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Vale VIDEO Set! :-) (pg. 3)
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View this Thread in Original format
| Colin Andrews |
Looks like you mesmorised everyone with your "energy" enough that only 1 person and myself noticed that your mixing is bad...
good job. See if it works on promoters. ha ha |
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| DJ Vale |
I don't need to show it to promoters, as they know I'm good already, I've played for Digitally Imported Radio LIVE. My mixing is bad....but I want to see your video's and hear your sets too :-)
I in actual fact waved my hands to apologise for a few bad mixes.... *ahem* ;-)
Least I make energy in my sets dude ;-) |
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| Clovis86 |
| quote: | Originally posted by Psy-T
who allowed you to leave the COR? :eyes: |
I'm always checkin this forum man...you didn't know? ;) :wtf: |
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| Evan Almae |
| quote: | Originally posted by Colin Andrews
Looks like you mesmorised everyone with your "energy" enough that only 1 person and myself noticed that your mixing is bad...
good job. See if it works on promoters. ha ha |
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I think you are a twat. You've said nothing but ty things in this board.
As for the mix I don't fancy the trance scene much more but I liked it a lot. Great idea and I thought the mixing was quite good from what I listened to. As for the whole comment about you touching the record like 15 times, there's nothing wrong with that. We all do it.
Moral: There's a thin line between constructed critiscm and flat out being a cock. Colin which side of the line were you?
-Steve |
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| fbgdavidson |
| quote: | Originally posted by Evan Almae
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I think you are a twat. You've said nothing but ty things in this board.
As for the mix I don't fancy the trance scene much more but I liked it a lot. Great idea and I thought the mixing was quite good from what I listened to. As for the whole comment about you touching the record like 15 times, there's nothing wrong with that. We all do it.
Moral: There's a thin line between constructed critiscm and flat out being a cock. Colin which side of the line were you?
-Steve |
I prefer not to stick my head above the parapet as it were and cause grief but I wholeheartedly agree with you on this. Constructive criticism, isn't that what ADJ forum is about? Being the afforementioned twat gets you nowhere....
Lange - Follow Me. Old tune but still love the beginning :) Also loving the A&B remix of Loneliness :crazy: |
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| DJ Vale |
| quote: | Originally posted by fbgdavidson
I prefer not to stick my head above the parapet as it were and cause grief but I wholeheartedly agree with you on this. Constructive criticism, isn't that what ADJ forum is about? Being the afforementioned twat gets you nowhere....
Lange - Follow Me. Old tune but still love the beginning :) Also loving the A&B remix of Loneliness :crazy: |
Glad you enjoyed it mate ;-) Some people are just narrowminded on these boards thats all, they believe every DJ should be flawless, I've heard and seen the best DJ's screw up loads, but people still dig them. I thought I'd do a Video Set to show people how I felt the energy in my sets. I'm one of those DJ's that needs to show the energy that I'm feeling behind the decks, if you ask me, one of the important factors of playing out to crowds is letting the crowd know what your feeling and expressing it to them. It works a treat ;-)
Daniel |
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| Colin Andrews |
I will fully admit that my comments in that post were meant to be inflamatory, but thats part of my personality. You want constructive criticism, give me 20 minutes and I'll break down everyone of the mixes and tell you what could have been done better and what was done well.
Frankly there are TOO MANY DJ'S, and too many people who think that waving their arms and playing trance anthems makes them a DJ. You're only mixing, not DJing at that point.
another post will follow shortly. |
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| Colin Andrews |
First mix - First thing I noticed was the cue point, it was 4 bars behind the other records 8-16 bar groupings, some people like to cue on places like this, personally I think it detracts from the mix, theres a lot of crests that happen during the 8-16 bar formats that almost all trance records use that would have lead toa better transfer than just turning the bass down and jamming in the next kick. The way you brought in the record, Since there was an obvious level difference between the tracks, you might have bene better to increase the fader gradually rather than just pinning it up at max volume so that we get a Smacking sound as the next kick comes in, also in terms of programming, we've now gone from a soft trance meldoy to a thumping bassline and something quite hard immedeately. Also your beatmatching is in and out all the time, Like I saod before, a few smaller adjustments and a little more precision help you focus on your mixes rather than your beats and allow for better transitions.
