The record that's playing is about to end, how long do you..... [Archive]

Mike Johnson

08-04-2003, 06:55 PM

Originally posted by FK:
During a gig, how long before the record you are playing ends do you make your next selection?I usually like to think two or three records ahead so that I'm not caugh flat footed when a record is nearing the end or when I feel like creating (whetever the hell that means in this context)

Originally posted by FK:
How many (minutes) seconds are left when you whack that next piece of vinyl on your turntable?
Depends on how he record is gonna end and what kind of effect I'm looking for for when I wanna take the ride (i.e., short blend, long blend). But I try very hard to stay away from matching intro beats with outro beats as part of a blend or mix.

Originally posted by FK:
do you plan your sets in advance?

Do you sometimes plan mini-sets while playing, or beforehand?To the exent that I select my records in advance, there is some planning (come'on, we all do it) but I mostly like to feed from off the crowd and go with the vibe, and sometimes like to go with a planned blend or two.

Originally posted by FK:
Do you like DJ's who play the same mixes over and over again?If I liked a certain mix the first time, I might like it the second time around, but that's enough :D

Pete Nice

08-04-2003, 06:56 PM

i only try to have my first few records planned until i feel comfortable with the setup. after that it's just about what seems to be connecting myself to the crowd and vice versa. of course there track that go to well together to pass on, but in general i try to leave it open and not think to hard. i've heard dj's play the same mixes over & over, and you can see how it'll work one time and bomb another. that's a good learning experience right there. as far how long b4 i play the track, all depends on how good the other track is....

Balactus

08-04-2003, 07:05 PM

it changes with how i'm playing. if i'm playing techier i'll mix longer. but if i'm playing a soulful deep set i'll usually just try and make it sound nice as opposed to mixing the whole way through.

w

DOTSmusic

08-04-2003, 07:06 PM

Originally posted by aLie:
i USUALLY know, two records before the one that is playing.
though i have been known to change my mind due to realizing that another record would sound nicer mixed with the one that is playing. (i'm one of those people that likes to work 2 songs together for as long as necessary).
and No, i don't pre-program my sets EVER. i just know my records really well and have developed good programming abilities.

by the way, i recently rediscovered your remix of Gus Gus' Very Important People. (the mix with vocals in it). absolutely amazing. did you play the keys on that? actually i do pre plan my sets if that means that i actually choose which records i will bring along as opposed to just grabbing a stack from my shelves and hoping it will work out. what i meant above is that i don't have my records set up beforehand in a certain order in which i will mix them. i just bring along records that i feel will go well together or maybe have the same type of vibe.

[ August 04, 2003, 08:07 PM: Message edited by: aLie ]

08-04-2003, 07:10 PM

Nice, nice...!!! Thank you. ;)

Keep it coming!

This is definitely good stuff so far.

saadir7

08-04-2003, 07:15 PM

sometimes i do it when that breakdown - vocals - go a capella mid way part of the record comes up.
sometimes i wait till the instrumental (horn, piano, guitar...) solo ends and then i ease em in as slick as i can,
sometimes i wait till the end and the drum track is goin and then i come in. especially if the song is so hot within itself.
most dj's are gonna have a trademark mix or sound, so if i hear it more than once, i ain't mad.
if it's the same damn mix week in week out, i wouldn't dig that.

falko

08-04-2003, 07:16 PM

in any situation where you have to pack a limited # of records - 3 bags, 2 crates, etc. - i think it forces you to plan to a certain extent.. you kind of form an idea of what you will play that night.

when packing the music, i always group records by what i think goes together. otherwise, i find it hard to stick to any plan because the people almost never "cooperate" with it, which is to be expected....

Querck

08-04-2003, 08:46 PM

There's gotta be some planning involved for me. Before the gig, I go through all my records and in my mind figure out which ones I'm feeling on the particular occasion--usually of a similar mood. But then, I also bring what I think are the hottest records I've got at the moment--usually the ones that are relatively fresh, and those could be of different moods and vibes.

When playing, the moment I am finished with a blend, I am thinking of the next cut to throw on, unless I am really working the eq's. How soon I choose it depends on where that track is in my bag. The most frustrating feeling is when you know what track is perfect to play, but you can't find it, and after frantically flipping through a bunch of records you realize that you will have to choose something else--sometimes I can lose my whole vibe when that happens. AR15firing.gif

I never pre-program more than 3-4 records together.

