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Pre-Recording BPM's (pg. 4)
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| i got big pants |
im still new to warpring but as long as the waveforms arent a mess, i can ususally do it in a couple minutes. my ocd kicks in though so i reference the warped track to about 4-5 other tracks to make sure they are on point.
i'll warp my tracks to the nearest bpm. i'll let ableton analyze the song, give me a something close to a whole #, then i'll round up or down depending on what the ".XX" is. seems like though everybody has their own method of warping. |
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| orTofønChiLd |
| so a whole track gets warped to a dedicated bpm? wut about when the track changes in speed, does that get removed? |
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| idoru |
| Jay wins the thread. |
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| Jarvmeister |
| quote: | Originally posted by Rippey64
Why incorrect ? |
You don't feel the music when you don't beatmatch. To be honest you could put a set together having never even heard any of the tunes you were mixing if the beatmatching was done for you.
The result: a set that wouldn't flow.
If you're beatmatching you're in a far better position to construct a set that flows.
I also suspect, and it's certainly true in my case, that feeling the groove, locking those beats and nailing that mix brings out something in the DJ that gives the set that much more oooomph. It's like a Mario powerup.
For me, to listen to a set made in the late 90s or early 2000s where I actually hear a DJ bring a mix back in line after it's started to drift slightly makes my heart pound harder. For me these sets are more real, more honest and have a greater feeling of urgency and intensity than any of the digitally mixed sets I hear these days. If anyone remembers the PvD 3 hour XXL Clubnight set from about 2001 where right at the end he mixes Nu NRG (Dreamland) into Guardians of the Earth (Starchildren) and it wobbles slightly - , it makes my hair stand on end every time I hear it!
Sample cut from the set: http://www.zshare.net/audio/61497488249878da/
Every time I hear it I'm trying to will him to nail the mix, and then when he does I feel like the pair of us have achieved something!!
Someone on here once said that the art of DJing is the skill of correction.
That's not to say I don't enjoy a digitally mixed set, and there are some things that these sets bring to the table that a manually mixed set cannot. I'm just trying to highlight some of the beauties of beatmatched sets. |
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| princesultan |
| quote: | Originally posted by orTofønChiLd
good post |
+1 |
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| Tony Morello |
| quote: | Originally posted by Jarvmeister
You don't feel the music when you don't beatmatch. To be honest you could put a set together having never even heard any of the tunes you were mixing if the beatmatching was done for you.
The result: a set that wouldn't flow.
If you're beatmatching you're in a far better position to construct a set that flows.
I also suspect, and it's certainly true in my case, that feeling the groove, locking those beats and nailing that mix brings out something in the DJ that gives the set that much more oooomph. It's like a Mario powerup.
For me, to listen to a set made in the late 90s or early 2000s where I actually hear a DJ bring a mix back in line after it's started to drift slightly makes my heart pound harder. For me these sets are more real, more honest and have a greater feeling of urgency and intensity than any of the digitally mixed sets I hear these days. If anyone remembers the PvD 3 hour XXL Clubnight set from about 2001 where right at the end he mixes Nu NRG (Dreamland) into Guardians of the Earth (Starchildren) and it wobbles slightly - , it makes my hair stand on end every time I hear it!
Sample cut from the set: http://www.zshare.net/audio/61497488249878da/
Every time I hear it I'm trying to will him to nail the mix, and then when he does I feel like the pair of us have achieved something!!
Someone on here once said that the art of DJing is the skill of correction.
That's not to say I don't enjoy a digitally mixed set, and there are some things that these sets bring to the table that a manually mixed set cannot. I'm just trying to highlight some of the beauties of beatmatched sets. |
THAT'S WHAT I'M TALKING ABOUT!!!
there's life in sets that are mixed, digitally mixed sets just lack that personal touch and feel lifeless
great post *thumbs up* |
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| orTofønChiLd |
| i guess its a good thing i haven't left the realm of pure djing rather than warping audio tracks for mixing |
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| xiad |
when I first got into DJing (like 4 years ago) beatmatching was my enemy. I couldn't figure it out. It's hard when you're first starting out, ya know?!
But as I progressed (which had to happen quickly since I was doing a live radio broadcast each week) I started to hear how things get when the beatmatching is off. It has to be SPOT ON or else people with trained ears (.2% of people listening) will hear the garbage sound you are spitting out of the speakers, and ultimately may not hire you to do shows.
Knowing roughly what BPM my tracks are in is helpful, although in all honesty I have never really chosen records based exclusively on BPM. |
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| notelfreak |
| no offense to you, but this is one of the major reasons no one takes internet radio broadcasts seriously. You know anyone can have one when you need to learn to beatmatch for your show. |
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| Tangil |
| I think this pre-recording bpm thing relates to how these days there's a bit too much emphasis on stuff sounding "good" as in "clean" which means that there aren't many risks taken because the dj thinks if he doesn't have the smoothest transitions around people will think he's a dj. |
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| notelfreak |
| quote: | Originally posted by Tangil
I think this pre-recording bpm thing relates to how these days there's a bit too much emphasis on stuff sounding "good" as in "clean" which means that there aren't many risks taken because the dj thinks if he doesn't have the smoothest transitions around people will think he's a dj. |
you are playing music you did not make generally, so having bad technical skills does make you a dj. Winamp on random can pump out good tracklists;) |
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