Second mix - Another mix where you cued this time only 1 bar behind the other records grouping. It gave the mix a jerky feel because the records creast just behind each others giving a feeling of abruptness. Your beats get noticably off in this one and ride that way for some time. Also one record simplifies far before the other record comes in, and it sounds like it just ends. We lose all musical features of the record exiting and are left with just an intro of the next one. All your volume ajustments are also quite large and noticable, there are time when you slap the fader up and we get huge increases ini high end very quickly. Once again, a gentle sliding of the fader might be optimal. Also, this record is again louder than the last. Watch your levels.
Fader slapping between records...can be good, we go from a full trance record with melody to 1 beat of nothing? i wouldn't reccomend tricks like that when a climax of a record is on.
Backspin and adding kicks to the breakdown, the kick was a very different kick from the other record, it sounded forced...in my books backspins are never cool. I would reccomend steering clear of them, but thats your choice.
Again with the fader slapping, you're loosing energy by doing it. IT just sounds as if your playing with the record just for the sake of playing with it.
Third Mix - this time you cued in a good spot, but jammed the fader up to full volume randomly. we can hear the next record, but it came out of nowhere, we went from nothing to everything instantly. This mix was better, the other record broke down at a better pace and we the record ended at a good spot. This would ahve been a good mix if you didn't start pulling the next record out and slapping the faders again. When you pulled it out, the next record was a such a low volume that it just sounded like cutting the track out. This record is so Corny BTW, but whatever, thats a matter of opinion, and programming is OK.
Fourth Mix - Your beats wander a lot in this mix, and I can hear a couple of noticable pitch bends as you correct them. Another mix that hasa bad cue point as well, cue on the 8-16 groupings. it just sounds better. THis mix once again ends abruptly, an were now going back into a harder tracks from a really fluffy track. Your programming doesent really bridge styles at all. You need to create flow, and going SOFT/HARD/SOFR/HARD doesent do that.
Fifth Mix - This one you cued in a good spot and brought the fader up gradually so we sloped into the new track which was good, but you beats are WAY off in a number of places, and there are large audible pitch corrections. You may not, but I would almost call this mix a trainwreck with how off the beats get. Then again i'm a Nazi for beatmatching, but thats probably because I think its Easy and one of the few techinical skills that you sohuld master.
Again with the fader slapping. It creates such a gap in the vibe, we go from a song to nothing. I would avoid it once again.
Sixth Mix - Beats are way off and fader slapping once again. How long have you been playing? a lot of the thing that you do or think "sound cool" are thing I often notice amoung young DJ's who tend to OVER dj. Just because theres nothing to do, doesent mean you should make something to do. Smooth over random tricks if your best bet.
Seventh Mix - These records sound ugly together. the musical elements are in two conflicting keys and the stabs from Tomcraft sound brutal with the previous record. Beats wander in and out again throughout. the mix, you would have been better to just cut the last record at the breakdown during lonliness rather than do a bunch of slapping inthe breakdown. It didn't sound good.
Eighth Mix - Fader jammed up at a random point again. Beats get pretty messy in this one as well, but seem to tighted up toward the end of the mix, Mix would have sounded better if you didnt fade in and out that drum roll. Again fader slapping. This record in a good programming choice after Lonliness, but I would say that Trance Anthems are only ANTHEMS and effective if not over saturated. AS big record sounds way bigger if its not followed and preceeded by big records.
Ninth Mix - Lots of high mixed into very few highs, this record altohugh faded up comes in INCREDIBLY obviously, and is too hot for the last track. Keep track of your levels. That mix was way too fast, the backspin was a bail out. If you had cut the last record out when the breakdown came, it would have bene much smoother.
Tenth Mix - This was just a bad mix, you cued way too late, the records just ended, and the next one started up. If you had cued probably 16-32 bars earlier, you sould have used the downtime of the last record to blend them, instead of a transfer in less than 30 seconds.
Eleventh mix - This time pinning the fader up worked because you picked an appropriate time to do so, however you cued 1 bar behind the other record and it destroyed the flow. You might also want ot investigate new methods of mixing other than swapping basslines and fading the record out.
Twelvth Mix - OK, I'm trying in this one not to be rude, because I was in my last post, but you have to stop just slapping the fader up to maximum volume out of nowhere. It doesent sound good, its lazy, and it destroys the flow of the mix. This mix was a little short as well. Another 16 bars would have transfered much better and not left this record sounding empty compared to the last one due to the lack of percussion.
Thirteenth Mix - Your additions to the breakdown of the last record were not advantageous to it, The breakdown/buildup would have sounded better if just left alone, another backspin cheapend the effect of this buildup as well. next record is WAAAY too hot, in fact the mixer distorts iteslf while your slapping around the faders. Beats are an issue in this one as well, and when you completely cut the volume it did not sound good either. Another mix where one record ends too soon and were left with a record that feels empty because of the abrupt transition.
