Originally posted by Apeattack
The autosync'ers would just keep hitting the sync button during transitions... not a problem.
And that would be the same effect as touching the platter.
Obviously the patrons don't care if you beatmatch or not, beatmatching isn't now as important, but i just wanted to point out and i think it's not your case, that mixing in key phrases etc, cue point requires a lot of practice, i've seen djs use a midi controller and virtual dj and commit hundreds of mistakes in a row. In addition with master tempo and autosync people can beatmatch a 125 techno track with a 140 trance track (yes, i've seen adagio for strings vs house) and this can't sound well, the kicks are matched but over stretched, and the list goes on.
It's like having automatic transmision, you feel you can push the acelerattor and run faster faster faster... until you crash. With autosync and this tools you think you can do anything but you shouldn't
Apeattack
quote:
Originally posted by Mr.Mystery
There's only two things, really - track selection and mixing. If you're only doing one of these things you're just a jukebox.
As you know, mixing is a lot more than just beatmatching. It involves (1) finding the 'good' entry/exit points, (2) 'good' EQing, and (3) beatmatching. The 'art' of DJing is with the first two points. The last point is robotic.
Apeattack
quote:
Originally posted by Rodri Santos
Obviously the patrons don't care if you beatmatch or not, beatmatching isn't now as important, but i just wanted to point out and i think it's not your case, that mixing in key phrases etc, cue point requires a lot of practice, i've seen djs use a midi controller and virtual dj and commit hundreds of mistakes in a row. In addition with master tempo and autosync people can beatmatch a 125 techno track with a 140 trance track (yes, i've seen adagio for strings vs house) and this can't sound well, the kicks are matched but over stretched, and the list goes on.
It's like having automatic transmision, you feel you can push the acelerattor and run faster faster faster... until you crash. With autosync and this tools you think you can do anything but you shouldn't
My point is that using autosync buttons doesn't automatically disqualify someone from being a good DJ, as many people in this thread believe. It seems that you don't quite hold that position.
I understand and incorporate into my sets the concepts of harmonic mixing, mixing in phrases, effects, and am pretty decent at EQing (listen to my latest mix and see if you agree :D), but intentionally choose to use the autosync button because I have a midi controller with poor pitch sensitivity. I honed these skills over many, many hours of practice, studying tutorials online, and talking with other DJs.
Even if I had CDJ-800+ I probably would use Traktor and autosync because of the convenience. Besides, as I mentioned earlier, beatmatching on great CDJs is just slightly more difficult than using autosync buttons; 0.02% pitch sensitivity and digital readouts make beatmatching very easy.
I would agree that 'bad' DJs are more likely to use autosync buttons than 'good' DJs, but it is a mistake to believe that all DJs who use autosync buttons are 'bad.'
Mr.Mystery
quote:
Originally posted by Apeattack
As you know, mixing is a lot more than just beatmatching. It involves (1) finding the 'good' entry/exit points, (2) 'good' EQing, and (3) beatmatching. The 'art' of DJing is with the first two points. The last point is robotic.
True enough, but you might want to read the bit I originally quoted to know why I responded the way I did.
ZeJayMan
quote:
Originally posted by Apeattack
Even if I had CDJ-800+ I probably would use Traktor and autosync because of the convenience. Besides, as I mentioned earlier, beatmatching on great CDJs is just slightly more difficult than using autosync buttons; 0.02% pitch sensitivity and digital readouts make beatmatching very easy.
It takes a lot more skill knowing where to drop the track and keep it in sync over a period of time (up to 1 to 1 and a half minutes for me) than it does just pressing an Autosync button. As far as autosync buttons go. You can't trust those things. Maybe once you start mixing with something other than Sean Tyas bass you will see that in actual tracks there are irregularities and foibles in the music that hasn't been fart bassed into 4/4 rigid nothingness.
Voci
quote:
Originally posted by Apeattack
If the audience is happy, I don't know if it REALLY matters if a set is pre-recorded or not. I would never prerecord and pretend to mix because it still doesn't 'feel' right to me, but I am unsure if prerecording is 'wrong' if the finished product is at least as good as what a DJ could do live.
Pre-recorded set = Madonna playbacking Britney tracks.
How on earth would someone want to pay for that?
Rodri Santos
quote:
Originally posted by ZeJayMan
It takes a lot more skill knowing where to drop the track and keep it in sync over a period of time (up to 1 to 1 and a half minutes for me) than it does just pressing an Autosync button. As far as autosync buttons go. You can't trust those things. Maybe once you start mixing with something other than Sean Tyas bass you will see that in actual tracks there are irregularities and foibles in the music that hasn't been fart bassed into 4/4 rigid nothingness.
