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 (nobody)...and 239 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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Members 8025Messages 2613463 Today 1 Topics 127501 |
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how long does it takes to master all this stuff? where should a humanoid practice? is it ok to play the mp3s of other artists on your laptop in the club, or you shoud buy some licence? that sort of questions) |
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1) time ranges from a few hours to a lifetime 2) practice at home 3) dunno about the legal side, but good karma dictates that you should have the record or at least have purchased the mp3 (that's my guideline) |
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something else to keep in mind if youre just starting is what medium you want to be djing. there's really three choices - you can either straight up spin vinyl on turntables, you can get/learn serato scract (use turntables but plays the music off your laptop => infinitely large record bag), or you can get all nu-skool and use strictly software like ableton live or traktor dj. each has its own advantages (ive seen people throwing shit on vinyl that serato would never be able to keep up with, and seen laptop sets that blow away what i thought you could do with a dj mix) so really think about WHY youre djing and what you want to bring the crowd. also, while it is certainly good karma to have paid for any music you're spinning, sometimes you just gotta admit that you can't afford everything. i don't pay for any music simply because if i did i wouldn't be able to eat. i try to even out my karma by spending way too much money going to see like shows, which is great because performers see a lot more of that cash than record/beatport sales. |
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ok....learning to dj takes quite a while to learn/get good costs a fortune and takes forever collecting vinyl. CDj'ing is easier to get into these days,but you still need to master beatmatching. traktor/ableton..etc require no dj skills whatsoever.i would recommend some kind of controller just so you look to be doing something. other than that buy the software and buy the mp3's or i will kick you in the bollocks. |
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Sometimes it's hard to be a dj Giving all your love to just one record You'll have bad times with the fader And you'll have good times with the pitch slider Spinning things that you don't understand Stand by your decks. |
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:) |
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warp it all in ableton and then use a controller and you'll be better than 90 pct of the vinyl djs in no time. it will be boring tho. |
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i actually agree with that 100% |
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immensely boring though |
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is it ok to play the mp3s of other artists on your laptop in the club, or you shoud buy some licence? well if you play a track that you didn't buy - and 10 people go and buy the album after they see a tracklisting ......... |
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or use itunes with 12 seconds crossfade. and yer done. don't forget to shuffle your tracks. it's a bit silly playing an album from start to finish. *some* people might notice ;) |
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or more likely 10 people hear the track, see the tracklist, and then proceed to download the album illegally. |
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do like me and scourge the net for mixes then retag to VLR and reup/burn to cd and play at gigs. job done! |
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you gotta have it in ya! thats all |
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If I can do it, anyone can do it. |
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One thing the stuffy never seem to get is that Ableton is good for a different kind of mix, one more centered around the mashup. Certain people might think that Ableton mixes are real easy, and I suppose you are right when all you are doing is setting up two tracks and crossfading between them, adding some fx here and there. However, when you are reorganizing various sections of songs, doing in depth automations, key and pitch matching, even adding additional programming, well now you are bridging the gap between remixing and creating a mix. I don't think any vinyl or realtime DJ will hold it against someone for doing a remix in Live, or even a mashup, but once there is a 'set,' or a sequence of more than one song all bets are off. One more thing, and that is I'd argue that certain things are harder and take longer when working with warped tracks. Sometimes they don't warp right, and it sounds like it should work in your head but Live speeds up the tempo or takes out a shuffle, and how it works in your head is based on a complimentary tempo or groove, but not necessarily the same tempo. In those cases it is a lot easier to just play realtime and adjust the RPM to get it to line up, rather than messing with working around Live. |
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i always just press play on some mix i like, then browse xlt. usually works, |
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I should add that I've only done mixes at home for fun. If I went to a club and 'played back' a mix I'd tinkered around with in more than one sitting at home, even if I hooked up a controller and added a 'woosh' here and there, I might feel differently about it. I imagine if I ever got into live DJing I'd do custom remixes and mashups at home then crossfade them realtime at the gig, mixing in untouched tracks also. |
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i have what sounds like a similar setup in ableton, but specifically geared towards live performance. i start with a big host of tracks i think will work together, usually around 50 or so. then i drag them all into ableton and warp them (don't ever trust the auto-warp in ableton, it may sound okay with two tracks played against each other, but compare it with the host metronome and you'll see it's almost always off). then i start going through and re-editing the clips down to the parts i like. an important part is i make sure to standardize song structures down to blocks of four - this way i can start one track when another drops and know they will still sync up in another sixteen bars in a way that makes sense. next i go through and pitch match all the clips. usually i'll play one specific against a group of 10 or so, and get the 10 to match the one. it's somewhat haphazard and from the standpoint of musical theory completely atrocious, but it works out most of the time, especially because i play lost of relatively atonal/beat based music. then i arrange them into some kind of order, although it's not really important as i jump around quite a bit anyway, and maybe color code them (i like to cycle it in groups of five going red orange green blue purple, works well with the apc40's clip launcher). then i copy this huge stack of 40-45ish clips (somewhere along the way a handful get tossed) into a second track, so i have my entire setlist at hand. both of these tracks has a dj eq (i like blue cat's triple eq) as well as some effects (beat repeat, modulation, etc.). importantly, the bass gain for both tracks is tied to the crossfader on my controller, so i never have to worry about two bass lines interfering with each other. also there's an auxiliary track with some crazier effects to drag a clip to when i really want to fuck it up, and a bank of drum loops in a fourth track with a low pass filter and a couple other things. |
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and all of that has ozone on the master channel with a maximizer and multiband dynamic compression (with quite a bit of gain on the bass). all in all, it's a fairly idiot proof setup. but it's a ball to play with live. the flexibility of all the clips lets me throw tracks left and right a lot faster than most vinyl djs (of course i've still seen guys who blow my top off with just two record players - matty g spins with crazy ferocity, and dj centipede/mophono is the most technically gifted turntablist ive ever seen). and i feel like i've developed a faily distinct sound, both in what i spin and how i spin it (i know, do i really get to call it spinning still?). but blablabla that's how you dj lobie style. |
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Even i don't DJ with Ableton because of it's boringness, and i'm terrible at DJing. |
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wow there is an interesting stuff to read, thx dudes) |
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