Fourteenth Mix - Fast mix agian, quickly jammed in the next bassline and then just smack the faders around, it was cued 4 bars behind again, and this track is far to hard to go with something as light as the last record.
The biggest critique I could give you would be to work on your cue points and to not either jam the fader up at the beginning of a mix, and to leave the faders alone while mixing, theres no sense in cutting records in and out just because you can. Its a type of music that usally sounds best if mixed smoothly and this is anyhitn but smooth mixing, or smooth programming. There are so many jumps from hard to fluffy records, no sense of direction because all you're doing is blasting trance anthems rather than trying to do anyhting with the sounds. You full well may not give a and think i'm full of and negativity, thats fine. Believe me if you altered your mixing style to be less random and rapid, people would comment that you got better. I guarantee it. You're also going to say that you want to hear my mixes, and the fact of the matter is, i have no webspace nor have I ever posted a mix online. I don't find it does any good because people are too quick to compliment and no one gives good feedback. Everyone mindlessly says that mixing is good and that they love the tracks without thinking about whether the mis actually has merrit to it. Most mixes in this forum aren't good and no one will say it. I know its called AMATUER DJ's but people dont get better if you tell them that its OK to have loose beats or records that clash horribly.
Think what you want, I've been doing this for a number of years, I've recieved positive feedback from the likes of Jimmy Van M and I hope that it never gets too diluted from too many people taking it up. |
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| DJ Vale |
| quote: | Originally posted by Colin Andrews
Frankly there are TOO MANY DJ'S, and too many people who think that waving their arms and playing trance anthems makes them a DJ. You're only mixing, not DJing at that point. |
I read this - maybe YOU should too
May I quote something from this book:
"DJ's track down greatness in music and squeeze it together."
Sorry, but obviously you didn't realise, I was doing just that...
Correct I was mixing - but you were the audience watching... I've played infront of a real dancefloor which is where "in theory" you get your label as a DJ - anyone can learn how to beat match - it doesn't mean your a DJ. Hell, your parents could learn how to beatmatch - it isn't rocket science to play records - I bet you played a record after the other and stepped back then said "Hey, I'm a DJ!!" Oh the irony. Even better yet, you've probably not even touched music in that way before...
I know for a fact that DJ'ing is not about the money or the fame - I play because I love the music. Maybe thats a side of DJ'ing you don't see. Its taken me years to even get this far, you, well your just spectating hoping for me to be the king. You've been arse licking Markuz Schulz or Armin for sure ;-)
You said that there are "TOO MANY DJ's" (if you ask me, there isn't many that do it properly, but I'm not the expert am I) - but with your attitude, maybe you want to "apply within" and be the next Sasha - which again, will get you no-where. Maybe your just a jukebox hammering some progressive boredom that the latest DJ's have played over and over again, which you didn't need to locate or spend months trying to find. Locate something that reflects you, not a load of other followers.
If you don't like me jumping around and doing my thing, don't listen to any of my mixes or watch any of them, you'd only get angry and label it as tripe anyway. Other people will find it interesting and useful. I found it funny you slagged off a guy who had put his second ever mix on this forum and you said it sucked, and you didn't even give him any comments for his effort, you absolute head. People like you, just won't go far. Its a fact.
Well Colin Andrews, since your the expert around here, I'm probably wrong.... and thousands of other quality DJ's (mixers) too. Heres a tip for your future if you ever get one, create for the love - don't follow for fame.
These are words of wisdom Colin - you'll see this all clearer in the future, but belt up and realise that this is all true.
Anything you do, I won't respect it, end of. Enjoy your evening.
Daniel |
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| Colin Andrews |
I fail to see the part where i mentioned Money, fame, trying to be like other DJ's or any of your other specific attacks. A number of times you refer to fame and fame was never even mentioned. I would value a valid refute of my stance, but you don't even address the issues I brought up.
If anyone can learn how to beatmatch, why is it presenting you such a problem.
I didn't say beatmatching makes you a DJ, and being able to mix certainly doesent.
I wouldn't have called myself a DJ for what I've done until very recently, probably within the last few months.
Loving what you do is fine, and you'll notice that in my review i did not metion your passion and your dancing behind the decks. I gave a technical and programming related breakdown of the mix. Just because I don't think you're very talented when it comes to Djing doesent mean its a personal attack which is what you seem to be taking it for and trying to stab back at me.
