|
What software do famous producers use? (pg. 4)
|
View this Thread in Original format
| atxbigballer1 |
| quote: | Originally posted by arskinetica
In Minnesota, we'd just hate you and pretend to be nice about it.
Offer you some lutefisk or lefse, or something from Ikea. |
lol
plz don't be a hater bro.
It's a small world. |
|
|
| arskinetica |
I apologize. I wasn't trying to be mean.
Just lampooning where I come from.
We have a tendency to not be as direct as people on the coasts. |
|
|
| atxbigballer1 |
| quote: | Originally posted by arskinetica
I apologize. I wasn't trying to be mean.
Just lampooning where I come from.
We have a tendency to not be as direct as people on the coasts. |
all good, did not bug me, i have other things on my mind. |
|
|
| CalebGolston |
| I'm Norwegian-American so that stuff isn't new to me. |
|
|
| Rodri Santos |
| quote: | Originally posted by arskinetica
Caleb, doesn't Deadmau5 have a war with DJ eco or something?
What is Deadmau5 considered? He's not really a DJ. |
Deadmau5 is in war with Marcus Schossow same as PvD is with ATB (read this last part fast three times without missing) |
|
|
| music2dance2 |
| quote: | Originally posted by CalebGolston
I see a lot of people on this forum talk about Armin van Buuren as a producer. I have never seen him as much of a producer. He is a Label moghul first, DJ second, producer third.
In fact, ironically, almost none of the big DJs are amazing producers, in the league as DJ Eco, Joris van Deynhoven, Bart Claessen, Rafael Frost, ect. |
Now I guess he is but that is a progression most people take. His big productions in the past still give him that status of being a producer I believe. Its what he is well known for despite the huge success of the label/dj side of things |
|
|
| CalebGolston |
| quote: | Originally posted by music2dance2
Now I guess he is but that is a progression most people take. His big productions in the past still give him that status of being a producer I believe. Its what he is well known for despite the huge success of the label/dj side of things |
Yes, good point. However, I have studied the paths of several of the top DJs and I think Armin van Buuren is where he is because of one massive innovation: a weekly trance radio show (not his productions or live gigs). I think he was also the first DJ to really get a big internet following.
Earlier than that, it seemed that DJs could become DJs without being a producer, such as John Digweed, Sasha, Carl Cox, Pete Tong, Tall Paul, ect. All of those guys were huge way before they put out top notch songs. Even Oakenfold to an extent became a good producer later.
NOW, it is impossible to become a DJ if you are not a producer first. And this always strikes me as funny, because the 2 are unrelated to me. A good DJ is about an ear for good music first (the tracklist) the programming second (good intro, middle, end) and somewhere down the line technical ability is nice. To me perfectly mixing the beatport top ten is not being a DJ. My theory to why you can't DJ unless you produce, is that it is a Harvesting Effect. It is way easier to be a good DJ than good Producer.
Just my thoughts. |
|
|
| Mad for Brad |
| They are not completely unrelated. Most musicians tend to be better composers for the mere fact that they are immersed in music. A good producer has the potential to be a better dj. A better dj has the potential to be a better producer. |
|
|
| Rodri Santos |
| i have noticed you understand better the music you play when you start to produce, and when producing you know which will fill the dancefloor and which not, also you learn to make good dj friendly versions, you are the first punished by your ineptitude |
|
|
| arskinetica |
It seems these days though, you can't just be a composer any more.
You to do a bit of everything.
Produce, market, etc. |
|
|
| CalebGolston |
I think in theory they would be related, but I don't see much evidence of it in sets.
Also, I tend to believe in largely leaving tracks alone and making a good song first in a basic electronic format (4 parts, 4/4 time) and letting the music do the talking. For instance, there aren't many 10-12 minute songs like there used to be. The producer should make the individual song a complete journey rather making it to fill 3 minutes of a set and design it into the context of a set (because how many recent sets have taken you on a journey?). An example I can give is BT - Flaming June (PVD Remix) or Netherworld 2005, these songs stand alone. If a song stands alone, I think it will do fine in a set. That is just my take. |
|
|
|
|