I like spontaneity, but there is always a time during a set when it helps me to know exactly what I will play next right away--almost like taking a breather and regrouping yourself.

Hippie

08-04-2003, 08:49 PM

Whenever I go overseas I take only a shoulder bag full of records ( about 50 records) I try to take all the new stuff and maybe 5 classics that I have chosen just to hear if I feel like it. I don't plan my set but I do plan to have only new stuff and only soulful stuff I like. If I go out and the agent has booked me in a club that wants it harder there ****ed because all I have is soulful and dubby stuff. I'm usually booked correctly but sometimes shit happens. So if I'm playing and I'm talking and it gets near the end I do like the old days and give them a couple of seconds of silence. Sometimes I get stares like what the **** but hey I can always build it back up! I also only take the new stuff because it makes me play it and not fall back on standards.

liL Ray

08-04-2003, 09:02 PM

look at the crowd and see where they want to go....stop looking for the record and look at the crowd, they will let you know which musical direction to go

playing a pre-mixed set = dumbing down of the music....i.e, no respect for the people you are playing for.

R.I.F..... graemlins/beerchug.gif

mattymatt

08-04-2003, 09:11 PM

like whyteout, i go by feel, sometimes i have 2 records that must be played back to back, but thats about it. Sometimes i'm deciding what to play 10 seconds before the record ends!

One thing I feel is important is like what lil ray was sayin, I think if you're playing a big record, like with a buildup, or something fierce like that, you should not have your back to the crowd! one should be present for their big moments. I hate having my nose in my crate, i'd rather be facing the crowd for as long as possible.

08-04-2003, 09:39 PM

When I know the next record I intend to play, I often like to cue it up right away and get back to enjoying (listening to, dancing to, EQing) the record that's playing. Really depends on what parts of that record I really enjoy or that need some attention. If it's a couple minutes away or more, I'll usually cue up record #2, get that out of the way, then get back to record #1. Of course, intended record #2 often changes as I watch the crowd or just get a better feeling or idea.

Also, I don't "plan" sets, but often do have a general theme or mood in mind for the night. On the rare ocassions (these days) that I have enough time, I may go through more than one theme or mood in the same set. I do have certain records that I like to play together. I think of them more as "strands" or "threads." For example, from a certain record I could go in one direction and play 5 or 6 other records, or from that same record go in another direction and play 5 or 6 different records.

In the final analysis, you have to know your music well enough--and be flexible enough--to go wherever it is you need to go to make the party happen. That's why I almost always bring more records than I'm likely to need. I know it when I'm packing my bag, but you just never know...

Interested to hear Francois' thoughts.

Nege

08-04-2003, 09:46 PM

I never really paid attention to how long it takes me before I slap on the next record.
it depends on the vibe or how I am feeling.
sometimes right after I finish a mix I have the next record ready and it comes on within minute
,and there are sometimes when I just let it play for a while.
for me it just depends on the moment,the crowd,and how I feel especially on full nights of six hours .
can't say anymore than that.
as for planning sets ,
I only do that when it is an occasion that I have only an hour or two to play and I have an idea of what the crowd is going to be like.(Although one can never predict what is gonna happen)
with urban and hiphop records I never keep a record on for more than 1 minute because most top 40 crowds have a short attention span.

[ August 04, 2003, 10:50 PM: Message edited by: Nege ]

liL Ray

08-04-2003, 09:55 PM

Originally posted by mattymatt:

One thing I feel is important is like what lil ray was sayin, I think if you're playing a big record, like with a buildup, or something fierce like that, you should not have your back to the crowd! one should be present for their big moments. I hate having my nose in my crate, i'd rather be facing the crowd for as long as possible. I hate when the dj drops "The big one" and as a dancer you turn around to give the dj that virtual, across the room high-five, and the dj is either picking their nose or doing some God knows whatever other crap except giving the crowd acknowledgement...it's like they just don't give a care about the crowd....hello!!, this is why you got into the game, why you practicing for hours in that hot, smelly basement, why your mate yells at yah....it is for that moment when you drop that SLAAAAMING ass track and the crowd goes nuts(clothing coming off, people yelling like they are possessed, people being lifted in the air, tears flowing freely...)....and where are you?....missing the moment because you are digging for the next record like you are f'ing "Punxstaney Phil" on a cold winter morning....

