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In Sync with the DJ (pg. 4)
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| SYSTEM-J |
| quote: | Originally posted by PaULiN0
All i was interested was another version of doing things, so don't think your any good. |
I'm not really interested in whether you think I'm good or not. I brought it up because it's relevant to this discussion - it shows there's more to making tunes work together than just beatmatching. |
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| PaULiN0 |
| quote: | Originally posted by SYSTEM-J
I'm not really interested in whether you think I'm good or not. I brought it up because it's relevant to this discussion - it shows there's more to making tunes work together than just beatmatching. |
ehh yeah i just explained that..
You need glasses. |
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| PaULiN0 |
Yep, totally.
| quote: | Originally posted by PaULiN0
For me it depends when it comes to electronic music, sometimes things will be so far outta key than only 10 second tranny (transition) is useable. Sometimes I'll have tunes drum warped for 3 mins and some times just pads and key with proper structure, it depends on the concept being played at the givin time. I learned though error and process or how ever its said.
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| meriter |
| thread killer here reporting for duty |
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| Floorfiller |
| quote: | Originally posted by SYSTEM-J
Because DJing is a live performance art. Why have DJs at all if you don't want creative decisions to be made live?
Beatmatching is the least important part of being a good DJ. It's not 1978. Get the over it. |
Maybe I should just pre-mix my whole set because that would allow me to be more "creative" with my fist pumping...
I am really just being difficult lol. I don't notice when a dj uses a sync button so why would i care? I just hate that creativity argument. |
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| Lagrangian |
| quote: | Originally posted by PaULiN0
No,
How is the sync button the cornerstone of djing/mixing. I hope this doesn't become a trend like all other in the scene. Soon it'll be getting on top of dj booths instant crowd interaction. |
Um, the sync button triggers an 'action' where two or more tracks can have their BPMs ... Synchronized. The program renders the bar count for a specific song, and it creates cue points a long the way in a matter of seconds. The program ties the cue points of every song to fit into one master BPM loop.
This is the computer science behind it. You should become acquainted with the software you use to play music. Think of frames in a film, In Game Development you deal with FPS (frames per second) in music you deal with BPM -- The physics tells you that both mediums are 'repetitive' and 'consistent' -- they never seem to end.
'Sync' is a short cut, nothing else. The DJ still has to do 75% of the job. Set progression...very similar to film-making.
The format of electronic music is based on 'repetitive' (meaning, countable and recursive) sounds -- from drums to snares -- ad INFINITUM. |
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| rubez |
i still don't see what benefits it brings to a dj set. things have gotten convoluted as .
playing good quality, honest records that don't need any filling out makes for a better and more enjoyable set. |
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| Paradox Lost |
As I understand it, beatmatching wasn't done out of some noble dedication to one's craft, it was done out of necessity; the simple fact is records play at different speeds, and the only way to synchronize two different records of two different tempo was to beatmatch by ear. I think people went on to romanticize it because it was the the gateway mechanism to making your turntables and mixer actually create something out of your records, but if the first generation of mixing DJ's had an autosync button, you better damn well believe they would have used it.
Relying on autosync only becomes a problem if results in just plain laziness, and whether or not you're being lazy depends entirely on the standards you set for yourself. |
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| JonDC |
Jack is absolutely right on this one, there is absolutely no creativity in beat matching. It's a matter of mathematics, it is either right or wrong. Mixing on the other hand involves much more than that, and relies on human decisions which a synch button can't do (getting the set to flow is another step up from that, I'd post a link to my thread on it if I could be arsed). To me, the aura of being able to line up beats pretty much went out when turntables did in about 2005, and I can't imagine why anyone would be particularly fussed about it these days.
Anyway, on topic I think there might be a bit more to John's thread than meets the eye. I've no doubt that his use of the technology to be creative in the example of suburban train is true because he is very technically able. I've played alongside John loads of times and one of his biggest gripes is clubs that don't have decent monitors. He jas been Djing for many years and I've no doubt he needs to look after his hesring more than ever before, and he says when the monitors aren't up to the job he would rather use the synch button than turn them right up and risk damaging them (and I've seen him play enough times to notice a difference in how tight his transitions are when the monitors are good). Again, I don't see why this is a problem, he had been in the game for long enough to not need to prove his ability at an antiquated skill |
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| rubez |
this antiquated skill exist for a reason.
without them, the entry level bar goes down once again. now we have douchebags dj'ing who wouldn't have been able to otherwise (it's all about the music, right?)
heaven forbid the dj should actually have to rely on a bit of skill.
i wouldn't make excuses for dj's who use that auto gated/transform function to scratch, instead of using the fader. how long until cutting is an antiquated skill? cause you know there will be a mixer one day that lets you do all this on the fly... |
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