The most important aspect for me is that it has 'soul' or 'funk' to it. Since I'm not a producer or have any knowledge about producing I wouldn't really know how to tell you how it is achieved or the technicalities of it, though.

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quote:

Originally posted by woscar The most important aspect for me is that it has 'soul' or 'funk' to it. Since I'm not a producer or have any knowledge about producing I wouldn't really know how to tell you how it is achieved or the technicalities of it, though.

I'm sure there are examples in your sets, of what you're referring to (even though I think I know what you mean). I'll look in DJ promotion.

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Now with extra singles!
my old stuff, not quite up to snuff - but I still dig it - UPDATED 9/23/2012

havent had much live experience, but im trying to change that this year.
most important to me is Drive, and tempo. Which is why i wouldnt almost never play 140bpm trance, with dead breaks. ive started producing more techno, tech house because of this. this is personal to me, but its the way i do things.

quote:

Originally posted by EddieZilker some form of affect

You said it right there. Affect. Always looking for songs that have true affect.

quote:

Originally posted by woscar The most important aspect for me is that it has 'soul' or 'funk' to it. Since I'm not a producer or have any knowledge about producing I wouldn't really know how to tell you how it is achieved or the technicalities of it, though.

Alrightythen...

The mix, your most recent as near as I can tell, I'm listening to right now makes use of a lot of space - reminds me, and hopefully I'm not offending, of Deep Spaces Groove set and some of Adam Vana's stuff, too. It's different enough that you're clearly not imitating, though.

A lot of the elements are organic/non-synthesis related. When you said "soul", the first things that came to mind were Mr. Rhodes, Mr. Wurlitzer, and Mr. Hammond. Sure enough, the set isn't disappointing my sense of intuition. While there are plenty of synthetic sounds, the Rhodes and Wurlitzer electric pianos are staples of House music in general and I've even made use of them as a producer.

Hammond is an organ currently playing happily in a song punctuated by a whistle. Gotta tell you, I'm diggin' this, man. The set takes a sublime turn into Mark Farina acid jazz motifs. Brilliant - definitely have a better since of who you are, according to this. Jazz and its Middle Eastern influences have a place with that flute.

You create groovy spaces and also seem to have a gift for letting mysterious things occur. Very temporal. Very psychological. Trippy? No - but enough psycho-acoustically weird phenomena and echos in there to put an atmosphere to the vibe.

AvB, it ain't, but that's totally okay. You're wont to avoid the clinical delivery of synthetic MDMA teeth-grinders and get intimate with the audience. Surround them, let the music, not just permeate the atmosphere, but be the atmosphere.

___________________

Now with extra singles!
my old stuff, not quite up to snuff - but I still dig it - UPDATED 9/23/2012

That they speak to me in some way.

/cliche

I'm a big fan of all the styles. On my mix demos I try to tell a story. I like to start things off with a big intro. Something that starts small than wham. Big as life. Then break into almost the same. Eventually bringing it down, then build it back up. But then on a few demos, I'll start mild, build up big, hit the climax, then bring it back down.

Of course, I'm still looking for that perfect style. Maybe combined all the elements. Producer is an avenue I'm looking at getting into. Unfortunately, I'm still pretty new to the edm world. But learning new things everyday.

Here' my demos.
http://www.letsmix.com/djkatmaus

quote:

Originally posted by terrytutone You said it right there. Affect. Always looking for songs that have true affect.

It's clear, from the rather flat emotional affect expressed in this thread that there might be a lack of interest.

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Now with extra singles!
my old stuff, not quite up to snuff - but I still dig it - UPDATED 9/23/2012

quote:

Originally posted by EddieZilker Alrightythen... The mix, your most recent as near as I can tell, I'm listening to right now makes use of a lot of space - reminds me, and hopefully I'm not offending, of Deep Spaces Groove set and some of Adam Vana's stuff, too. It's different enough that you're clearly not imitating, though. A lot of the elements are organic/non-synthesis related. When you said "soul", the first things that came to mind were Mr. Rhodes, Mr. Wurlitzer, and Mr. Hammond. Sure enough, the set isn't disappointing my sense of intuition. While there are plenty of synthetic sounds, the Rhodes and Wurlitzer electric pianos are staples of House music in general and I've even made use of them as a producer. Hammond is an organ currently playing happily in a song punctuated by a whistle. Gotta tell you, I'm diggin' this, man. The set takes a sublime turn into Mark Farina acid jazz motifs. Brilliant - definitely have a better since of who you are, according to this. Jazz and its Middle Eastern influences have a place with that flute. You create groovy spaces and also seem to have a gift for letting mysterious things occur. Very temporal. Very psychological. Trippy? No - but enough psycho-acoustically weird phenomena and echos in there to put an atmosphere to the vibe. AvB, it ain't, but that's totally okay. You're wont to avoid the clinical delivery of synthetic MDMA teeth-grinders and get intimate with the audience. Surround them, let the music, not just permeate the atmosphere, but be the atmosphere.

WOW, thanks a lot for taking the time to listen and to write that detailed review. It's always very interesting and educational to read other people's opinions and insights on my sets.

If it's not too much trouble, would you please elaborate on what do you mean by "letting mysterious things occur"?

And that "Groove" mix you mentioned was done by me too. "Deep Spaces" was a stupid alias I had come up with and ditched it like 3 days later when I realized how lame it was. Been using my real name from then on.

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quote:

Originally posted by woscar WOW, thanks a lot for taking the time to listen and to write that detailed review. It's always very interesting and educational to read other people's opinions and insights on my sets. If it's not too much trouble, would you please elaborate on what do you mean by "letting mysterious things occur"? And that "Groove" mix you mentioned was done by me too. "Deep Spaces" was a stupid alias I had come up with and ditched it like 3 days later when I realized how lame it was. Been using my real name from then on.

Well, sir. I have to thank you because that inspired this track.

The song with the flute is the biggest example I can think of, but it's also the way in which the tracks were blended so that train-spotting was almost impossible. "Groove" did that, too, and really well - it was almost seamless. The other aspect is that you choose songs with a lot of white space - space in the music which is being used to really let individual elements come into existence and then fade out again, before something new happens.

I tend to be a bit busy, in that regard, and I like having a lot of elements, but the sparseness of the songs you use lends to that mysteriousness occurring.

___________________

Now with extra singles!
my old stuff, not quite up to snuff - but I still dig it - UPDATED 9/23/2012

I want one that's also a Pontiac Trans Am.