eh, most of the djs who practice the above behavior are really not worth the headphones they carry anyways....

prussell

08-04-2003, 10:06 PM

Originally posted by liL Ray:
[QUOTE]
look at the crowd and see where they want to go....stop looking for the record and look at the crowd, they will let you know which musical direction to go

I hate when the dj drops "The big one" and as a dancer you turn around to give the dj that virtual, across the room high-five, and the dj is either picking their nose or doing some God knows whatever other crap except giving the crowd acknowledgement...it's like they just don't give a care about the crowd....hello!!, this is why you got into the game, why you practicing for hours in that hot, smelly basement, why your mate yells at yah....it is for that moment when you drop that SLAAAAMING ass track and the crowd goes nuts(clothing coming off, people yelling like they are possessed, people being lifted in the air, tears flowing freely...)....and where are you?....missing the moment because you are digging for the next record like you are f'ing "Punxstaney Phil" on a cold winter morning....

eh, most of the djs who practice the above behavior are really not worth the headphones they carry anyways.... icon_rofl.gif hail.gif

damn funny, but SO true.
you're 120% on point with this.....

M-TRAXXX

08-04-2003, 10:24 PM

I'll listen to thee track & vibe w/ it for a minute before I can feel what my heart wants to play next. I guess the key is not to stress it & enjoy the moment w/ the love you helped build in the room ;)
By the way FK, thank you for blessing us w/ many yrs of wonderful music smile.gif

Manny Cuevas aka M-TRAXXX.

jeremy

08-05-2003, 01:45 AM

Hmmm, good question...

Often when I play I am in the immediate moment, playing the record that is coming out of the speaker, and not thinking about the next record.
I almost never think about the record previous.
If someone asks me what I played before this one I often have a blank and simply can't remember,even if it was only 30 seconds earlier!

Sometimes I pull a track out and have the urge to hear it RIGHT NOW, and just start turning the fader up, adjusting pitch as I go, simply because I can't wait, it has to be NOW.

Sometimes a record pops into my head, but I fight with myself, thinking "not now, it's too early", or "it's too late", or "their over this" or "they don't know it yet", and I try to find something better, but more often than not the record I initially thought of was the perfect record for that moment. Records have run out on me while I am having that dilemma, so I try not to fight with myself.

The daddy dj's always said that I should be 2 or 3 records ahead of myself. Sometimes I do have a specific record I want to play, and it takes a few records to get there, but often I tend to thrive off the spontaneity of the moment.
You may have a next next record lined up, but a vocal hook, or a musical phrase might refer to another record which you didn't expect, so often I change my mind in the final 60 seconds of the track. Living on the edge!

And also what Lil Ray said is true, the party is in the club, not in your box. When you are driving a car you have to watch the road, not the engine.

Off to work now.....

Jolyon

08-05-2003, 03:55 AM

Usually I have 2 records planned after the one that's spinning. As soon as that record starts I cue up the next one so that I can enjoy the one that's playing and check out the crowd reaction. That gives me plenty of time to work out if that one that's following is right or not. Then again there are times when the record is coming to the end and I suddenly think, I MUST play a different record to the one that's ready to go...so I dive into the box and pull it out and slap it on with moments to spare...haha.

08-05-2003, 03:57 AM

Wow, amazed by the number of responses!! Glad this would be a topic of interest.

Here's the reason I posted the question.

Sometimes, in the last few months, I have noticed that I get so involved in playing and working the living p*ss out of a song, I have about 40~20 seconds before it fades out. Life at that speed becomes a very interesting exercise, as your subconscious has to take over. No luxury to decide anything; your fingers, instinct, whatever (I'm not even sure) makes the decision for you. But more often than not, in that pressure situation, something quite mesmerizing will come up that I would have never thought about in a million years.

