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oh dear, can-o-worms this one. 
| quote: | Originally posted by djway
If I'm out in a club, I want to hear the TRACK (IE what someone's spent hours making), not what some DJ thinks sounds good on the fly.
I don't want to hear some DJ chopping the shit out of my fav track, just coz he like the sound of it. How many DJ's out there use effects on either XONE's, EFX-500 or DJM500/600? Almost none, why? |
I'd think that's a very different perspective to a fair few of us on here. When in a club, I don't just want to hear the track - if I did, I'd sit at home and listen to it. For me, I want to hear the track as one sentence in a story. A story's not enjoyable because it has words you've never heard before or because you like the sound of the words, a story is enjoyable because, taken as a whole, it takes you on an enjoyable emotional journey.
as far as the comment about effects goes, I'd tend to disagree there too, onboard effects do get used a fair bit.
*puts on geek hat*
Besides Xones don't have any effects anyways. Well, a basic two pole filter (or two) that won't even self-oscillate, with a sine-only LFO that won't even hit 20hz, and the most brain-dead MIDI clock implementation known to man, but that's an effect about as much as a rubber band is a firearm. Wake me up when A&H's engineers realise that a basic envelope-generator to drive filter cutoff from input signal level would have cost about four dollars to put in.
*hides geek hat under marsh's ableton geek bag*
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I don't want to hear some DJ layering 1.2 billion tracks over/under/with my favourite track just coz he can.
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Again, I think many many people on here would disagree with you, if by 'can' you mean 'can make it sound good'. Listen to the mixed CD compilation of almost any top-tier international DJ, and then track down the original unmixed tracks and have a listen to what's been done with edits, filters, EQs, time-stretching, key-changing, auto-warping stretchy doppelmangler stuff, there is actually some seriously amazing stuff going on. Try James Holden's Balance 005, Anothony Pappa's Balance 006, Sasha's Involver, John Digweed's MMII, Tiesto's In Search of Sunrise 3, fark dust off Sasha and Diggers' Northern Exposure CD, made back when men were men and Notator was the shizzle, then buy yourself the quad-pack vinyl sampler for $29 and say 'bonk' when the penny drops. 
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I do want to hear DJ's mixing tracks in key, which is a good point of BT's. How many of you key match anyhow, tho? How many of you will key match your tracks?
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Um, lots of us. Try sitting in a record shop for a week or two and fielding questions from DJs day in and day out. You'll find that far from keymixing being a security blanket (yes I'm still sensitive  ), its actually something that lots of DJs do and talk about, and the further up the ladder you go you go from bedroom to global gathering, the more it appears to be taken seriously. Sasha, Digweed, Seaman, Armin, Tiesto, see a trend? 
I think the biggest problem is that Ableton sets are dead boring to watch (sorry Dr. Dresden, but its true, it looked like you were checking your email up there). It may be novel, but at least from my understanding, laptops have been clearing a lot more dancefloors than they've been filling around the world lately. IMO DJing should be done manually - autoquantising a live performance is rather anathematic to the whole human-hands-controlling-rhythm-in-realtime essence of DJing.
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Last edited by Nyquist_Theorem on Oct-17-2005 at 16:50
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