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And neither have made a huge impact. All the clubs and bars are still going with 1200s or CDJs.
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Jun 1, 2015 18:34
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keevo posted:And neither have made a huge impact. All the clubs and bars are still going with 1200s or CDJs. An unreleased controller hasn't made a big impact?  The XDJ-RX is basically just two XDJs and a mixer in a controller anyways. The XDJ line being a follow-up to the CDJs without a CD drive. They haven't put out an equivalent to the 2000 Nexus yet but I'm sure it'll be announced before too long.
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Jun 1, 2015 21:16
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That Stanton is so ugly
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Jun 2, 2015 02:56
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Seriously a Traktor s4 hooked up to an iPad is the best DJ experience available. I don't know why people are so resistant, maybe they really like manually setting cue points, I dunno. It's like playing with a DJ controller and sampler at the same time. The iOS Traktor DJ app has pitch control when you plug it into an S2 or s4. Sadly it looks like maybe this did not catch on, as the newest controllers don't support iOS, but they also use and replicate most of the features, including new ones. Also I can use iTunes to manage my library pretty well, as I try to only hang onto the 2000 or so tracks I might actually play out.
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Jun 2, 2015 03:59
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Dubstep Jesus posted:An unreleased controller hasn't made a big impact? Ah I'm a dumb idiot. 
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Jun 2, 2015 05:04
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88h88 posted:I can't tell if you're joking or not but just in case: Something with 2 channels, when NI offers soundcards that can do WAY more than 2 decks seems dumb. That Pioneer is a gussied up version of that stanton. There is a reason any quality mixer that isn't a turntablist mixer has more than two channels and some decent outputs that aren't one dumb RCA. Give me 4 channels, self contained and runs it's own software, can interface with other file types and I am selling my laptop, controllers and soundcard the next day and buying it. edit: bad day posted:Seriously a Traktor s4 hooked up to an iPad is the best DJ experience available. I don't know why people are so resistant, maybe they really like manually setting cue points, I dunno. Because iTunes is literally the worst software I have ever had the displeasure of interfacing with, and also Traktor screws up cue points very very badly. Old Man Pants fucked around with this message at 12:35 on Jun 2, 2015 |
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Jun 2, 2015 12:26
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I've had a couple incidents with Traktor rebuilding my library and dumping all my cue points, but the cool thing about using a touch interface is you don't really need cue points, as you can tap around the track on the fly and use the slicer instead. It seems like the new Traktor interfaces are incorporating this feature, to a certain extent. In practice it's very cool - with decent timing you can skip from any part of a track to any other part of a track at any time, and given the simplicity of EDM be able to visually read where all the different parts of the songs you might drop a cue point on might be. I've had a few issues with Traktor misreading BPM (especially drum & bass) but is other software really that much better or easier to adjust?
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Jun 2, 2015 14:57
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Old Man Pants posted:Because iTunes is literally the worst software I have ever had the displeasure of interfacing with Why? Also it's standard to beat grid your own tracks so I don't see your point there. I doubt software will ever be at the point where you can toss it mp3s and it will correctly and accurately analyze it every time. Maybe in the future with a new type of audio file that includes that info E: wait you're saying Traktor screws up cue points not beat grids. What the hell? I've never had or heard of that problem before mitztronic fucked around with this message at 15:36 on Jun 2, 2015 |
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Jun 2, 2015 15:34
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I find Serato to be really poo poo at cue points/beat grids. Rekordbox really is king at doing that properly, it's a rare occasion I have to change much when firing tracks into it. ...and Pioneer offering a 2 channel version of the XDJ-RX is just standard Pioneer really isn't it? Next will come the ltd edition colours and then maybe 12-18 months later the XDJ-RZ, the 4 channel one which does more at about twice the price. Because Pioneer.
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Jun 2, 2015 16:13
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bad day posted:I've had a couple incidents with Traktor rebuilding my library and dumping all my cue points, but the cool thing about using a touch interface is you don't really need cue points, as you can tap around the track on the fly and use the slicer instead. Yeah I've been dealing with Traktor DJ and using this method for a while and I can tell you it sucks way way more than just setting some cue points. Especially on that touchscreen, with that waveform coloring. Give me a decent working cue point system and more importantly a beats/bars/phrases to next cue display over a super inaccurate touchscreen any day. But all my cue points and beat grids go away every time I resync my iPad. They used to have sync between the desktop and the iOS versions, but they couldn't make it work. With that I'd probably be a lot happier playing out with an iPad. As it is I only play house parties with it.
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Jun 2, 2015 17:14
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If iTunes is the literal worst piece of software you've ever used then I am deeply envious of you.