So, after having noticed this, I actually have been doing this quite a bit recently, where I would consciously refrain from planning much anything, and while playing for the crowd, just focus on using the VERY VIBE of what I think is good with the current song, and what will be even greater next, as the song that's playing is about to end. (maybe a minute before...) This gives me a tiny bit more time to think than what I mentioned above, but still not enough to weigh many different options. Again, it appears (at least in my case) that this 'pressure', -so to speak- helps me find the more appropriate song that should flow next.

After thinking about this, I started remembering that I would sometimes be mesmerized by Larry Levan's ability to do this very thing in the booth at The Garage.

Personally , I have started to feel that in matters of performance in front of a large crowd, (anything above 1000) it is best to really focus on understanding their energy and vibes; no words are really able to adequately describe those perceptions of the crowd's vibes, but it is quite a vivid feeling. I apologize for not winning the beauty prize for my mixing, but more often than not, I find out that the song itself (or even better, the progression of songs) is really what makes people get off, the mix almost being a bit misleading, as it could be a great mix, but leading to very arid pastures.

I know, this is probably sounding a bit heretic, in the days of picture-perfect blends from the smoothest of the smooth, but in my case, I felt that doing what I described above has truly helped me create sparks on the dance floor.

Yes, there are times where I come up with some ideas beforehand, and execute those "mini-medleys" or similar, but they're not that common, it just happens every once in a while. I never, ever plan what I play. Actually ,I always strive to do something different, never repeat the same mix twice, perhaps too self-conscious?

Food for thought.

I still think that Mancuso's way is the most touching, but would prefer if he described it in his own words, if he ever felt like it.

Fred Naked

08-05-2003, 04:10 AM

It's a struggle, unless it's a really long record, you want to work a record, you want to EQ a bit, you want to enjoy it, you want to appreciate it, but the pressure applied by social expectation of a good mix often denies me that pleasure. I know it's letting myself down, but I often crumble to the (unfounded) expectation that a great blend/mix is necessary so as not to have the music sounding disjointed. In addition to this (and in response to the question), when you succumb to the pressure of providing a good mix, you can spend too long choosing the next record to make sure that it perfectly fits that previous to it. OK, in this way you play much more of a song, but what if (as the greats have showed) a better way to do it is to just be playing/highlighting the BEST or most meaningful parts of a song. After all, that was what mixing was all about in the first place wasn't it? just playing the catchiest part or the part of a song which had the most reactivity, like the break, or the vocal? S'what grandmaster flash told me anyway. I had the pleasure of experiencing a Mancuso set in London this year (at the light), and he produced the same effect, the same flow, the same continuity in his music as any of the great "mix DJ's", without using headphones, or mixing a single record. I experienced FK's deepspace night in london, also, and although his mixes (when he chose to) were IMO 'tight', they only seemed to be used when necessary and only when it was relevant. In just going with the crowd, sometimes giving them what they want, and sometimes educating them, it is something that can only be done in non-planned way. To estabilsh a crowds trust is the first thing, then to show them something new. Thats what the best do (again, imo). hope I answered the question in a roundabout way...!

Jonah

08-05-2003, 04:28 AM

As what Lil Ray said, its all about the crowd. From the records you drop you will know which record will work!!

You just Know!

I can't do none of that "Pre plan set" thing.

I will usually look at the crowds response and then see which way to take the vibe!!

Jolyon

08-05-2003, 04:40 AM

I agree FK - it would be interesting to see DM's own thoughts on this. I've never heard D. play a bad record or a record in the wrong place or context at the two loft parties i've been to, so that says a lot.

chulo2737

08-05-2003, 04:50 AM

Originally posted by Albert Diaz:
<blockquote>quote:<hr />Originally posted by FK:
do you plan your sets in advance? No, it's impossible to expect the crowd to flow with a set that has been planned out unless you specifically know the place and the majority of the people there. I think they would know what you're trying to do and what kind of story you're trying to present because they know you. However, for strangers it has to be what you feel, so I just wing it.

Originally posted by FK:
Do you sometimes plan mini-sets while playing, or beforehand?Yes, I have records that I enjoy mixing together which can be three, four or five deep and I do work it into a set if I feel it will work, but usually I'll just wing it and try to feel out the crowd and the vibe of the place.

