of us in this thread. My first musical loves were the Chemical Brothers and the Crystal Method and to a lesser extent (at the time) the Prodigy. But all of their sound was incredibly diverse, some tracks you'd call Techno, others decidedly more Breaksy. I loved the latter way more, and didn't really come to know many other Breaks producers until college when I lived with a DJ who spun the stuff along with a lot of Tech House. I did see one artist though that I go back to now and then: Uberzone opened for TCM on their Tweekend tour and I loved his stuff. https://youtu.be/B8A3dNDxGcc Maybe I'll throw some Breaks into the next OPS mix. Stanton Warriors have some timeless bangers too. https://youtu.be/WLNBJ7EaBrE
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Jun 21, 2022 05:58
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This is like one of the best breaks songs ever don't @ me https://www.youtube.com/watch?v=S_jQ2XPQg0I Edit: yeah let's do this, all these would be in my top 5 fav at the club tunes https://www.youtube.com/watch?v=jTJDvJX-NqI https://www.youtube.com/watch?v=RSyphGdN5_4 Virgil Vox fucked around with this message at 09:12 on Jun 21, 2022 |
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Jun 21, 2022 09:07
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Uberzone definitely has their own, incredibly distinct sound edit: how could I forget these https://www.youtube.com/watch?v=CExG9in8liA https://www.youtube.com/watch?v=dHemwT_guig https://www.youtube.com/watch?v=t4Yq2PP4r70 4:05 vv https://www.youtube.com/watch?v=pMecB_QtxU4 https://www.youtube.com/watch?v=-4lKVK-vIcA https://www.youtube.com/watch?v=9kAWPhEUxWA actionjackson fucked around with this message at 17:52 on Jun 21, 2022 |
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Jun 21, 2022 15:05
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Yesss, all bangers. I don't know why Breaks never really established itself firmly as an underground institution in the way that D&B did. At least, it feels that way here. Seems to me it's the best of both worlds; breakbeats and syncopation for the drum heads, and a much more palatable tempo that's generally around the same as House. I can't shake my rear end to four-on-the-floor kickdrums for hours at a time, but it seems more people are into that. There's still lots of it out there if you look, it just doesn't enjoy the same exposure as House. https://www.youtube.com/watch?v=gX89TjOK2A4 For something a little more rootsy but modern, Posij is an artist who usually makes really weird and dark D&B. But sometimes they do something like this: https://www.youtube.com/watch?v=4FffW7-339o Come to think of it, there are a bunch of artists decidedly in the Neurofunk sphere that occasionally dabble at Breaks tempos and it's glorious. I just discovered this artist a few months ago and actually I think all of their releases so far are Breaks, but the neuro attitude is definitely there: https://www.youtube.com/watch?v=5HkzuY26Oq8 This remix of a tearout 172BPM tune is just fuckoff ridiculous. https://www.youtube.com/watch?v=5V-NDZfFO5Q Joe Ford is a consummate neuro producer. When his Mission EP dropped, it had me reeling in my seat. When he touches Breaks tempos he shits gold; this song has me playing air slap bass every drat time. https://www.youtube.com/watch?v=Kg6y0vGvN24 Do we have the schedule for the next round of monthly mixes? I jumped back on my library cataloguing and suddenly I'm 3/4ths of the way through playlisting OPS vol. 23. Admittedly, the li'l kick in the bum that got me there was an opportunity for a guest mix on The Prophecy. I'm unsure exactly when that'll be but likely in the next few weeks; if it's OK I'll probably just use that as my next thread submission whenever that comes around, dropping the video version the same day. Now I'm hunting for tracks that transition from ~174-130 since we've been talking about Breaks, if I can pull it off I'll close out the mix with slower stuff. That's not an easy find; if you've got any suggestions I'm all ears. Heavy and dark are the operative words. One of my favourite transition tracks of all time is in this range but it's a little too peppy, and also would demand a fast mix in and out because only the intro is D&B, then a short Electro House run and back up to 175BPM again. I know I've talked about this before but the reason it's one of my favourite transition tracks ever is because it uses metric modulation to get there and back.
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Jun 29, 2022 17:51
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I was going to try and finish my mix during the US holiday weekend and drop it after, but if you've got something closer at hand, I'll happily switch months with you. I've got some good breaks stuff on vinyl I need to either find on digital or rip. There were always good recommendations in the back of Knowledge and Rinse mags, but it was almost like they were there as an afterthought. Really do miss the days of music lifestyle magazines...
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Jun 29, 2022 18:58
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| # ? May 17, 2024 21:40 |
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love this tune https://www.youtube.com/watch?v=XKBt_EETooY
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Jun 30, 2022 00:48
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