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A PowerPC-Mac is pretty drat oldskool by now, but if it's the best you can do, stick with Ableton Live 6 and OS-X Tiger, that should run pretty fine on it as long as you stay with playing wave files (and it doesn't support MP3) and don't get crazy on the FX. But for very little money should be able to buy a used low spec intel coreduo/core2duo, which opens up loads more of possibilities software-wise.
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Sep 15, 2011 20:59
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| # ¿ May 13, 2024 11:49 |
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Check you latency setting in TSP, anything below 7ms is fine.
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Sep 25, 2011 11:55
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THAT drat DOG posted:I'm going to give my pair of 1200s to my grandchildren with I fixed that for you, np 
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Oct 30, 2011 08:44
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The trick is just to start buting it. Yes, it will completely bleed you dry financially, but the sense of exclusivity that you gain, more than makes that up for me. I've been de-traktoring myself for the past year, just using vinyl (plus live some cd's) and I must say I really like it so far. No more hassle with laptops and cables, love it. And more important spending much more time sorting out what to buy and what not to buy. I only buy 5-10 records a month, instead of 50+ digital tracks, so I make drat sure I really like them and by ordering only once a month (or you'll lose dime you own to postage) you have time enough to get to know your records. But the best thing for me is just looking at my growing stack of records and thinking: that's my collection. A laptop just didn't do that to me. On the Serato thing: with your DVS on relative-mode you can just set and cue a loop while the cd keeps playing, while the rest of the cdj keeps working as if it was just playing a regular track. Sjoewe fucked around with this message at 09:52 on Oct 30, 2011 |
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Oct 30, 2011 09:49
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Oh, please don't get me wrong, I'm not a anti-laptop evangelist, at all. I totally understand the pro's of using a laptop over vinyl, certainly when you have a solid residency. But I don't play that much gigs anymore, just about 6 gigs a year, so when I do I can bring my own decks or make sure the venue has solid SL's. Most of the times I play in my own radioshow which has a decent setup I can trust, so no trouble there, but I totally get you on the SL-thing. Just as a music lover I love buying vinyl and play trips to different stores across Europe. But I know vinyl is going to be a dead end eventually.
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Oct 31, 2011 08:50
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Say what? That's more then they where new back in the day. 
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Nov 3, 2011 23:07
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Location is key of coarse, but I've paid 450 for a pair in good nick, with needles and covers. Otherwise you should look out for so called: 'Super OEM' tables, which are sold for half the price but when it comes to specifications are truly twice as 'good'.
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Nov 4, 2011 00:54
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Don't forget R_co http://soundcloud.com/r_co Load of new and old electronic stuff, all available for download and (partial) tracklists for the most of them.
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Jan 27, 2012 00:03
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I once nearly punched a DJ playing before me because he set up his controller on the tonearm, bending the poo poo out of it, destroying the needle. The utter disrespect... ughh
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Apr 2, 2012 11:40
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TWSS posted:
Yep. He rotated one 90 degrees (battle-mode) and then just placed his Xone:1D upon the platter with the usb-connector pressing the arm firmly onto the deck plate.  I've got nothing against MIDI-controllers, but many of the people I've encountered using them are total dicks when it comes to general DJ-etiquette. If you bring a controller, please plug it in beforehand, or bring some cd's/vinyl for a switch over, but please don't start connecting all your poo poo in the middle of my set in a 5 square feet booth. 
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Apr 2, 2012 21:41
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Still, hatin' aside the man has a point. Every new DJ thinks it all comes down to just mixing two tracks together and repeating that trick the whole night while bromancing and getting all the girls. We all, sadly, known that there is much more to learn about DJ'ing than just mixing up tracks. The upside of vinyl or cd's is that is takes so much time to get the hang of it, you'll learn most of these things while practicing: beats, bars, laying out a set, arranging your crate etcetera. And more important, you almost always had a mentor, 'the guy that-thought-you-to...' New (controller) DJ's tend to skip this part, because 'hey you're mixing up tracks, and it's sounding all good and poo poo, so I must be a DJ', oblivious of all the other things that you'll learn while becoming a DJ. Like showing some respect to the other DJ's and other people's equipment. And let me be straight about this, although I myself don't like controllers, mainly because I'm into DJ'ing because I like buying vinyl and DJ'ing is a poor excuse do justify this, I really don't mind the technological progress that comes with them. Hell, I'll even admit that they'll help all of us become better DJ's. And more so I know I'm generalizing the poo poo out of this argument, but in my experience most controller DJ's tend to be in it to become 'a DJ' while the people that took the classic route rather seem to be in it because their love of music spun out of control and ended with DJ'ing. It's a different mindset.
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Apr 2, 2012 22:30
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epswing posted:I don't think the argument was about "this medium is better than that medium" but more of an observation that "the barrier to entry for medium X is quite low, which leads to ignorance, and a larger number of folks who have worked a smaller number of hours because it's arguably easier to learn than medium Y" This. Mixed with the thing that people I meet nowadays asking questions about 'the game' all seem to desire to become a 'DJ', while the previous generations just wanted to play out their music. DJ's used to be the geeks in the corner, what happend to that?
