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oredun posted:i get lots of gigs and hot college sluts want to suck my dick /dj e-penis go! I know plenty of DJ's like you, even some that are the music directors of my towns best clubs (Brisbane, Australia for reference). They all have the same philosophy that you do. And they have stayed in the same job for 20 years. Sure that might be perceived by some as a 'good' 20 years of getting 3 gigs a weekend, partying it up, getting lots of sluts. But at the end of the day you are still a hack with no personal style and nothing to define you from the rest of the kids. And that is why you will still be playing small shows in your 'college' town for the rest of your career unless you actually stop just taking the easy way out and playing anthems for most of your set. I don't think anyone is proposing that you ONLY play underground tunes no one has ever heard, however equally there really isn't a need to flog anthems the whole night. Once you have those dumb sluts of the dancefloor, most of them will stay there as long as you keep playing good music. Expand your art form, take people on a journey and they might actually remember your name.
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Mar 8, 2011 23:56
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| # ¿ Apr 28, 2024 11:37 |
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Chitin posted:My understanding is that you can route Traktor Pro 2 through Ableton and record each deck separately/use Ableton's effects but I've never tried it. I run a setup that does this currently. For software I use: Bome's Midi Translator Pro (for creating chains of midi messages, conditional midi messages and more advanced commands than Traktor or Ableton's midi mapping will let me) Jack Router (This creates a virtual audio interface that routes your audio from Traktor and into Ableton) Traktor Pro 2 Ableton This is all controlled by: APC40 DJM 800 (Likely soon to be a nexus though) (Note I am using the DJM for my mixing needs, Traktor for my track controls, Ableton for my effects) As a primer, this setup is NOT for the faint of heart. It took me a significant amount of time and effort to get this setup running smoothly. I'm still playing around with the last few effects I have space to fit into my mapping. When it's finished, if anyone wants to have a look let me know and I'll make a video / demo of how it functions.
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Aug 19, 2011 08:08
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OG KUSH BLUNTS posted:I frequently travel between SF and LA, and I can tell you almost every Controller DJ I've seen sucks. Those are major scenes too. The only one that I saw that was legitimately great was Ean Golden who actually uses the functions on his controller as opposed to having it be a glorified iTunes player. Every time I hear this argument I just post this: http://www.youtube.com/watch?v=uqX55INFCuc Dave Clark (who was playing vinyl while you were wearing nappies) chairing a panel with Gregor Treshor, Paul Hamill (Psycatron), Terry Weerasinghe (head of marketing at NI), Rik Parkinson (Product Planner from Pioneer DJ) and Baptiste Grange (Serato's European Rep). In this hour long discussion they look at the positives and negatives, and all the arguments for and against the sync button compared to vinyl. Please watch this before you decide to spew any more hate across the internet. Especially before you post stupid poo poo that makes you look dumb like: All controller DJ's are lovely. (A person that learned to spin on vinyl, then cds, and now with controllers)
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Apr 2, 2012 23:41
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oredun posted:words This is great advice if you want to play poo poo music to people who couldn't care less, and don't really have any career aspirations in music. There is a roof you will reach (I've seen many people I know and in my local scene reach it) where they can't progress any further playing commercial music, because at the end of the day, a kid can come in and do what you do for half or a quarter of the price. You need to have a point of difference, a 'sound' that is unique to you. However, if you really want to 'make-it' as a musician (DJing or Live), the only way you are going to do that is if you are content with never 'making-it' and just do what you love (and this means playing what you love). If there aren't many gigs or nights in your area that play the music you want to play, move. There are enough places in the world that have active and involved music scenes that don't revolve around commercial music. But this whole conversation depends on what you definition of 'making-it' is. If making it is getting paid enough to not have to work in another job, then sure, take the easiest path there. However if your perceptions of 'making-it' are getting flown around the world for gigs, then don't play commercial music, or you never will. Edit: Also to note, you will never become an internationally acclaimed DJ without producing music (unless you are world DMC championships type material). Those days are behind us. blacksun fucked around with this message at 00:21 on Apr 28, 2012 |
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Apr 28, 2012 00:19
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Just booked the warm-up for Julio Bashmore when he tours here in a few months. Probably my biggest booking to date, and needed to brag somewhere... Happy christmas me!
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Dec 24, 2012 13:32
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| # ¿ Apr 28, 2024 11:37 |
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epalm posted:I think it's still fairly impressive. (Unless I'm misunderstanding what's happening here.) Look at how he has the samples organised. He is playing them in a circle. The kit isn't built to improvise, just to make it seem like he is doing it 'live'.
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Jun 23, 2013 15:29
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