Originally posted by FK:
Do you like DJ's who play the same mixes over and over again?NO, NO, and NO. Snooze city!!! graemlins/sleep2.gif [/QUOTE]Hey Albert,
It's like you are in my head! I agree with ya 100% and I've tried every way to play a set. The crowd dictates what you play next, be ready and prepared to give them what they want as well as hit them with things you want them to get into. Yo Albert, when are you playing next and where? You sound like a jock that i want to dance too!
Peace Q graemlins/beerchug.gif

chulo2737

08-05-2003, 04:58 AM

Originally posted by liL Ray:
look at the crowd and see where they want to go....stop looking for the record and look at the crowd, they will let you know which musical direction to go

playing a pre-mixed set = dumbing down of the music....i.e, no respect for the people you are playing for.

R.I.F..... graemlins/beerchug.gif You hit it right on the nose Ray.... graemlins/respekt.gif

schmilo

08-05-2003, 05:40 AM

Greetings FK - very interesting thread. On the strength of the sets I've heard you play in the last year or so I'd have to say that your approach seems to be working!

I was wondering though - do you also have a specific way of packing/laying out your records and CD's (etc?) in order to help you in selecting material quickly? For example grouped by tempo, genre, where in a set it might fit, or anything else. This is another area lots of people have different approaches to, so I'd be interested to know...

I was also wondering if you can remember what the tune you played immediately after 'Life on Mars' on Saturday was? My memory can't seem to supply me with a description to give you (bloody skunk! graemlins/conf44.gif ) but I remember making a mental note to ask for an ID.

In any case, thank you for (another) wonderful evening of music. graemlins/respekt.gif

Originally posted by FK:
Wow, amazed by the number of responses!! Glad this would be a topic of interest.

Here's the reason I posted the question.

Sometimes, in the last few months, I have noticed that I get so involved in playing and working the living p*ss out of a song, I have about 40~20 seconds before it fades out. Life at that speed becomes a very interesting exercise, as your subconscious has to take over. No luxury to decide anything; your fingers, instinct, whatever (I'm not even sure) makes the decision for you. But more often than not, in that pressure situation, something quite mesmerizing will come up that I would have never thought about in a million years.

So, after having noticed this, I actually have been doing this quite a bit recently, where I would consciously refrain from planning much anything, and while playing for the crowd, just focus on using the VERY VIBE of what I think is good with the current song, and what will be even greater next, as the song that's playing is about to end. (maybe a minute before...) This gives me a tiny bit more time to think than what I mentioned above, but still not enough to weigh many different options. Again, it appears (at least in my case) that this 'pressure', -so to speak- helps me find the more appropriate song that should flow next.

After thinking about this, I started remembering that I would sometimes be mesmerized by Larry Levan's ability to do this very thing in the booth at The Garage.

Personally , I have started to feel that in matters of performance in front of a large crowd, (anything above 1000) it is best to really focus on understanding their energy and vibes; no words are really able to adequately describe those perceptions of the crowd's vibes, but it is quite a vivid feeling. I apologize for not winning the beauty prize for my mixing, but more often than not, I find out that the song itself (or even better, the progression of songs) is really what makes people get off, the mix almost being a bit misleading, as it could be a great mix, but leading to very arid pastures.

I know, this is probably sounding a bit heretic, in the days of picture-perfect blends from the smoothest of the smooth, but in my case, I felt that doing what I described above has truly helped me create sparks on the dance floor.

Yes, there are times where I come up with some ideas beforehand, and execute those "mini-medleys" or similar, but they're not that common, it just happens every once in a while. I never, ever plan what I play. Actually ,I always strive to do something different, never repeat the same mix twice, perhaps too self-conscious?

Food for thought.

I still think that Mancuso's way is the most touching, but would prefer if he described it in his own words, if he ever felt like it.

Martin Red

08-05-2003, 06:30 AM

Originally posted by FK:
OK, let's take a little side road. :D

Can we talk about: During a gig, how long before the record you are playing ends do you make your next selection?

How many (minutes) seconds are left when you whack that next piece of vinyl on your turntable?

If not, do you plan your sets in advance?

Do you sometimes plan mini-sets while playing, or beforehand?

Do you like DJ's who play the same mixes over and over again?

I will withold my answer for now, but will post it later. (there's a method to the madness)

Peace.