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Apr 4, 2012 21:49
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Maybe in hiphop, but certainly not in electronica. Just look up some old photo's and you'll get all the proof you need. 
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Apr 4, 2012 23:01
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I really believe the DJ-superstar thing started somewhere around the turn of this millenium. Before that you of coarse had some great names, but not that whole OMG-Guetta-Remix-My-poo poo-I'll-Pay-Six-Figures-Crap that the general public considers to be part of being a true DJ. In the nineties DJ's where still the lesser kind, because you generally played other people's music, from the corner of the room, while everybody else was having fun and that was all it was to them: party-music. Even in the vinyl days people tended to think that anyone could do that, never bothering to try themselves, because if you really wanted to be cool; you bought a guitar. The music being played was far more important than the person playing it. This left a void in which the first generation of those that later became todays famous DJ's started to work, play and develop dance music. Slowly but surely people started to recognize and respect these new-born artists, because of their importance to music up until the point where we seemed to have forgotten all about the music and just worship the DJ. I may be a cynic, and this piece smells like I'm yearning for the old days (which I'm actually not, I mean common house-pants and fury boots, that poo poo was plain wrong.) But I really hope the next big thing comes along soon and all the kids that just want fame start selling their controllers buying kazoo's because thats what Skrillex is rocking from now on.
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Apr 4, 2012 23:46
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epswing posted:Oh that reminds me, I've always wondered... Even if not everything is pre-programmed a true electronic live-act is a dying concept in the laptop age. There are loads of live-acts around these days that do little more than tweaking some filters or rearrange some clips in Ableton and then call it a live-act. But then again this trick is about as old as commercial music. Promotors need a solid stage-act to sell their act's music, but good producers aren't necessarily good DJ's / Performers, so a 'live-act' is pretty much the only way they can get by. And everyone is buying it. I'm glad to have seen Underworld, Orbital and Massive Attack perform LIVE when growing up (and into electronic music) and I can only feel sorry for the kids today that are tricked in to paying upwards of $50 to see some A&R conceptualized artist essentially play them a tape, masking the lack of musical creativity by a shitload of fireworks, lasers and projection mappings, making them believe that that's what it all about. I'll take this over Deadmau5 any day https://www.youtube.com/watch?v=ocjsJLfAG5M
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May 10, 2012 23:48
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JohnnyMondo posted:I agree that it's cool to see live electronic music, but it's pretty ridiculous to claim that everyone else is being "fooled" into enjoying themselves. Plenty of rock bands play their songs the exact same way every show, and if you followed them on tour you might see a pretty drat identical set 2 nights in a row. That doesn't make the show any less fun for the audience. That's not my point at all. As epswing already said, a rockband needs to actually play their songs, and a comedian needs to tell his jokes. However marginal there is a possibility of failure and thus a certain level of skill required to put on this show. We they are doing on stage is something most people can't, hence you pay to see it and you most likely enjoy it while doing so. But then then you have someone like Skrillex (no hate, just a good example). He doesn't perform his music, he just plays it out loud, ads some silly FX, a funny dance, some fireworks at the end, and all of a sudden this is on the same plane as all these bands and groups that have painstakingly crafted a real live-act over the years? I beg to differ. Im not arguing the fun-factor of it all, but don't you think it's kind of sad that the current generation of kids is made to believe that these are live-shows, while they are pretty much the complete opposite? Performing a solid electronic-music live show is probably one of the hardest things to do, it takes years to master all the machines and equipment, but then the result is truly magic.
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May 11, 2012 09:28
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Show is actually the best definition so far, as opposed to performance or gig No but seriously, I'm not saying it isn't fun, I've seen the Prodigy many times and they are about as un-live as it gets, but I always enjoy the show. It's just that the bands that actually do a real live electronics-performance should get some more love and respect and don't deserve to be thrown on the same heap with all these show-bands by calling them live-acts.
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May 12, 2012 04:50
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That levels tape is probably the ultimate weapon in hostage-situations. The'll be done with it in a matter of minutes.
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May 16, 2012 04:58
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Getting gigs: have skill, have music, have friends that throw parties, have the balls to ask, have other friends attending your gigs, have fun.
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May 28, 2012 09:36
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Being kinda shy/modest about yourself and your own style is something we pretty much all have to deal with, but that's why you have to get past that. If you invest some time in your network and back your talk up with skill no-one will blame your for asking.
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May 30, 2012 12:43
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Or prepare some edits yourself.
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Jul 15, 2012 22:12
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Any normal laptop should be able to handle 5ms or less, without buffering problems. Even my old 2006 macbook pro handled that just fine
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Aug 18, 2012 17:50
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In the end proper DJ'ing is all about feeling the music, not counting it, it will just get you too distracted from the more important things going on. Although if you are a beginner, count until you cry, and over time recognizing musical structure will become second nature. At some point you can just drop tracks and they all magically will fit in. One off the best feelings behind the decks.
