backtothefront
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backtothefront
ParticipantThat’s the stuff iceman!
Also on the beat matching and sync discussion, as posted above, there will at some point be a time when the digital tech will fail at a gig, and it does and will happen, you’ll have to take up the TT or cdj reigns, which will require beat matching capability. I openly admit to using the sync button a lot of the time on the S4, as also posted it allows more time for creative use of samples and loops, but I know I can switch to the 1210s at the drop of a hat and carry on.
ParticipantErik Toth, post: 14673, member: 786 wrote: My thoughts about that so debated SYNC button.
Without that button I wouldnt be here, that is the simple fact.
I always looked my self as artisticly handicaped person. I cant paint, sing or play instruments.
So when I got the idea to think about music and I started to read about dj and listened my (now) ex-gf about her time when she was dj I started to be a bit scared about beatmatching and such stuff.
When I got my Mixtrack pro I saw all the hate posts on the internet about the sync button.
Simple fact without that button I wouldnt be here but I would have stoped after 1-2 hours of disaster.
That button helped me to start….made me to be interested about what I was doing and made me to practice beatmatching by ears and so on.
So I’m thankful for that button that’s for sure!
It’s a tool given to us by the ppl who make the softwares….not using it if you want is like refuse to use the elevator when you help your friend to move to the 10th floor, just because that makes you less person so you rather use the stairs.Fair enough, I use the sync button in TP2 myself sometimes however I would contest that beat matching is a key dj skill and something to be learnt and not to be scared of(?). Additionally one shouldn’t be just getting fed up after a couple of hours of trying either. With beat matching I found you also learn song structure and phrasing, v important for smooth transistiin mixes IMO.
Participant@atom12v, fair play, no worries, everyone’s entitled to a view, it’s a forum after all. However you weighed in with an antagonistic, patronising post earlier effectively suggesting ‘old school djs’ need to get with the times. I was merely suggesting that, as someone else has already said, with 2 decks and a mixer a lot of clever tricks were performed before the advent of digital DJing. Regarding the suggestion of practice, no probs, I do and will continue to do so. I’m quite comfortable with my abilities and experience.
Participantatom12v, post: 14583, member: 1423 wrote: To all the “Old school” It’s 2012 people, technology era. And enough with the “you ain’t a dj if you don’t use vinyl” and “you need to respect what my generation and the one before me did” get over it. We “digital dj” do a lot more that what you guys can do with 2 pieces of static noise making vinyl. A dj is the one that’s make the crowd go the dance floor.
Strongly disagree with you on a couple of points there I’m afraid, personally speaking I’ve embraced digital DJing just as much as I embraced 2xTTs and mixer in the early 90’s BUT the attitude, approach and key skills to DJing haven’t changed.
Also regarding mixes with ‘2 pieces of static noise making vinyl’, you clearly haven’t done your homework, check out early Sasha, Carl Cox, Digweed mixes, lots of tricks going on there with scratching, accapellas, phasing with two copies of the track, even beat juggling with one track a bar or two behind the other. More recently, James Zabiela, amazing what this guy can do with 2 decks, used to see him in Southampton before his rightful rise to fame.
ParticipantGood question!
Early 90’s for me, copies of mixtapes were the main introduction in to house music and DJing, it was so exciting and fresh for me. Also there was a lot more crossover in terms of music played, less genre defining back then – Sasha on the same bill as Mickey Finn for example. Sasha’s Universe 92, G-Spot and Eclipse tapes along with Renaissance Mix Collection 1, also Pete Tong’s Essential Selection and Essential Mix (particularly Danny Rampling), Ministry of Sound Sessions Masters at Work mix (when the actually released ‘proper’ mixes), DJ mag & Mixmag and a couple of years later, who can forget Tribal Gathering 1996, Carl Cox dropping ‘Born Slippy NUXX’ before it really got big, that was a special moment.
Tech wise, I bought my first turntables in 1994 which were Soundlab DLP1 (belt drive) and a Kam Made2Fade mixer (can’t recall model), first record bought was a Rising High Records promo of Union Jack’s Two Full Moons & A Trout. I sold the DLP1’s and got a pair of Technics 1210s in 1995 and they’re still going strong today.
ParticipantDJ Hessler, post: 11280, member: 537 wrote: I would say:
Skip the effects if you are a beginner!
Try to learn your music and try to learn how to beatmatch first.
After that learn different technics to blend the music.
And after that you can try to learn to mix by key.After e few years if you manage to learn all of the above you can add effects.
But effects should be kept to a minimum otherwise it will do more harm than adding something for the ordience.I started DJing approx 1980 and if I play music for 4 hours I add effects 4-5 times in a total of 1-2minutes!
This is my personal point of view and all might not aprove so take it as it is….This definitely.
ParticipantHey all, newcomer to the forums. My two penneth worth, I find the current mainstream surge around the world of Dubstep and it’s spawn Brostep interesting. Here in the UK, the birth place of Dubstep, it is obviously not new, having grown out as a sub-genre of UK Garage around 2000/2001. Mary Anne Hobbs and her Radio 1 Breezeblock show was an early supporter of the new music along with the 1Xtra UKG mix show. It is interesting to see that over a decade later Dubstep (or a cousin of) is permeating the UK Top40 charts on a significant scale. I’m not sure I like Brostep and find Skrillex and similar artists’ tracks over produced, which is probably just me looking back with rose tinted specs at the underground origins.
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