Books don't teach you how to DJ and the simple notion that you can learn how to from one is ridiculous. The idea that you were "squeezing together greatness" in that set is pretty indignant, its not like i'm saying you deserve to die because of it, I just think you need to practice A LOT MORE.
Like I said, I expected you to think i'm an . The truth of the matter is you resorted to trying to attack me personally not knowing anything about me, and all because you didn't want to address what I had presented you with.
Absolutely any DJ worth their weight will tell you that there is nothing of DJing in playing nothing but big trance records, and doing it in the sloppy manner you did.
| quote: | | Anything you do, I won't respect it, end of |
Do you say this to everyone that gives you bad feedback? If you did your homework you'd understand what I'm trying to say. I give you 3 years or so and you'll reaslise that after you've done it long enough you'll be a good DJ.
And you never answered my question, how long have you been playing? |
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| ste_uk_21 |
| quote: | Originally posted by Colin Andrews
First mix - First thing I noticed was the cue point, it was 4 bars behind the other records 8-16 bar groupings, some people like to cue on places like this, personally I think it detracts from the mix, theres a lot of crests that happen during the 8-16 bar formats that almost all trance records use that would have lead toa better transfer than just turning the bass down and jamming in the next kick. The way you brought in the record, Since there was an obvious level difference between the tracks, you might have bene better to increase the fader gradually rather than just pinning it up at max volume so that we get a Smacking sound as the next kick comes in, also in terms of programming, we've now gone from a soft trance meldoy to a thumping bassline and something quite hard immedeately. Also your beatmatching is in and out all the time, Like I saod before, a few smaller adjustments and a little more precision help you focus on your mixes rather than your beats and allow for better transitions.
Second mix - Another mix where you cued this time only 1 bar behind the other records grouping. It gave the mix a jerky feel because the records creast just behind each others giving a feeling of abruptness. Your beats get noticably off in this one and ride that way for some time. Also one record simplifies far before the other record comes in, and it sounds like it just ends. We lose all musical features of the record exiting and are left with just an intro of the next one. All your volume ajustments are also quite large and noticable, there are time when you slap the fader up and we get huge increases ini high end very quickly. Once again, a gentle sliding of the fader might be optimal. Also, this record is again louder than the last. Watch your levels.
Fader slapping between records...can be good, we go from a full trance record with melody to 1 beat of nothing? i wouldn't reccomend tricks like that when a climax of a record is on.
Backspin and adding kicks to the breakdown, the kick was a very different kick from the other record, it sounded forced...in my books backspins are never cool. I would reccomend steering clear of them, but thats your choice.
Again with the fader slapping, you're loosing energy by doing it. IT just sounds as if your playing with the record just for the sake of playing with it.
Third Mix - this time you cued in a good spot, but jammed the fader up to full volume randomly. we can hear the next record, but it came out of nowhere, we went from nothing to everything instantly. This mix was better, the other record broke down at a better pace and we the record ended at a good spot. This would ahve been a good mix if you didn't start pulling the next record out and slapping the faders again. When you pulled it out, the next record was a such a low volume that it just sounded like cutting the track out. This record is so Corny BTW, but whatever, thats a matter of opinion, and programming is OK.
Fourth Mix - Your beats wander a lot in this mix, and I can hear a couple of noticable pitch bends as you correct them. Another mix that hasa bad cue point as well, cue on the 8-16 groupings. it just sounds better. THis mix once again ends abruptly, an were now going back into a harder tracks from a really fluffy track. Your programming doesent really bridge styles at all. You need to create flow, and going SOFT/HARD/SOFR/HARD doesent do that.
Fifth Mix - This one you cued in a good spot and brought the fader up gradually so we sloped into the new track which was good, but you beats are WAY off in a number of places, and there are large audible pitch corrections. You may not, but I would almost call this mix a trainwreck with how off the beats get. Then again i'm a Nazi for beatmatching, but thats probably because I think its Easy and one of the few techinical skills that you sohuld master.
Again with the fader slapping. It creates such a gap in the vibe, we go from a song to nothing. I would avoid it once again.
Sixth Mix - Beats are way off and fader slapping once again. How long have you been playing? a lot of the thing that you do or think "sound cool" are thing I often notice amoung young DJ's who tend to OVER dj. Just because theres nothing to do, doesent mean you should make something to do. Smooth over random tricks if your best bet.