Sjoewe fucked around with this message at 21:40 on Sep 7, 2012 |
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Sep 7, 2012 21:19
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No, really don't. Learn to DJ with your ears not your eyes. It's really hard to unlearn this, and proper DJ'ing is a state of mind where you barely need to look at your equipment, and glaring at your laptop doesn't really help. I've seen so many people do this, it may lead to 'perfectly' timed mixes, but it makes them incredibly boring as well. If you're a beginner you should make mistakes and learn from them. If the blend goes wrong while practicing, just rewind and try again, and again, and yeah... again. And no, you won't record a perfect mix the first one to two years, but after that you will be much more comfortable behind the decks, because you are used to make mistakes and know how to correct them. And as described above: record, relisten, retry.
Sjoewe fucked around with this message at 09:33 on Sep 9, 2012 |
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Sep 9, 2012 09:31
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No, man you got it right, sorry if I made it unclear. I'm not against using cue-points at all (and I believe that everyone should DJ just the way he/she wants). I'm just saying that as a beginner you should focus on listening instead of viewing a track. If you're going to drop cue-markers as visual aids to where you need to drop the next track, you're never going to get the hang of hearing the structure of your music, as you are always visualizing it. But once you've got that down, drop all the cues you want. Customizable start-cue's are among the best things in CDJ's and Traktor in comparison to vinyl.
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Sep 9, 2012 22:39
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Maguro posted:I'm switching back to vinyl after my computer ruined my last two sets. It's CDs and wax from here on out as far as I'm concerned. And all the old heads agree (of course). I sacked my Traktor setup about two years ago and I've never regretted it a single moment. I use vinyl and cd's at home, but when I'm gigging I just load up a couple of USB-sticks and throw some of my special/rare vinyls in my bag, just in case there happen to be some decent turntables. With the current generation of CDJs I can pretty much do everything what I used to do with Traktor, but without the stress and hassle of having to plug in my setup. And I find the absence of a laptop very relaxing as well, no worries about crashing and most importantly being free of glaring at the screen all night opens up my senses more and thus allowing me to focus much better on the music. Because instead of trying to see what's going to happen, I started listening or 'feeling' again. Not there's anything wrong with digital DJ'ing of coarse, but it's just not for me. However cool and infinite the technical side of it is, it never gave me the same fulfillment I get by manually working the decks and the gratification it gives to get something in or out of the mix without the safety net in the form of loops and sync-buttons. But then again I'm not much of a fancy DJ on the technical side of things, I can work three decks and throw in the odd fader trick, but that's about it, but I mostly rely on my music collection/selection for making my sets interesting. However if you're more interested in working loops, decks, FX, making strange combos etcetera Traktor is probably the best train to hop on at the moment.
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Jan 1, 2013 22:55
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oredun posted:Ok, so lets say the prior DJ is using CDJ B. Now you unplug CDJ A and plug it into your DVS box, then you start a song mixing into his song or whatever you do, then as the first song is playing you plug CDJ B into your DVS box and boom youre done. Takes like 2 minutes if youve practiced. Why don't burn your first (two, three) track on a CD? So you can connect your gear in peace. Nothing more annoying then someone that's starting to pull out wires when you're still playing.
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Feb 12, 2013 14:24
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Old Man Pants posted:So what's everyones thoughts on beatport getting bought out? I can't blame Beatport for pursuing their aim to strengthen their position as MVP in online music distribution. But I do have some problems with their business model. It's becoming too much of a money making machine and not in favor of those who actually supply the content. Sure if you're a major label you can bargain for a nifty licensing deal, but small labels mostly get a lot of demands regarding exclusivity and little money in return. But at least the guys that founded Beatport had a love for music to start with, I highly doubt you can say the same about SFX. Their only goal seems to be to jump on the whole EDM-exploitation bandwagon and secure their position as the supplier of choice for the upcoming American market. These people see EDM and thus Beatport as a perfect business opportunity, nothing more. As a European that pretty much grew up with electronic music, it's kind of hard to not get totally pessimistic about these developments. In almost every article I read about EDM that is published in mainstream US media, the undertone always seems to be how much money you could earn from this relatively new musical subculture. [example] Don't get me wrong, some people in Europe have gotten filthy rich with their music as well . But the thing is in stead of wondering of how much money can be squeezed out of EDM, the discussion here is mainly about artistic recognition and the acceptance of dance music as part of mainstream culture.
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Mar 1, 2013 01:50
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reichsten posted:maybe you've heard of a little genre I like to call "hip-hop" Isn't that the thing where someone talks about the struggles of street life over random bits of sampled soul records? But please do explain.
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Mar 1, 2013 09:16
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| # ¿ May 13, 2024 11:49 |
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Ah problems of the digital age. Just learn to value some people have music you will never own, as they well value you coming up with something they'll never have.
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Mar 10, 2013 20:54
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