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-- When you are playing out.
When you are playing out.
I went and watched andy moor play in dalles the other day. I stood almost right beside him while he was playing. I noticed that he did not use the master tempo. understandable right. this is what i didn't get. his tempo stayed at about +2 to 3% the whole 2 hours. i know you can find a shit load of songs that stay around the same bpm. But can you fing enough for a whole set and amke it a bad ass set or do some of the take some of the songs they want in it and and put them in a music program and change the bpm and keep the same key, or what. i am just courious on how he kept the pitch range so close together. any imputs on this
I'd say it's definitely possible to pick out a whole set in the same BPM range, especially since his "style" typically is infact around the same bpm (128-132)... but who knows?
Did he use CDJ's or Tables? Because it is possible for him to have pre-edited many of his tracks. Thats a possibility too if it were CDJ's
As a general rule, I don't like to go above +/-4. That doesn't mean I won't occasionally do it, just not often.
One thing I'm finding more and more is that tracks will be right on the dot at a certain BPM. Meaning, when I'm spinning longer sets, I start to see patterns in the pitch settings, and I can get a perfect beatmatch sometimes within a few seconds. For instance, on the last mix I made, probably 90% of the tracks were either at -1.60, -0.06, 0.74, or 1.48
I know guys who when they rip a vinyl for cdjs or download, they change the bpm of the track to a perticular bpm (so there cd collection is all the same), i like to call it cheating
Re: When you are playing out.
| quote: |
| Originally posted by Benjamin_D his tempo stayed at about +2 to 3% the whole 2 hours. |
| quote: |
| Originally posted by TazZ-erT I know guys who when they rip a vinyl for cdjs or download, they change the bpm of the track to a perticular bpm (so there cd collection is all the same), i like to call it cheating |
he was on cdj. i guess you have to have a shit load of songs to fing a bunch in the same bpm and then still be able to mix them in key.
At that rough speed, you can have a good 2 or 3 bpm difference between the original tempos of two tracks which are in key with them still being in key when you beatmatch them, so in an extreme case he could play a tune which is normally 128 then a tune which is normally 131 then a tune which is normally 134... etc
And remember from any key, you've got itself and 4 other keys you can mix into with it sounding good (5 keys in total, i.e. nearly half of the total number of keys if you just consider minor keys, meaning nearly half of your tunes will fit with any tune you're playing at the time) and particularly seeing that he would have played a lot of his own productions, a lot of which could well be in the same key or matching keys maybe on purpose...
So I don't think it's that hard to believe that he did the set unplanned at all.
| quote: |
| Originally posted by TazZ-erT I know guys who when they rip a vinyl for cdjs or download, they change the bpm of the track to a perticular bpm (so there cd collection is all the same), i like to call it cheating |
A lot of these bigger DJ's now do all of their own edits, likely in ableton and the like.
So if they make their own edit, it's likely they'll just punch in a BPM they are used to playing.
| quote: |
| Originally posted by mzvirbulis i have no idea why some dj would want to go and change pitch/bpm of a track manually with it taking alot of your time, when you could save yourself so time etc and learn to bm in 10 secs! |
Point taken! i guess i was being a bit too narrow minded about it.
im thinking of doing it myself soon with the appropriate software, mainly using samples ect that i can incorperate with ease with songs.
Plus if your brain is like an egg on a pavement during an ozi outback summer, it wouldn't take much cohesive thought.
| quote: |
| Originally posted by Stu Cox And remember from any key, you've got itself and 4 other keys you can mix into with it sounding good (5 keys in total, i.e. nearly half of the total number of keys if you just consider minor keys, meaning nearly half of your tunes will fit with any tune you're playing at the time) and particularly seeing that he would have played a lot of his own productions, a lot of which could well be in the same key or matching keys maybe on purpose... |
Relative minor/major...
| quote: |
| Originally posted by ORSTTranceAddic Hi Stu, can you clarify what you mean by 5 keys? Ok... so you have the tonic, dominant and sub-dominant... what are the other two? Are you talking about region shifting where a track a semi-tone up or down can be matched with your current track using +/- 6% pitch change? |
| quote: |
| Originally posted by Ryan0751 Relative minor/major... |
well theres only 4 as far as i know
This is where a bit of bending of the rules comes in... the extra two do COME from the relative major, but are still both minor keys.
The thought process goes like this:
If your tracks have a relatively small amount of harmonic content, a major key and a minor key are basically the same. In that case, you can mix a track in a minor key with the minor version of its relative major (e.g. Cm with Ebm, as Eb maj is the relative major of Cm) - i.e. the superdominant (6th).
Then on that basis, you're saying that a track can work with the relative minor of it's major version (e.g. Cm with Am, as Am is the relative minor of C maj) - i.e. the mediant (3rd).
This extends your list to tonic, mediant, dominant, sub-dominant and superdominant... but remember the mediant and superdominant will often only work if the tracks have a relatively small amount of harmonic content.
But even if they have got a reasonable amount of harmonic content, a sharp mix (i.e. quite a short mix with a sudden switch of basslines for example, however you want to do it) with the mediant or superdominant tends to sound pretty damn cool.
| quote: |
| Originally posted by Stu Cox This is where a bit of bending of the rules comes in... the extra two do COME from the relative major, but are still both minor keys. The thought process goes like this: If your tracks have a relatively small amount of harmonic content, a major key and a minor key are basically the same. In that case, you can mix a track in a minor key with the minor version of its relative major (e.g. Cm with Ebm, as Eb maj is the relative major of Cm) - i.e. the superdominant (6th). Then on that basis, you're saying that a track can work with the relative minor of it's major version (e.g. Cm with Am, as Am is the relative minor of C maj) - i.e. the mediant (3rd). This extends your list to tonic, mediant, dominant, sub-dominant and superdominant... but remember the mediant and superdominant will often only work if the tracks have a relatively small amount of harmonic content. But even if they have got a reasonable amount of harmonic content, a sharp mix (i.e. quite a short mix with a sudden switch of basslines for example, however you want to do it) with the mediant or superdominant tends to sound pretty damn cool. |
Just takes a bit of inititive to try it out
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