Forum Replies Created
I think you should use the name you feel can market yourself the best. Many of those “real name” DJ names we see are often not real, but simply a name one chose that rang nicely and fit in the market. One of the more notable ones is Junior Vasquez (born Donald Gregory Mattern), as I don’t even think he’s Hispanic.
I’ve always felt aliases should be about when you want to play in different sounds, like how Curtis Jones uses “Cajmere” for house music, and “Green Velvet” for techno.
In your world, it’s about the image you want to portray. I would tell you not to call yourself “Dan Von Dun” if you were going to play dubstep or trap, as the name seems more along the lines of trance or EDM.
Think about your sound, and the image you want to portray, then go from there.
I use cue points much in the vain as old school DJs would mark their records. I haven’t done much where you’re using the 1-0 keys on your laptop to jump around a tune, but more to know when that right moment to start blending the next song is, or when to start the tune if it has some long intro I’ll never play.
They’re simply tools. No official right or wrong, but more what’s right for you.
I’ve been mixing trance since 1997.
How you mix comes down to your own style, but I’ll say the breakdown is big to the fans of trance. HOWEVER, you can make a set go to crap if you do one breakdown to the next. When it seems you’re playing the same tune over and over.
My way has been mainly to mix in, play the tune, and then mix out on the last 2 minutes of the tune. I’ll usually edit tunes shorter if I notice they seem to go through the “main meat”, then repeat a second time. My goal in blends though is to not have “dead points”, where you just hear basic rhythms, but more to have one tune kick in when the other one is letting go.
The real trick through is more in how you program your set. For me, I like to play epic/uplifting instrumental tunes, and toss in some vocal tunes to break up the potential monotony. At some points in the set, I’ll play in trance that is seemingly not the typical. Lately it’s been tunes that use 303 acid tweaks, or even ones that verge more on harder techno. From there, I’ll gradually bring things back to more epic/uplifting trance and finish it out on a good note.
I’m adamant on tunes that musically work with one another. I don’t really do the harmonic thing, but more trial and error to find out in advance what works with what.
I’d tell you to listen to sets and learn from that. Play as you wish and find your style. If you have more free time and ambition, try producing…even if it’s just mashups.
Anywhere I can download it and listen to it on the train?
If you’re listening to bigger names, then more often than not they’re playing exclusive promo copies that haven’t been released to the public yet.October 7, 2016 at 8:27 pm in reply to: How to keep discontinued/no longer supported gear? #2453121
I’m curious…is this purely a Mac issue, or all around?
I remember when Traktor Final Scratch was discontinued, it only meant there would be no more software updates. Things still worked fine up until I hit a new Windows version that was incompatible, which took time. Even then it’s amazing how much old software I could get running on newer versions of Windows.
When Torq was discontinued, it was the same story. No more software updates or new gear. I only quit using it due to my desire to purchase a system that wouldn’t be discontinued. I’m curious though if that MK1 would work on Windows now, or would it also hit the driver issues problem? I’ve heard many times how much Traktor stuff doesn’t play well with Macs. Maybe Serato or Rekordbox are the ideal solutions for Mac users?
In any case, I’d probably look around to see if any open-source advocates perhaps tried making a new driver…or consider selling your MK1 and upgrading.
I’ll take that advice if they want to go further than “messing around for one day”.
Was rolling around in my head this morning…
Title: Theme from S-Express
Label: Rhythm King Records
Genre(s): House, Acid, Disco
Year released: 1988
Probably now noted as one of the seminal tracks of the infamous UK “Summer of Love”, I remember it more being embraced here in Chicago by DJs and music enthusiasts more into new wave and industrial sounds. I guess it wasn’t “street” enough for the house-heads.
This concoction of samples is the brainchild of producers Mark Moore and Pascal Gabriel, who mainly wanted to set out to create some acid house for the UK scene. I remember in interviews how Moore first was aghast of his creation, thinking “oh no, I made a disco record!”, but apparently it blew up anyway. In my book, it has samples, but it doesn’t sound “disco” to my ears…not while we have so much “deep” and “jackin” house going full on in the 70s sound.
And one from Bryan Kearney:
Title: El Gato
Artist: Bryan Kearney
Genre(s): Trance, Techno, Hard
Well, I had this one in my shopping cart as a “new release”, but now I come to find it came out in 2013. I still like it:
Title: Girls & Boys
Label: Guesthouse Music
Genre(s): House, Funky, Jackin’
I think remix services do much for hip-hop. You get many of the top “hits”, only made more DJ friendly with intros and outros.
Bear in mind though in most cases they say “hip-hop”, but they really mean popular R&B and any pop music with a rap tempo. Nothing “too black” (kind of sad, isn’t it?)
I remember a former boss calling it all “chick-hop”…mainly because it was about pleasing women.
One more for difference in sound, but similarity in style. Sorry for all the trance lately, but it’s been on my mind. Hopefully a new mix soon.
Title: Pat Butcher
Artist: Will Atkinson
Genre(s): Hard Trance, Hard Techno
I love tunes like this mainly to break up the monotony of synths and such found so much in trance. A means to go to different levels and change it up when the listener has heard too much of one sound. Pretty much almost anything from the Kearnage label has given plenty for variety. Great stuff.
Title: Did We Feel (ReOrder Extended Remix)
Artist: Feel & Alexandra Badoi
Label: Sunda Music
Again, I like the pulsating, echoey vibe that builds up in this tune before Alexandra Badoi drops in her lyrics. The big “typical” synths just make it fun for me. Makes me bounce at my desk, or on the train, or wherever. I just love the “big space sound” you get in a lot of trance.
Here’s some trance I’m into right now…
Artist: Niko Zografos
Label: Future Sound of Egypt
I like how Niko subtly brings up his sound and energy as the track builds. The small voice samples give it a human element, and then the big echoey synths for the main breakdown. I’m sure to many it sounds stereotypical, but it always sends shivers through me as I quickly press the “Add to Cart” button.
Nice job on “Pain”, but I’m not feeling the synthy flute. Don’t think you did wrong, as I hear it in a lot of tunes, I just never get into that. Makes me think I’m flying alone through a mountain region…as opposed to bouncing in a big crowd at an event. Just opposing tastes.
On the intro, I wonder if you should have had 8-16 bars of basic beat with the cymbals before bringing in that electric bassline. I also think the strings you have building in the background to the drop seem lost in that bassline. I love all the sounds, but perhaps tone down the bassline and bring up your mains more.
Love the synths that kick in at 4:14.
Overall, great job. I look forward to what you do in the future.