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Posted: Thu Nov 23, 2006 12:40 pm
Producers, don't let your children grow up to be DJ's!
Posted: Thu Nov 23, 2006 12:45 pm
Something else to watch when mixing: Dont play the same range (mid lo hi) at the same time, at the same level. 2 low ends at the same time can be pretty awful sounding. THe remedy is to never have the same range at the same volume, so if you bring in the mids for one track, keep them either above or below the track thats going out. It will sound much better. Not so important with anything but the low end really.
cheers man i do try my best only dj'd twice at friends parties and stuff but i know it to be the best high ever
Posted: Sun Mar 25, 2007 10:02 pm
IMHO you can easily blend/mix any track with any track as long as the tempo of the two are originally not more than ca. 5 bpm apart. The key is the EQ.
Track B should be booseted slightly on lower mids b4 you pop the fader half away and simoultaniously you should decrease the lower mids of Track A >> wait for the next 4/8 or 16 bar and drop the track A and fade in the Track B fully...then slowly lower the lower mid of Track B. Just a simple giude for the transition.
A good DJ knows and feels the frequencies and has alot of experience with timing and eqing.
Posted: Mon Mar 26, 2007 9:26 pm
Good advice Jaadoo!
I do similar but with Low EQ - my DJM 600 has only 3 EQs ....
How many EQs on your mixer?
Posted: Mon Mar 26, 2007 10:01 pm
I got a Xone 6:2. It has 2 MIDs a lower and a higher, but I use mostly the lower mids. I tweak alot with the low cut as well. In addition it has 2 VCFs for some dramatic filter effects!
Posted: Mon Mar 26, 2007 10:17 pm
4 channel eqs...
Oh well, my basic Pioneer DJM-300 works fine.
Posted: Mon Mar 26, 2007 11:00 pm
It's actually an Allen & Heath ...Of course your Pioneer will do just fine....
Posted: Wed Apr 04, 2007 11:23 am
thanks for your tips everybody! ithey have been useful allthough i have had plenty of time sicne starting this thread to practise i kinda picked up my own methods along the way and doveloped a feel for crossfading frequencies. never use my crossfader as i learnt without it cos i fucked it when i was trying hard to be a scratch dj back in the day. he he
Posted: Sat Apr 14, 2007 5:39 am
I think some of the best live DJs are the full time producers.
I like to think I mix better sets because I have some serious studio time and I have produced in about 20 diverse styles of music in all ranges of genres.
I don't like beat counters because I like to feel the music and even see it as I mix it live. I can actually see the wavform or the sound board readouts in my head while mixing. I see notes in colors and in pictures, uh it's something unique to maybe 5% of the world, and I know some other musicians who can do this.
I think because of this and lots of practice and engineer experience it makes me a better DJ. I try to perform rather than just stand there and mix shit in a prepackaged manner. I do a lot of sample drop ins and sample overlays to make the trip better for the crowd.
I like to blend the tracks as much as possible but not to the point where they clash or over ride the freqs or crash the midranges. I like ones that have some good ending samples or fade outs, and I try to mix in a track with similar sounding samples or a good transitional beat. I still think the time breaks and mixins between tracks is the most important thing to master.
If you have a good ear for beats the tracks can flow perfectly, and you can still make it sound like shit with bad mixins and fades and cuts. A great fade is what makes the set smooth and sweet, while bad fades sound sour and harsh, and break the flow.
Tampa/St. Pete FL is a lot like Reno when it comes to the hand in the air WOOOOO! djs. I have seen that at the last 20-30 mainstream trance and rave gigs that I went to. Lots of crappy scratching and cheesy sirens and bleeps and screams.
I am not saying I don't suck sometimes when I try to live scratch, but if it sounds like shit I stop and don't do it again.
I love Triplag, because there is always a great DJ or producer who know their shit and is not afraid to share or provide good criticism. I love you people, because your advice helps me to grow and know.
Posted: Sun Apr 15, 2007 11:06 am
You guys seriously SCRATCH in your sets?!!!!!!!!!!!!!!!!!:guidelines:
It's not fuckin' hiphop maaaan.
Posted: Tue Mar 02, 2010 8:22 am
I've heard that Goa Gil beatmatches by categorizing and repitching his songs to certain BPMs.
So when he beatmatches all he is doing is syncing up two songs on DATs that have the same BPMS. After a while he just intro/outros or pulls a quick crossfader.
If I'm not totally just making up lies, then he seems to have gain this uncanny ability some time after 2005.
This is all speculation, and rumors and all that, though...
Posted: Wed Mar 03, 2010 12:15 pm
I´m a very bad dj in term of technic and a starter noob producer.....
But i think nobody has talked about the progression in time.What you wanna do to people who is tripping with your music or performance...I guess it´s some kind of making love....Soft...Hard....Slow....fast....Sometimes people is too worry about playing latest hits and not in how they fit into the psychedelic progression you are creating..Sometimes you have got worst tracks but you need them in your brain twisting plans....
About moving and dancing....
Every shaman has his mask so choose one....It´s some kind of sacred lie who help people to introduce into your world , you art....
But every djs has to think about where is going and from where he has came...People are not silly and feels it´s you are not truly or comercial, or you are just performing for phuk or fame....
Sometimes dancing it´s just because dj is having fun...I like it...
It´s all about energy they give you and you bring out to people
I paste spiral tribe stuff from early acid house 95...
http://losninosdecolores.blogspot.com/2 ... ology.html
Posted: Wed Mar 03, 2010 4:24 pm
My usual progression tends to be to start off with lighter plain tunes at the lower bpm ranges (145-148), then I kick into a light poppy tune (penta, kindzadza, fungus funk) around the third track.
At about the fourth or fifth track I tend to rev into something darker but more ambient, something along the lines of gappeq, some of horror places old tunes, etc... This song is usually at about 150-152. After that track just get weirder and faster but without popping in banging tune.
After a couple of tracks I slam into some faster twisted. And since I usually only get one or one and a half hour slots, it's only two or three more twisted insane tracks before it's over.
But yeah, like you were saying, just playing banging, twisted, poppy tracks all the set through can be rather boring. The same goes for just making an entire set with nothing but droning dark tracks as well.
Posted: Mon Mar 08, 2010 9:23 pm
for me all it needs is to know the matematics behind bpms like if u use a cd player with the pitch at 100% if u go 0,7 u go 1 bpm and u have cd players with the pitch 8% , 16% etc.. till 100%
if u know this laws and u know really well the music u play including bpm then just spend some hours mixing to get ur hands flying over the knobs
and u should be a nice dj
technics of mixing there are alot of them that (and of course track selection ) is what makes a dj my techincs can be stupid to some djs and vice versa lol
hope i help
Posted: Sat Jul 10, 2010 4:06 am
varying your bpm can also add some excitement during your set. I do it all the time and people seem to love it. The last Gnomes of Destruction set, we started at 155bpm and went all the way up to 500 bpm, (Thanx Stitch, recording coming out soon) then back down to 165. I feel it takes my audience on an even more intense journey when I do that.