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Jun 2, 2015 17:27
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88h88 posted:Because Pioneer. My guess is that they rushed this out as an entry-level product because Pioneer gear is getting used in that silly summer DJ movie. This way there's something obvious for all the kids that watch it to buy.
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Jun 2, 2015 19:16
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mitztronic posted:Why? Lets see, because it has zero data integrity across systems, has one of the least user friendly GUI's, and needs to be synced over and over, and connected online to even work. Traktor screws up beat grids and cue points if you don't set them very very specifically manually, and if these aren't synced to your iOS/OSX/etc, they save like crap.
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Jun 3, 2015 05:08
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Then it pays to be kind of a luddite sometimes. I have a system whereby all new tracks go through MixedInKey>iTunes>Traktor>RekordBuddy>RekordBox, and then to the cloud on my DropBox account, and I've literally never had a problem - even with the recent failure of my external hard drive.Dubstep Jesus posted:If iTunes is the literal worst piece of software you've ever used then I am deeply envious of you. Mister Speaker fucked around with this message at 06:54 on Jun 3, 2015 |
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Jun 3, 2015 06:42
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P0PCULTUREREFERENCE posted:My guess is that they rushed this out as an entry-level product because Pioneer gear is getting used in that silly summer DJ movie. This way there's something obvious for all the kids that watch it to buy. WEGO or a DDJ-SB for the kids. The XDJ-RX is a solid $1700. I was more referring to Pioneer's habit of releasing something which is almost good but missing a few features and then releasing a completely new version with those extra features on it a year or so later for lots more money. *cough*DDJ-SX and DDJ-SZ*cough* I expect a 4 channel version of the XDJ to turn up at some point.
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Jun 3, 2015 12:09
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I can't wait for the XDJ line to be in full swing so we can see the monstrosity that will be the XDJ-RZ.
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Jun 3, 2015 16:19
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Hopefully this question makes sense-- What's the easiest way to line up breakdowns and stuff ahead of time? Like if I want the crash/buildup/whatever that signifies the beginning of the outro of track A to sync up with the crash/buildup that signifies the end of the intro to track B, do I just have to eyeball it and use my platters to adjust or is there some Weird Trick to getting them to sound right?
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Jun 3, 2015 23:05
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Sharzak posted:Hopefully this question makes sense-- Platters/eyeballing/weird trick is manual beat matching, but if the rest of your track is gridded it shouldn't drift or anything. Or do you mean songs that are different tempos? Stuff like that usually starts on phrase so it's just timing.
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Jun 3, 2015 23:14
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Sharzak posted:Hopefully this question makes sense-- Get really good at counting in multiples of 4 (or better yet multiples of 32). If you've been doing it for a long time you will probably be able to get a sense for where the inflection points are in a track without counting. It comes with experience and practice If you get it wrong, you can always use loops to extend one track or the other, or get clever with cue points
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Jun 4, 2015 00:00
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I tried to find that Wunderground article about the guy who put his hands up for the drop one bar too early. ... Yeah, what vanilla said: focus on counting measures, it'll soon become natural. Barring tunes with an extra bar or two before the drop, the intro/breakdown/drop formula is pretty standardized. Some software like Traktor also will display how many bars a point in a track is from the playhead if you hover the mouse over the track display which can be useful to this end., When I stripe and cue all of my new music, I'm placing cue points more as markers: cue 1 is downbeat and usually some multiple of 8 before the first 'drop', cue 2 is first drop or point of high energy, cue 3 is ideal place to mix in (and is the cue point I most often change) and four is second drop, point of interest or when the song has to be cut entirely. Hip-hop, tracks with tempo changes, etc., I cue differently. When I'm building one of my broadcast mixes in Traktor, I use these four cue points, bar elapsed/remaining display, and beatjump to quickly test transitions. I'll keep or move cue 3 depending on how well the drops line up or stagger; lately I've been finding fun in letting double-drops stagger by 16 bars or so to create longer builds, or challenging myself by dropping tracks before the previous track has even hit its second cue (cue 3 passes before cue 2). When I play with my CDJs alone, I use a similar system but cues A, B and C reflect cues 2, 3 and 4 and a memory location reflects cue 1 (RekordBuddy and some key commands in RekordBox facilitate this easily). Again, these cues are rarely actually used unless I gently caress up large, except as markers to indicate visually when something is about to happen - they appear visually in the track view on a CDJ similarly to in Traktor. Lately I've been considering using more memory locations as backups, for example every sixteen bars after the downbeat in case I miss the 'mix in next track' point, or a couple of tightly-placed memory locations to draw the eye and remind me that a song has an extra one or two bars before its drop. Food for thought.