FK What alot have people have already said: I bring records that are varied in style and go whichever way, backups also, no point pre-planning when the DJ before has played 50% of your pre-planned set already, try and bring things that perhaps won't be played by other DJ's. Will have an idea of a few mixes that work or at least have an idea (without BPMing) of the tempo and where they should fit into a set better. But I don't mind dropping a track in, after all, a party is not a mixing competion is it ?. Avoid crashes and keep them dancing, however you achieve that is upto the chooser of the music, try and be carefull not to drive into a street with a dead end though. Sometimes a record may be played for longer if you have to hunt for something to go into it, oh, and if a record changes and has a fantastic breakdown at 5:12 don't cut it at 5:00 let the music play, think of the dancer.... can't think of anything more at present. graemlins/conf44.gif

herb martin

08-05-2003, 06:59 AM

Very interesting topic FK,

I usually try to let the Climate of the crowd dictate the direction I take the music with that said sometimes I will know how and what i will play next but for that most part I vibe of the energy of the crowd. as for when I select the next record/CD i'm going to play, Usually i will hear the mix in my head first as the current record is playing... then, I try to get it out and at least, on the turntable /in the player as soon as i know what its going to be. That is, in between working whats currently playing...Peace & Muzik,
Herb graemlins/cool_shades.gif

C hristian

08-05-2003, 08:00 AM

Before you go on the road, to the club, etc. you have to pull records. So how do you do that? How are you deciding which records stay home and which go out? How many record options do you carry? B/c that , of course, helps determine what the final choice selection will be.

Maria

08-05-2003, 08:01 AM

This is not really meant to answer the question, since I don't DJ, just some observations particular to my participation on the floor. Brings to mind many discussions we've had on these boards over the years, what's more crucial, the mixing or the programming. Not being a DJ I've always felt that the programming is tantamount to the technical wizardry of the mix. The answer we've all come away with is probably somewhere in the middle.

I think unexperienced DJs breaking their chops in at parties SHOULD pre-plan, extensively. Nothing wrong with that at all. Being able to relax even 5% more contributes to positive energy in a space. Drop the record and watch your floor, see what works what doesn't, so what if you clear a floor, next time you will know.

The whole idea of setting a mood, a journey, even going with the vibe must be very difficult to do in a "set" vs. a "night or day" depending on what time you are throwing your party. To a certain extent the DJ/presenter is limited when faced with these mini-time slots that everyone experiences. 3 hours in a night just doesn't seem enough to me from where I'm participating on the dance floor, I can't even fathom what the person has to deal with when the time slot is shorter! I mean for example if you are doing a 2 - 3 hour set and your first up, the first 45 minutes of easy music, lower volumes (at least that's the way it should be) then gradually building up, as a DJ do you feel that you are prescibed to never hit a peak? Given these constraints (and assuming this is the way of the future) I would venture to suggest that there be more peaks and valleys like a sound wave...

Also thinking about what to play next,,,how long before the next record,,,should I change up what I thought would originally work,,,,it feels like it would all take on a tremendous sense of urgency, even panic, given you've got to do it all in 1.5 to 2 hours...imagine that! I'd be pullin' my hair out!

Another thing, and this is something that probably doesn't happen at all parties. The parties that are long-standing, that have I guess a "history" we on the dance floor provide many a suggestion as to what to play next cause we sing em out to you!!! I can't tell you how many times I am at a party and 2 steppin' to the record of the moment and somebody right by me is singing the next record right into the mix. I'm not nutz, this is something that happens practically every time I'm out. You just start singing the lyrics to something that you know is gonna go well with what's on the deck at the moment, with volumes equalized correctly for your room and especially if you are in a small to medium sized space, you can hear this, I swear you can, I've heard people doing this from across the room. But then again I'm on the floor without a care in the world, not having to deal with how long before the next record should I start thinking about what's going on,,,the artistic process of the presentation seems to be a lot more technical that way than sensory...

