D-Jam
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D-Jam
ParticipantThe only time “specific hardware” comes into question is when you want to use timecode. I currently am using Traktor Pro 2 with my M-Audio Xponent, and will move on to those new modular controllers from Behringer when they come out.
If you want to use timecode, then you either need to buy one of NI’s audio interfaces (and the timecode), or get a mixer that’s certified for Traktor Scratch. They have a list on their website. Remember though…you want TRAKTOR SCRATCH CERTIFIED if you want to use timecode. “Traktor Certified” only means there is an included midi mapping in the software for that particular controller.
TraktorBible.com is also a great resource for mappings to use on different controllers. It’s where I got my mapping for my Xponent.
With purchasing Traktor, you can only install it on two computers per license. So I have it on my desktop and my laptop. Not sure if you can transfer a license, but I think it’s possible. I did do it a long time ago when I sold my Final Scratch setup on eBay. I included the Traktor DJ Studio software. I simply unregistered my name on the Traktor website, and thus the new owner could register herself with it.
I’m going to do the same with older versions of Torq when I sell my Connectiv/Timecode, and later with my Xponent.
ParticipantLook at the mixers. I believe some of them can also be used as the sound interface.
http://www.native-instruments.com/index.php?id=traktorready&L=1
Look for the ones that say “TRAKTOR SCRATCH CERTIFIED”. All you have to do then is seek out the timecode.
April 11, 2012 at 8:54 pm in reply to: What's your top tip for finding out the names of tunes you hear? #18400ParticipantOutside of Shazam, I’ll try to get an audio recording and then ask in the forums on Discogs.com
ParticipantI set one up. I dunno. I was just logged in and it let me do it. http://dj.beatport.com/d-jam
I’m not sure what they want in terms of adding music. I get the vibe this is aimed at producers and not DJs (despite what they say). I don’t really use my SoundCloud since they come down on DJs with mixes, but I also tried adding a track as they have it, but it’s not working. They need to push to integrate with mixcloud and other services.
I’m still trying to understand what benefit this serves. I feel like this will be another site loaded with DJs and only seen by DJs. I can’t fathom how this helps DJs then reach out to the non-DJs.
April 9, 2012 at 12:28 pm in reply to: Are mix podcasts worth uploading compared to the big mix sites? #18219ParticipantNot sure…but I know the trick to podcasts is you have to promote. Push it on the internet, even do something savvy like posting stickers with a QR Code that links to it all over your town.
You also have to stick with it and be patient. Most successful podcasts I’ve seen took a few years to grow into a big following.
ParticipantLukynumba7, post: 18281, member: 1744 wrote: So first off, why would I want to degrade the music I mix (because personally I am a 320 kbps or lossless music kinda person)?
320 is wonderful for us DJs to play on, but all my online mixes have been 192. With Mixcloud, I’ll do 160 to make their 100MB limit.
Now why does MC force you to downgrade? It protects them from the RIAA and such. If you’re offering CD-quality music online for free, thus costing sales to labels, they’ll shut you down. Period. They could very well shut me down if they wanted to, but they don’t simply because labels know they need the DJs to support…so they found the happy balance in us posting mixes as long as we’re not making money on them.
MC has ad banners on their site, which means they make revenue on them off the mixes we post. They force us to downgrade partially to avoid liability (since they are now not CD quality), but it also helps in other factors like server bandwidth. It’s also why MC doesn’t allow downloading.
You should use MC and other sites like them as extensions of yourself, but get your own website to post those high-quality mixes on. I’ve said it over and over why DJs should not think a Facebook page, file share sites, and SoundCloud/Mixcloud is enough. With your own site you can post those mixes in the 320 you want, and thus use MC to lead people to your site.
As for how to downgrade, Xor said it. I record my mixes as WAV, make the 192 version for me, then make a second conversion for MC. I use dbPowerAMP Music Converter.
Participantfound it. i have to copy the collection xml file
ParticipantPhil Morse, post: 18212, member: 2 wrote: Good question and nice answer, D-Jam. Anyone got anything else to add? I think there’s a blog post here!
If you need me to write it, let me know. Email me what points you want me to hit and the overall vibe you want it to push.
Bradley Stone, post: 18227, member: 1519 wrote: So you think its a case of listening to as much related music as possible, even though the majority of it will never make it to a live set?
Yes. I would just listen to DJs and grow. In 1993 I heard BBB’s rave mixes, but then I turned on the radio and saw other locals playing the music. Found loads of new tunes that Bill didn’t play. In 1994 when deep house made a big splash, I heard Derrick Carter and thought he rocked, then later sought out other DJs like him in that scene (Cajmere, Mark Grant, Lego, etc). I’d go to the record store and ask the guys what they had that was like that.
Now you have the net. Listen to mixes with playlists, and shop from there. I still do that now.
AND…the only things that make it to a live set are the things you like. Never sit on the “oh the crowd will never like this” viewpoint. If you believe in it, play it. If the floor clears, then at least you tried. When legendary DJ Ron Hardy played DJ Pierre’s Acid Tracks at the Music Box, the crowd initially hated it. He still played it three more times that night. By the fourth time the very drunk (and high) crowd went crazy, and acid house became huge. Imagine if Ron decided not to play the record those three more times?