This track has all the elements to destroy people ears if you trainwreck on it, but well dropped can make zombies jump.
Uplifting trance bass is often the same, the groove is acquired by punchy kicks , driving basslines and several hat patterns, it's rare to see percussions because the melodies need some room to breath, this is easier to mix, i consider uplifting trance as one of the easiest to mix styles.
But if you want something harder try to mix 4/4 house with dubstep or trance with drum 'n bass, that would be tricky with or without sync button.
Apeattack
quote:
Originally posted by Mr.Mystery
True enough, but you might want to read the bit I originally quoted to know why I responded the way I did.
Were you commenting more on RyanVice's posts than mine?
Apeattack
quote:
Originally posted by ZeJayMan
It takes a lot more skill knowing where to drop the track and keep it in sync over a period of time (up to 1 to 1 and a half minutes for me) than it does just pressing an Autosync button. As far as autosync buttons go. You can't trust those things. Maybe once you start mixing with something other than Sean Tyas bass you will see that in actual tracks there are irregularities and foibles in the music that hasn't been fart bassed into 4/4 rigid nothingness.
But if I only love mixing progressive house and trance, then I only need to know how to mix songs with a four on the floor beat, right? (although I often mix in tracks that start with no bass and use the bass from the outgoing song)
Just because I don't like mixing all forms of EDM doesn't mean I can't be good in my niche. Calling me a bad drum 'n bass or dubstep DJ, for example, means nothing to me. I wouldn't care.
(Btw, I'm kinda meh toward Sean Tyas. His productions are a bit too fast for me. Much more of a fan of a producer like Arty.)
Apeattack
quote:
Originally posted by Voci
Pre-recorded set = Madonna playbacking Britney tracks.
How on earth would someone want to pay for that?
Your missing the point. If the audience KNOWS the set is all premixed then the patrons likely will not be happy. But if the audience doesn't know, and the premix is awesome, then is it 'wrong?' Everybody is happy, right? Most people on this forum will say it is 'wrong,' which is fine.
I am not completely sure premixing is 'wrong,' although I would never dream of doing it.
Rodri Santos
Arty is the most unoriginal artist right now, i've only 2 tracks from him and i feel i've his entire discography (Alpha 9 - Come Home (chill track and very enjoyable for a home listening) and Arty - Twilight Tonight (Arty Remode) here i love the chord progressions, i've started once a set with this, no reactions but that was expected this track isn't meant to be played in a club unless you want some climax)
But please stop defending premixed sets, that discussion has no ground to sustain. Mixing the tracks creates a flow which is important but possibly the only thing why some clubs looks for a dj and not for a jukebox is because a dj can react and lead the music in the proper direction. Premixed = Jukebox = average set for sure if not bad.
I rarely make a set similar to the other, i play at different time slots and in different clubs but sometimes i start energetic and feel people want some progressive house while other times people are clearly looking for techno. You can play on Friday and rock the club with techno and play techno on Saturday and get whistled.
Imagine how pity would be that people is telling to you "Please stop this, is annoying" or worst you see people leaving the club and you can't do anything, well you can start mixing other things, but you've already failed and most probably your mixing and overall track selection won't be as good as surely panicked.
Apeattack
quote:
Originally posted by Rodri Santos
Arty is the most unoriginal artist right now, i've only 2 tracks from him and i feel i've his entire discography (Alpha 9 - Come Home (chill track and very enjoyable for a home listening) and Arty - Twilight Tonight (Arty Remode)
To each his own. During the past year I would argue Arty was THE breakout producer of the year. His productions and remixes were heard all throughout the year in clubs and trance radio shows. Personally, I love most of Arty's productions and remixes, especially these:
But please stop defending premixed sets, that discussion has no ground to sustain. Mixing the tracks creates a flow which is important but possibly the only thing why some clubs looks for a dj and not for a jukebox is because a dj can react and lead the music in the proper direction. Premixed = Jukebox = average set for sure if not bad.
I am not "defending" premixed sets. I never said premixed sets were 100% OK or that I would ever use one during my set. Instead, I said that the term "wrong" may not be appropriate if everyone ends up happy. It is a philosophical point of view.
A premixed set may work a lot better for a big-name DJ (e.g., Armin, Tiesto, Guetta) than an opening DJ or a DJ at a small club. By the time the big-name DJ comes out the dancefloor already is packed and patrons are ready to dance. Unless the big-name DJ's set is a complete train-wreck it is unlikely that most patrons will leave the dancefloor before the end of his/her set. The DJ doesn't need to 'feel' the crowd because the crowd is so amped to hear him/her already.
