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  • in reply to: Warm Up sets, in a non club enviroment? #2262781
    Arthol Gibson
    Participant

    Well, with you not really knowing the city and it’s relative pulse, I’d tailor the opener set to fit what the headliner is known for. If he’s a respected DJ, as you say, then he would have a particular sound, so, I would do a set that lightly treads that sound while still incorporating your own personal style – that way, even though you’d be opening, you’d be less forgettable.

    There was also a decent DDJT article that expanded on doing opener sets – 10 Secrets to Opening For Big Name DJs so, I’d say check that out too for some surefire pointers.

    Best of luck though, trust your gut more than anything and have fun ๐Ÿ™‚

    in reply to: help getting samples #2262291
    Arthol Gibson
    Participant

    I’ve done some digging in this area last year when I wanted some samples or to help with production.
    I found that sample sources (original tracks) become public domain or royalty free after 70 years from the IP’s (Intellectual Property) original publishing/recording date. This time bracket also gets hazy because alot of old record companies and publishing houses go through changeovers and get purchased/consolidated with newer umbrella companies – with that, oftentimes IPs get republished under their new ownership/publishing agreements and the 70-year bracket restarts – HOWEVER – if you somehow find a recording of an IP that would be dated outside of 70 years you will find yourself in a gray spot of sorts where you’d be legally free to use portions of the IP.

    There are a few places that archive these IPs and make then accessible for royalty free use (with parameters in place for proper credit and creative commons licensing).

    In regards to public speeches and news broadcasts I can’t remember exactly what the parameters are but I do know that there are a bulk of items, especially from the Library of Congress and Project Gutenberg that are made available with varied licensing applications.

    For further reading and fact finding on purely royalty free sample hunting, check out –
    http://www.publicdomainsherpa.com/copyright-public-domain.html (Check out the contents menu on the right)

    https://musopen.org/music/

    https://archive.org/details/audio

    in reply to: The Trouble With Digital Digging #2261531
    Arthol Gibson
    Participant

    I use my Soundcloud for music discovery too, my real complaint is that with a steady array of click-gates asking you to follow countless accounts – that makes the process of discovery less rewarding and more of an effort since you’d now have to sift through that much more music.
    Some folks may appreciate that though, but I live in an apt complex that doesn’t quite allow me alot of time to dig/discover ๐Ÿ™

    in reply to: How do you read a crowd ? #2261471
    Arthol Gibson
    Participant

    Like a few of the posters have said, crowd-reading will always be fluctuating reflex – especially if you play for consistently different crowds.
    Context clues help alot though, ie – tailored events, demographics, billboard/radio knowledge and overheard conversation. aside from that I’d say exercise your intuition and, genuinely, show that you are having a good time.
    There have been alot of gigs where the crowd was near impossible to read so I just scaled back and played tracks that I knew to be accessible and visually showed that I had a good time. If you do that and scan the crowd, making light eye-contact, your energy will ripple out and people will get into it because you’re getting into it.

    From there you can use that connection to rally the rest of the crowd then gradually find a groove that they like and ride it out. Kinda been my MO for a while and people always give a positive because they enjoyed more of the vibe rather than a particular setlist/song.

    in reply to: does any one here use a contract with a club? #5559
    Arthol Gibson
    Participant

    I agree with PilotMike.
    Conversely though, if it’s a reputable club they would usually have contracts ready if they have interest in you for a residency. It may come as a simple employment contract or a full-fledged DJ specific deal.
    Either way it shouldnt hurt to simply approach and ask questions. The club could be looking for serious DJs, (ie ones who would want a residency) but just dont have the time to hunt down/audition talent.
    Even if they say no at least they’d bookmark you as a DJ with sincerity behind his business senses and may keep you on a short list.

    in reply to: DJ Bio #5558
    Arthol Gibson
    Participant

    Who is DJ Bio? Is he someone we should be looking out for? :p

    in reply to: Should we discuss the Steve Angelo "Mime" incident? #5537
    Arthol Gibson
    Participant

    Emma Partnow, post: 5509 wrote: i don’t have to prove myself that iยดm able to mix iยดve done that my whole life and spend more time mixing then with my daughter

    As a ‘Reason’ for his Belief That ‘He’ Is The Second Coming – No Comment

    Michael M. Hughes, post: 5526 wrote: That quote bothered me, too. I think he should spend more time with his daughter.

    While I agree with both of you on that I think it’s how he seems to glorify it that irks me more. He could have left it at ‘life.’ But to, seemingly, brag that you mix more than work at being a father is very uncool.

    in reply to: When is it OK to turn down Gigs #5507
    Arthol Gibson
    Participant

    I think gut instinct plays a big role in the ‘yay or ‘nay’, especially if you’re building a brand/style around your DJ persona.
    I think, like stated, if you feel like the gig wont do you any good – be it the fun aspect or the experience – you should say no.

    in reply to: How Do You Manage Composers/DJ Block #4429
    Arthol Gibson
    Participant

    Haroon K, post: 4376 wrote: To help me with track selection I use the star rating tag in itunes/traktor, not for rating how well I like a track, I like them all or I would n’t have them, but rather where the track would fit in my sets.