Seventh Mix - These records sound ugly together. the musical elements are in two conflicting keys and the stabs from Tomcraft sound brutal with the previous record. Beats wander in and out again throughout. the mix, you would have been better to just cut the last record at the breakdown during lonliness rather than do a bunch of slapping inthe breakdown. It didn't sound good.
Eighth Mix - Fader jammed up at a random point again. Beats get pretty messy in this one as well, but seem to tighted up toward the end of the mix, Mix would have sounded better if you didnt fade in and out that drum roll. Again fader slapping. This record in a good programming choice after Lonliness, but I would say that Trance Anthems are only ANTHEMS and effective if not over saturated. AS big record sounds way bigger if its not followed and preceeded by big records.
Ninth Mix - Lots of high mixed into very few highs, this record altohugh faded up comes in INCREDIBLY obviously, and is too hot for the last track. Keep track of your levels. That mix was way too fast, the backspin was a bail out. If you had cut the last record out when the breakdown came, it would have bene much smoother.
Tenth Mix - This was just a bad mix, you cued way too late, the records just ended, and the next one started up. If you had cued probably 16-32 bars earlier, you sould have used the downtime of the last record to blend them, instead of a transfer in less than 30 seconds.
Eleventh mix - This time pinning the fader up worked because you picked an appropriate time to do so, however you cued 1 bar behind the other record and it destroyed the flow. You might also want ot investigate new methods of mixing other than swapping basslines and fading the record out.
Twelvth Mix - OK, I'm trying in this one not to be rude, because I was in my last post, but you have to stop just slapping the fader up to maximum volume out of nowhere. It doesent sound good, its lazy, and it destroys the flow of the mix. This mix was a little short as well. Another 16 bars would have transfered much better and not left this record sounding empty compared to the last one due to the lack of percussion.
Thirteenth Mix - Your additions to the breakdown of the last record were not advantageous to it, The breakdown/buildup would have sounded better if just left alone, another backspin cheapend the effect of this buildup as well. next record is WAAAY too hot, in fact the mixer distorts iteslf while your slapping around the faders. Beats are an issue in this one as well, and when you completely cut the volume it did not sound good either. Another mix where one record ends too soon and were left with a record that feels empty because of the abrupt transition.
Fourteenth Mix - Fast mix agian, quickly jammed in the next bassline and then just smack the faders around, it was cued 4 bars behind again, and this track is far to hard to go with something as light as the last record.
The biggest critique I could give you would be to work on your cue points and to not either jam the fader up at the beginning of a mix, and to leave the faders alone while mixing, theres no sense in cutting records in and out just because you can. Its a type of music that usally sounds best if mixed smoothly and this is anyhitn but smooth mixing, or smooth programming. There are so many jumps from hard to fluffy records, no sense of direction because all you're doing is blasting trance anthems rather than trying to do anyhting with the sounds. You full well may not give a and think i'm full of and negativity, thats fine. Believe me if you altered your mixing style to be less random and rapid, people would comment that you got better. I guarantee it. You're also going to say that you want to hear my mixes, and the fact of the matter is, i have no webspace nor have I ever posted a mix online. I don't find it does any good because people are too quick to compliment and no one gives good feedback. Everyone mindlessly says that mixing is good and that they love the tracks without thinking about whether the mis actually has merrit to it. Most mixes in this forum aren't good and no one will say it. I know its called AMATUER DJ's but people dont get better if you tell them that its OK to have loose beats or records that clash horribly.
Think what you want, I've been doing this for a number of years, I've recieved positive feedback from the likes of Jimmy Van M and I hope that it never gets too diluted from too many people taking it up. |
Ill be honest after i read your first post i thought you were being a bit harsh and possibly trying to be a COL (on line) however from this post and listening through the mix you're absolutely right with everything you point out. Vale you should take his points on board and stop taking critism so personally. You've stuck your set on a forum which is busting with opinions and so you're going to get them, its not as if everyone will like your mix so you will get some critism as times.
I'd be thanking Colin for pointing out your "errors" as it will give you something to work on and ultimately make you better. Just because you've played at Live events doesnt mean you should stop trying to better yourself.
Im not a DJ (although i do have decks on order) and im not a music/sound techie but i enjoyed listening to your mix the other day whilst sober.
BTW colin that must've taken ages to type :D |
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| saintjohnson |
| quote: | Originally posted by DJ Vale
create for the love - don't follow for fame.
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Vale you're better then me...
and I agree, do it for the love...
they aren't enugh trance fance out there...do it to convert the masses...and of course, have fun doing it. |
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