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Jun 4, 2015 05:27
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Sharzak posted:Hopefully this question makes sense-- Most DJ and dance music follows the same structure - an intro will be 4/8/16 bars, a breakdown will be 4/8/16 bars, the song will change every 4/8/16/32 bars, basically. Unless the producer is intentionally not following the formula (like adding an extra beat before the drop to throw people off, etc.) the song you are cueing will be structurally similar to the one you are mixing out of. Easy mode is just start one track when the breakdown on the other begins (where the bass cuts out), keep the fader in the middle throughout the buildup (where lack of bass/heavy drums makes an easy blend), then slam the fader into the next song with a gain boost right at the drop. If songs are not structurally aligned I just loop them/use the slicer/etc until they are. You can visually read most dance songs - it's very easy to look at a waveform and see where all the different parts begin and end. Back in the day we'd actually stare at the groove of the vinyl record to find the loud/quiet parts. Anyway 90% of EDM is extremely formulaic and designed to be easily mixed. Hope this helps. edit: personally, as a DJ I don't feel like I should be playing entire songs from intro to outro at all. Generally I'll mix the first part of one song into the second part of another song, and so on, just kind of keeping things going, switching out records fairly often. Most EDM songs run a little too long for my taste, I've seen sets of guys at ULTRA who, played like 3 records in 12 minutes and I just don't see how a headlining DJ can get away with being a glorified cd player. bad day fucked around with this message at 09:41 on Jun 4, 2015 |
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Jun 4, 2015 09:26
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bad day posted:
Yeah playing more than one drop from a edm/trap song is some lazy bullshit.
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Jun 4, 2015 12:47
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I was hoping there was more to it than 'get good,' drat it. I use VDJ and Serato, VDJ will count measures up to 16 and then start over but even following that it doesn't always line up exactly how I would like it to--sometimes it's off by one bar, sometimes it's off by eight and sometimes it's right on time. Trying to do it in my head produces similarly inconsistent results. Thanks for the advice ITT everyone. Mister Speaker posted:
This is all solid especially the bit about Traktor telling you how many bars out you are from a given point in a song--that's exactly what I want. Does Serato do this? As far as cues go I am really lazy about setting up cue points for all of my tracks and generally just go by the waveform but I think adopting a formula like yours will make it easier to get myself to do it. Harley C posted:Yeah playing more than one drop from a edm/trap song is some lazy bullshit. I agree! I'll often play out whole techno and trance tracks but for actual party poo poo I want to get better at cutting/blending in the middle of tracks to maintain a consistent energy level. I gently caress this up regularly which is why I made that post in the first place I guess. FOLLOWUP QUESTION I have a hard time playing tracks that start out with vocals immediately, like https://www.youtube.com/watch?v=qncoDzZRC54 this one. I can't get tracks like that to sound smooth no matter where I try to blend it in at, even if I do it 'perfectly' synced with either the beginning of a breakdown or the end of one. It just sounds too different to whatever's playing before and I can't get it to be seamless. I'm not trying to mix vocal on vocal or anything. I've tried keeping the instrumental track way louder, tried doing abrupt cuts, it just doesn't sound as good as it does when The Pros do it. Are there effects or levels or anything that will help me out here? Edit\/\/ Yes I'm mixing in key Gay Horney fucked around with this message at 20:22 on Jun 4, 2015 |
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Jun 4, 2015 19:14
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Are you mixing in key? That makes a big difference, otherwise experiment with different tracks, when I make a mix I'll often try hundreds of songs before one mix makes me happy.
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Jun 4, 2015 19:47
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Harley C posted:Yeah playing more than one drop from a edm/trap song is some lazy bullshit. lol if a song can't hold it's own for more than one "drop" than it probably isn't a very good song https://www.youtube.com/watch?v=beqU163UcH4 b0red fucked around with this message at 21:57 on Jun 4, 2015 |
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Jun 4, 2015 21:49
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b0red posted:lol if a song can't hold it's own for more than one "drop" than it probably isn't a very good song Hell sometimes I mix in a second track and then decide I liked the first song's drop more for the current moment so I play that drop again after the second song's buildup. It's all about feel. Play enough that you start to feel what's right and then learn to trust that instinct. Sometimes it'll lead you wrong but I find that when listening to another DJ I appreciate it more if they take risks that sometimes don't pan out. No one in the audience is enough of a DJ to notice your flub, and any actual DJs are silently cheering you on even as they shake their head at your mistake. Perfection is for machines.
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Jun 4, 2015 22:54
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Dessert Rose posted:Hell sometimes I mix in a second track and then decide I liked the first song's drop more for the current moment so I play that drop again after the second song's buildup. I feel you on all of that. I'd rather hear someone's mistakes and know they are really going for it than a picture perfect set. I also love when DJs clear the floor by trying a new tune or something way out of what the crowd is used to. I do this a lot myself at college house parties and it alwasy leaves a few people left just nodding their heads really feeling it. I do it for those folks. Also I love getting asked "What remix is this?" and it's me blending 2 tracks.