    I must agree that is a very brilliant way of looking at things, with set organization in mind.
    Thanks for sharing, save for a few personal alterations, I might just use this system ๐Ÿ™‚

    in reply to: How Do You Manage Composers/DJ Block #4428
    Arthol Gibson
    Participant

    Emma Partnow, post: 4309 wrote: ..if for some reason they just haven’t ‘Got It’; but I Love Them; then they are Stored in my Personal Collection for my Own Listening Pleasure (as we Are Allowed this ‘Delicacy’ :))..

    ๐Ÿ™‚ yeah, definite fringe benefit there

    in reply to: How Do You Manage Composers/DJ Block #4302
    Arthol Gibson
    Participant

    Emma Partnow, post: 4275 wrote: This is Great Ampero ๐Ÿ™‚
    There is Such A Divide Regarding Requests; but Here You Are ‘Asking For A Request’ from a Member Of The Audience who will Not Only Feel ‘Magic’ that you have ‘Involved Them’; but will ‘Spread Your Message’ :);
    When you Prepare your ‘Get Out Tracks’ Beforehand; do you ‘Know’ these Tracks ‘Well’; or just ‘Feel’ they will Work; and Beatmatch them ‘At The Gig’ (if Required) ?

    It’s a bit of both most of the time.. a good bit of them would be tracks that I rightly abused months (or even years) before and get a decent nostalgia vibe from.
    Others would be ones that I may have had in “ADD Rotation” or simply heard enough on the radio. Only a few of them would be really ‘stranger danger’ tracks that I probably only heard the one or two times pre-gig and slotted them for testing ground purposes

    in reply to: How Do You Manage Composers/DJ Block #4227
    Arthol Gibson
    Participant

    There’s definitely no room for a timeout recoup if you’re mid-set, lol.
    This used to happen to me quite a bit when I played in a local bar because the ‘party’ changed just about every hour.
    What I started to do was, pre-gig, I’d go through a group of new additions to my library and write down a few ‘rescue tracks’ on a pad. I’d then look over past stuff for gems that I may have overlooked and do the same.
    Before that practice, though, I’d simply swallow a bit of gusto and ask a reveler who seemed to be enjoying themselves if they were looking to hear something in particular – then I’d ask one who I could tell wasnt really vibing with the groove.

    The simple move to ask for requests, in lieu of waiting on them, changed alot for the momentum of the party more often than not – and it branches a connection of sorts with you and the crowd with them, in turn, respecting you for caring about what they like.

    *don’t really have any feedback from a composer’s perspective

    in reply to: Your Top 5 #4226
    Arthol Gibson
    Participant

    Wow.. so many songs.

    • Tom’s Diner – Suzanne Vega
    • Airbag (Ft. Horace Andy) – Easy Star All-Stars
    • Baya Baya – Safri Bros.
    • Don’t Let The Man Get You Down – Fatboy Slim
    • Juice – GMS (Growling Mad Scientists)

    These are in no particular order and really what I could think of in the right-now.. I’m sure there’s a little guy in my head making a complete wreck of his office because I overlooked something ๐Ÿ™‚

    in reply to: As a DJ are you "Sound Obsessive"? #4126
    Arthol Gibson
    Participant

    It’s awesome that this is a shared trait.. I’d happily check out any of your gigs because of this simple point of pbsession that others can woefully take for granted.
    This was a good point as well:

    Howitzer, post: 3668 wrote: Many people, and some DJ’s included, dont understand audio fatigue caused by pushing a system too far or bad quality music. Its quite subliminal, you’ll feel tired, ears hurting from the music, you’ll want to get away and take a break or whatever. Even if you really like the tunes being played.

    I’ve actually experienced that at alot of parties/shows and had to step away from the noise a few times to recoup.
    One of the main factors that pushes me, coupled with horrid sound, is the use and abuse of dated and obnoxious samples/effects.
    That’s a cocktail of sheer distaste for me.

    in reply to: I got my buddy Kiched Out !!! #4125
    Arthol Gibson
    Participant

    Having to kick a friend out of a bar/booth is something I have yet to face (knocks on vinyl).
    I did, however, almost fly into a rage when a friend, after repeated warnings, placed a full drink on the table my equipment was on and the drink spilled. — I’ll let that soak in for a bit.
    Thankfully my quick reflexes and soberness preempted the spill and nothing more than a few dabs was needed for my laptop.
    Wouldve been something else though. After that I invested in a backup laptop for “rainy days”

Viewing 15 posts - 1 through 15 (of 59 total)