Bradley Stone, post: 18235, member: 1519 wrote: Would you say finding the music to play is one of the MAJOR steps apart from actually mixing the tracks up?
To me, it’s EVERYTHING. Even when someone’s blends are nothing spectacular, great song selection will win me all the time. It’s why I mention Fatboy Slim many times. I didn’t hear his recent Ultra set yet, but I remember mixes he’s done over the last 10 years, and how he had amazing song selection, despite that his blends were short and quick. Larry Levan didn’t really do any complex blends at all…but he had amazing track selection.
Bradley Stone, post: 18235, member: 1519 wrote: I understand that getting out their and getting gigs is the best way to learn and get heard but I feel learning for a good while in the bedroom is the best way to start? Any input on this one as well?
In the club, you learn to deal with people and how to read crowds. In the bedroom, you craft your technique and discover the music you love. Go to clubs and just sit by the booth. Watch the crowd and you’ll learn a lot.
Bradley Stone, post: 18240, member: 1519 wrote: Well this is what I was thinking, only the eagle eared minority of the crowd can actually appreciate a fancy transition anyway and like you say it is definitely down to the track that is being played that creates the atmosphere!
I agree. Most people really aren’t as adamant on the transitions as they are on the tunes played. Only horrible trainwrecks get noticed. Most people just want a good time. Nothing more. Tunes they like, drinks, drugs, hot women, sex, popularity, etc.
ParticipantWhen I started mixing, old Bad Boy Bill hot mix tapes were the music I’d get into. It was very commercially clubby music at the time. As I kept DJing, I became exposed to rave DJs, and the new breed of underground DJs that popped up in 93 and 94. From there I kept expanding and experimenting. It’s part of why I have a disdain for most commercial mainstream music.
Go out there and find live sets from DJs you like and respect…listen to them. Then check out others that might play with them. When you shop for music, always check out the suggested stuff that appears when you pick out tunes. Go on Beatport and look at the top 20, but then look at the suggested tunes that accompany the tracks in the 20 you like.
Check out Fatboy Slim if you like Guetta and DP. Check out Krafty Kuts and the Stanton Warriors. Check out James Zabiela. Just explore and always listen to mixes that have tracklistings…so when you come across something that catches your ear, you’ll jot down the tune. Believe me, I listened to recordings of Ultra Music Fest sets and was punching in titles on Beatport at the same time.
There is nothing wrong with playing mainstream stuff…I just think every DJ like you should make the effort to educate and entertain. Play the SHM track everyone knows, then look for 2-3 other tunes that carry that energy and vibe, but the general public hasn’t heard. That’s your start.
ParticipantDoesn’t look too bad. Do you need to see the mixer?
ParticipantMy usual way of blending is to come in with the bass of the new tune turned all the way down, then slowly bring it up while lowering the bass of the song that was playing. I’ve seen many do this, and what I liked is that it’ll more or less let one song be slightly dominant, so it transitions over and thus the new tune dominates more and brings the listener into it.
As for mids and highs, I’ll do the same transitioning if I need to, but usually I don’t. I will though lower or raise them if I see I’m coming from a “crispy” tune into something not as “crispy”. I use that term mainly for when a tune has more high hats and sounds that make it seem “louder”, but it’s really more high-level in timber…while your previous tune might dominate more in mid and bass.
The big one for me though is more on the “when”. I hate when I hear blends that are short and thus you’re spending 1-2 minutes listening to the outro of the old tune and then the intro of the new tune. I like to make blends happen where when the old tune is leaving off and starting to downplay itself to the outro that the new tune is kicking in and thus taking over areas that the old tune let go.
I really hate it though when I see DJs cut and blend over vocals and main highlights just so they can “quick mix”. It just sounds discombobulated, and with software at the point it is, they should at least edit their tunes to play shorter rather than slamming things all over.
Participantdjsubculture, post: 18143, member: 156 wrote: Deal breaker then. No way I can afford a 15″ Mac Book.
I think if you can find workarounds with your software and make it work with a 13″ screen, then go for it.
Bear in mind I am a midi DJ. I like to have the mixer view on my screen. If you turn the mixer view off on your software of choice then you don’t need as big a screen. I know many timecode DJs turn off the mixer mode since they’re using their own external mixer.
My suggestion, look up the resolution of the 13″ Macbook, then try to recreate it on the computer you have now. Turn on your DJ software and see if it’s enough space. If it works, then go with the 13″.
ParticipantI’m just playing on the type-o.
I don’t do Macs, but even I would say 15″. I used to use a Thinkpad that had a 1024×768 screen. The size was wonderful for carrying, but for display it became a pain. The software is getting bigger and bigger to the point you need a decent size screen.
Maybe down the road we’ll see nice-sized monitors in booths where DJs can hook up their laptops to it.
ParticipantA McBook like Ronald’s?
ParticipantSaw this one and Phil’s.
I have to admit I’m highly impressed. Even now thinking of getting into it.
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