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Jun 4, 2015 23:22
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b0red posted:Also I love getting asked "What remix is this?" and it's me blending 2 tracks. So many times, I've just had some 2-bar riff in a remix deck and I drop it in, start loving with the pitch or whatever to give it some motion, and I think I'm overdoing it / being repetitive / disappearing up my own rear end, and then later someone who was on the dance floor compliments me on that amazing remix of the song I found. Sometimes I think that by learning to DJ and pay attention to all this stuff I ruined my own enjoyment of it. It's good to remember that you are paying way more attention than anyone else, and everyone else is just there to groove out. You are there to facilitate, not create some perfect masterpiece.
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Jun 4, 2015 23:32
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Sharzak posted:. Traitor will also let you display measures and beats to the next cue above your track in the info area which makes perfectly timings things trivial assuming you've got your cue points set up correctly. Once you've done it enough times with the assistance you'll have got a feel for the music you are playing and not need to look anymore.
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Jun 4, 2015 23:46
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Sharzak posted:count measures up to 16 and then start over but even following that it doesn't always line up exactly how I would like it to--sometimes it's off by one bar, sometimes it's off by eight and sometimes it's right on time. Trying to do it in my head produces similarly inconsistent results. Count them out loud, and on the "one", yelling. You'll just ~know~ if you're off, because you'll be yelling one beat off  And then, it'll click. And once it's clicked, you'll notice it everywhere.
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Jun 5, 2015 01:41
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b0red posted:lol if a song can't hold it's own for more than one "drop" than it probably isn't a very good song That is a bad point, and I am talking about songs with 'drops'. If you are mixing house or something I don't really care about your opinion when it comes to mixing bass music because I know what flys where I am from. Crowds will get bored if you play both drops of trap songs + you look bad and lazy mixing outro to intro. The occasional song maybe, but it is still best to avoid, unless you want to be dj ipod. edit: what I'm saying obviously doesn't include double drop mixes, ect. I just mean playing a whole song through, as they usually only consist of two drops. gucci bane fucked around with this message at 16:01 on Jun 8, 2015 |
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Jun 8, 2015 15:58
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Radio station is getting a DDJ-SZ and 4 PLX-1000 turntables, gonna have some fun with that setup 
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Jun 9, 2015 22:59
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Anyone used the AKAI AMX. I'm looking for an inexpensive audio interface to use with an APC40 MKII
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Jun 10, 2015 00:57
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Dubstep Jesus posted:Radio station is getting a DDJ-SZ and 4 PLX-1000 turntables, gonna have some fun with that setup Wow. What kind of radio station?
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Jun 10, 2015 01:02
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Do they know that the effects unit isn't hardware?
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Jun 10, 2015 04:05
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Harley C posted:Do they know that the effects unit isn't hardware? I assume it'll be mostly for DVS use with Serato. Hopefully. If not I sense disappointment with the available sound colour filters as well as HPF/LPF... 
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Jun 10, 2015 16:32
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88h88 posted:I assume it'll be mostly for DVS use with Serato. Hopefully. If not I sense disappointment with the available sound colour filters as well as HPF/LPF... keevo posted:Wow. What kind of radio station? It's a college station, total overkill for our needs but we had an absolute shitload of cash to spend, so we're getting a lot of new stuff. Getting a pair of QSC K12's too. Since equipment is mostly my purview I get to hook it all up when it comes in and run it through its' paces. That's gonna be a fun day.
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Jun 10, 2015 16:50
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If any of you guys will be at burning man (other than myself and Alfajor), send me a PM or something and I will get you some time on our stage
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Jun 10, 2015 23:59
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Dubstep Jesus posted:It's a college station, total overkill for our needs but we had an absolute shitload of cash to spend, so we're getting a lot of new stuff.
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Jun 11, 2015 06:26
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keevo posted:Wow I'm surprised your college station has money for it. Ours couldn't afford that kind of equipment. Hell, we had a lovely belt-driven turntable and that was just hosed up by club because no one really knew how to use it or take care of it. Unfortunately the reason we have the money is because our state's public broadcasting company made a deal with our university to get most of our daylight analogue hours while we're stuck in the HD radio ghetto. As part of the deal we get $150,000, and I guess we got $50,000 this year and the rest next year? I'm not sure of the complete details, but it's definitely the silver lining of this lovely deal our university made. Definitely not a typical college station though, we have a 100,000 watt signal in a large metro area. You'd probably have a good chance guessing the station based on that detail alone.
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Jun 11, 2015 06:55
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