For a non-DJ, I went way too wordy on this 'scuse me biggrinangel.gif

P.S. Ray, that virtual high-five is very, very important, I wan't to feel like somebody's slappin' my hand back when I look to the booth graemlins/grinyes.gif

Bill Blake

08-05-2003, 08:21 AM

Originally posted by FK:
I know, this is probably sounding a bit heretic, in the days of picture-perfect blends from the smoothest of the smooth, but in my case, I felt that doing what I described above has truly helped me create sparks on the dance floor.
Picture perfect blends are for mixed CD's not for live party playing.

A picture perfect blend wont rock a party...playing the right good music at the right time will (and can be easy or hard sometimes no matter how much you play cause it depends on different factors.

Some people forget this.

08-05-2003, 08:45 AM

But does anyone here think that a lessor known jock could get away with sloppy blends? I highly doubt it.

Fred Naked

08-05-2003, 08:51 AM

It depends on the social expectation. If you're playing to 20 people in a pub (bar), then yeah, sure you can get away with sloppy blends whoever you are...

schmilo

08-05-2003, 09:00 AM

To say that FK 'gets away with sloppy blends' would be pushing it a bit - from what I've heard I think he was being a bit harsh on himself in that earlier post...

I know what you mean though - the slightest drift in a mix can be the first thing that's picked up on by some people (usually wannabe DJs, funnily enough) even when most of the dancefloor is happily bouncing around to what's playing.

Originally posted by JL:
But does anyone here think that a lessor known jock could get away with sloppy blends? I highly doubt it.

däp

08-05-2003, 09:03 AM

i never pre-plan my sets but i do have some idea of what i want to play. i mean, i know what i've got in my bag (for the most part) but i never know how they'll jump out of there. i get more of a rush from the spontaneity.

i always pick my next record before going crazy on the eq or dancing. i only have issues when i can't find the record i want to play. the worst is having to play something as a substitute because i couldn't pull the right tune in time.

08-05-2003, 09:12 AM

oh totally, that's not what I meant at all. I was referring to what you stated in your second paragraph, about us regular schmoes slipping a beat here and there.

Originally posted by schmilo:
To say that FK 'gets away with sloppy blends' would be pushing it a bit - from what I've heard I think he was being a bit harsh on himself in that earlier post...

I know what you mean though - the slightest drift in a mix can be the first thing that's picked up on by some people (usually wannabe DJs, funnily enough) even when most of the dancefloor is happily bouncing around to what's playing.

<blockquote>quote:<hr />Originally posted by JL:
But does anyone here think that a lessor known jock could get away with sloppy blends? I highly doubt it. [/QUOTE]

E-Phi

08-05-2003, 10:20 AM

Once I've brought a record in, I'll work the eq and f/x for a minute, then pull up 2 or 3 records that I believe will fit. Then back to the eq and f/x. Then I'll cue up one of those records while still working the eq's and watch the crowd. Then my subconscious kicks in saying "NNOOOOOOOO!" bring in the other one 1st. So yank off the cued record and put on the other one and ride the pitch as I bring it in. graemlins/acclaim.gif

TAC

08-05-2003, 10:31 AM

Use the Force...Use the Force...

The Donger

08-05-2003, 10:31 AM

I'm all like, oh shit, lemme find something next, on that wham bam thank you maam type shit.

I like working the record, definately inspired by people like you FK. You killed me with a Carl Craig record once, straight killed me.

My "battle sets" on Downshift were not planned, if you watch the video, you can see me panicking digging through records and changing my next record on the platter with seconds left, but it works out for me! It's also what gives me a charge, part of the "rush" of DJ'ing sometimes, really being on the edge. It inspires good risk taking.

There are nights however, where we will not feel as inspired. On those nights I have redone certain blends, never any where near full sets though. I know the mini-sets you speak of, like 2-3 record combos, I have done those on less inspired occasions.

Always look to the crowd though for your next pick... and don't be scared to "**** up". The less you think about these things, I find the better it is for all.

"Act Upon Instinct..."

08-05-2003, 10:41 AM

Originally posted by schmilo:
To say that FK 'gets away with sloppy blends' would be pushing it a bit - from what I've heard I think he was being a bit harsh on himself in that earlier post...Well, what it boils down to is that I think a lot of times I truly feel that the party goes in a better direction without so much focus on the mixing, rather somteimes using effects and stuff to make transitions between very disparate songs if needed.

