NietzSKY
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NietzSKY
ParticipantDon’t get me wrong, I don’t expect Angerfist to go over too well in a club in the heart of Washington DC. While I will take those gigs if I need the money (The one non-hard mix I put on the soundcloud is even called ”Rent’s Due”), I keep the location in mind and only embrace my element in an environment that allows.
I’d really like to see more djs doing work and playing shows with metal/punk acts as a performer, instead of being confined to ”dance nights”. Who knows, maybe one day I’ll even see a turntablist in the percussion section of an orchestra XD.
ParticipantX1 use is determined by software compatibility to my knowledge, since it is USB and doesn’t actually touch the controller. Also, you can find RCA -> XLR conversion cables, but most DJ controllers you will want to gig with come with XLR outs anyway
ParticipantWelcome to the forums my man. Even though DJs are often known for their egos, you’ll find it is pretty tame around here. Hope you enjoy your stay; this forum is a great resource for meeting other djs across the world, and networking with djs local to your area.
Participantgbadegesin, post: 39531, member: 1507 wrote:
Boy was i right, the gig turned out excellent and i was able to rock the house. Infact, we went way beyond the finish stipulated time. People came asking for my card and i was to able secure other PAYING jobs from it.I find that most private gigs usually lead to more gigs, which is another reason I only charge drinks. I’ve gotten wedding offers, birthday party offers, and other mobile gigs just from going to a friend’s house and playing a graduation party.
Besides, if I was planning to go out to the bar and spend 40-50 bucks, in my mind it’s like I’m getting payed that amount (which is all I’d charge to a friend for non-wedding gigs anyway). Weddings, on the other hand, I view as work; I have to limit my alcohol consumption, have little control over my set, and have to put on a professional face.
ParticipantBeen a few weeks since an update, everything is still alive and well.
1) DanceKraft’s April show will be a test run at a new venue, The Looking Glass in Petworth (The Electric Maid is still definitely on board with us, and we’ll be having DanceKraft 4 on Friday, May 31st). If things go over well here, we’ll be able to ideally start hosting bi-monthly shows and bring even more djs an opportunity to play out in the nation’s capital. Will provide another report-back at the end of the month to tell whether we’ve experienced more growth, and potential plans for the future involving a potential gig-trading system with non-local djs. Keep in touch.
-NietZ
ParticipantUnits like the galaxian sky, hypnotic and some intelligent lighting can run you 500-700 per unit; for a DMX programmed show with some very distinct effects, 3k won’t always get you that far =D. However, if you do have a solid kit, not only will you be getting booked more (lighting is almost a sure in for playing raves), you’ll be making more money per gig.
ParticipantIt depends in all honestly. If it’s a party that he’s making no money off of, and I’m in the mood to party, no cost at all (but he’s helping me get my gear down there =D). If my friend was having a wedding, I’d give a discount but definitely want something. If I’m not doing anything that night, most of the time I’d be at the party anyway, so why not =D.
ParticipantHaving a lighting/sound system is a GREAT WAY to get exposure locally. If you can bring out a 3k light kit to some of the local shows/parties, you’ll make a lot of promoter/dj friends and will get paid & invited to spin more often. This is actually one of the best ins in my opinion starting out.
I still have a relatively small following, but without 1) doing sound/lighting and 2) doing activism and knowing a local collective venue, I would have never left the bedroom. Now, usually 2-3 times a month I’ll get emails asking me to do sound for an event (where I’ll get paid and get an hour slot to spin), and I’ve been booked for a festival in late June because I’ll be doing lighting for a smaller stage.
ParticipantBingo. I have a Micro MK2 and I’d like to run maschine and tractor, and I’d like to use maschine similar to how serato can use ableton with the bridge.
ParticipantIf there’s a way you can add a few more than 1 guest DJ, I could incorporate you in a few DanceKraft’s in DC. email me @ [email]discipleofnietzsche@gmail.com[/email] or message me over facebooked (NietZsky alsoknownas Gibb)
ParticipantYeah, sub-genres can be based on the sound of the bass kick, bpm, synth choice, etc. Ask a few different djs where X genre comes from, and they’ll have different thoughts/opinions.
For instance, we’ll take hardstyle. Some believe hardstyle traces its roots to dark trance, others say it’s a merger of hard house w/ hardcore, and others say it came from jump style. Truth be told, there are 3 primary aspects of the genre:
1) saw lead
2) very particular kick distortion that has more of a bounce (where hardcore is more crunchy).
3)145-160 bpm
Some call hardstyle without a reverse-bass kick nustyle (most of the hardstyle you’ll hear today would fall in this category). Then you have jumpstyle, which was around before hardstyle, but evolved simultaneously. Many hardcore producers produce hardcore and hardstyle, and many jumpstyle producers create jump style and hardstyle. Some came from trance, and others came from happy hardcore.Then you have gabber and nu gabber. The kicks sound slightly different, and synth choice is slightly different as well. Within gabber you have terrorcore, speed core, etc, which most just label under the genre hardcore. Then there’s uk hardcore, which came from happy hardcore, and all sorts of other stuff.
That’s not even an extensive cover of hardcore and hard style; there are so many producers with so many different sounds, and it seems electronic music evolves as fast as technology these days.
ParticipantDJ Connibis, post: 39058, member: 3937 wrote: Dude, you dogged me for a solid 15 minutes. I almost got sick from this lmfao
=P.
Blackh0rnet, post: 39062, member: 9529 wrote: i always blamed Pauly D, and then Paris Hilton, because everyone all of a sudden decided “if this a**clown can do it, so can I” and then came mass abuse of the sync button, and tons and tons of “dj’s” with no rhythm
Mind you, I’m not club vet, but in my experiences it seems owners/promoters are going for the lowest bidder these days. This list is hilarious if you club in dc and know a little about the djing:http://www.dcclubbing.com/dc-clubs/the-top-50-djs-in-washington-dc/.
You spend years perfecting your craft, then a dj who has been spinning for a month comes in, undercuts you 100-150, uses the same transition and syncs every track, and you’re out the door. I’ve only club spun a handful of times, I’ll stick to the rave/party scene for now.
ParticipantWay to go and ruin my troll D-Jam =P
ParticipantI still have yet to determine to what extent this is an april fools joke (though seeing as how it was posted april 1st, my money definitely says it is).
The sad part, however, is that nothing in the article leads me to defend Avicii, and I see everything in the article as having at least a sliver of truth. The whole Producer-turned-dj , pre-recorded sets, that almost every prog house DJ plays the same tracks, etc. Not to mention there aggro comments……
I suppose I’m just curious; if you have another person write/sing vocals on your track AND create the melodies of your track, and you can’t dj yourself…… how much of a musician are you? Or are you just a young, attractive looking sound engineer whose place is really in a studio recording/mastering composers / songwriters.
ParticipantGood question….. what’s even sadder is that I could see it being either/or.
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