Then again, there are the trainspotter types to whom the mix is more important than the music itself (mostly all men, interesting tidbit, BTW).

In my humble opinion, if you ever tried it, it is actually much harder to play dope-ass songs without using any mix in between as a 'rush'. The song has to speak for itself. Forget the mix for a second. Tell a story with the music. Once you get used to that, it actually feels somewhat 'empty' to just do the mix. I have witnessed so many technically perfect mixers who left me stone cold. One of my best memories ever is of this girl playing the back room at 'House Nation' with one CD player, and the whole room cheering her on as she changed CD's. She definitely BROUGHT IT...Dayum!! hail.gif hail.gif

These days, I feel that I usually strive to play songs that deeply MEAN something to the crowd, and leave the 'mixes for their own sake' to the professionals. (I still feel like a total amateur, but that also means enjoying it, and if I f*%ed up, so be it... we're still having a good party)

And of course, all of this being David Mancuso's fault..... graemlins/acclaim.gif

The Spirit's In It

08-05-2003, 10:42 AM

Reminds me of these European DJ's faces when they heard a real Larry Levan tape Live at the Garage, and couldn't believe how 'BAD' it sounded to them, and so totally missing the point in the process.

Go figure, the first time I went to London in 1983, they looked at me like an extraterrestrial because they couldn't believe you could match beats. Then that's all some of them started to care about.

In Europe, many people find it 'wrong' if records don't beatmatch now....which is why everything has to be brought to the same tempo, like it or not. (Munchkinized R&B songs, etc...) It's become more important than if it actually sounds good or not.

And forget downtempo peak songs; that's for bars and chill-out rooms; although now Hip-Hop can help change that! Peaks and Valleys? A thing of the past. Now, we offer you the same uniform landscape by the mile. But the mixes are great. http://deephousepage.com/smilies/sleep.gif

Don't get me started! (well, actually, no need to.... I haven't stopped) :D

[ August 05, 2003, 12:01 PM: Message edited by: FK ]

DeesKo

08-05-2003, 10:45 AM

Originally posted by Jolyon:
I've never heard D. play a bad record or a record in the wrong place or context at the two loft parties i've been to, so that says a lot. I think this is because people go to the Loft WANTING to follow David wherever he is going to go musically, without question, without hesitation, without second-guessing.

That is a beautiful thing.

As for my personal question about record selection... it all just depends on the situation.

Every night, every crowd, every party, and every record is different in any given moment.

I try my best to "feel" with my subconscious and only use my consciousness to remember where the record is located in the bins.

Peace

jurren

08-05-2003, 10:52 AM

Originally posted by schmilo:
To say that FK 'gets away with sloppy blends' would be pushing it a bit - from what I've heard I think he was being a bit harsh on himself in that earlier post...

I know what you mean though - the slightest drift in a mix can be the first thing that's picked up on by some people (usually wannabe DJs, funnily enough) even when most of the dancefloor is happily bouncing around to what's playing.i feel that 'sloppy' mixing could even help people get more into the music.
no one stays focused during the entire set, neither the dj nor the dancers. missing a beat will immediately grab peoples attention, and when adjusted quickly will get the attention back to the music. and people will focus on the next song more then when they'd just heard another seamless blend.

jurren

falko

08-05-2003, 11:06 AM

while i don't disagree with anything that has been said, the argument has to be made for the merits of mixing.

yes, the music and the songs are most important, but i would much rather have BOTH - good music continuously mixed. it doesn't always have to be blends, it can sometimes be done using EFX or just having the record dropped in, and some records can fade out, but overall, good mixing makes the dancing experience better.

danny krivit and timmy regisford come to mind as almost the perfect, consumate DJs in this regard. their selection is INCREDIBLE and it's always mixed very well. they strike a nice balance between 'working' the record and mixing the records.

Constantin

08-05-2003, 11:17 AM

i like to play quite spontaneously which means i don't have "pairs" or something like this. i usually cue in the next record quite early but if something better rushes to my mind i might change with only a few seconds left. i also feel that the selection is more important than the mix but on the other hand am pretty hard with myself if i make a slight mistake ( might also be because i usually play in a team and it can get a bit competitive - not in a bad way but we push each other further ). in special cases mixing can be more important, e.g. when i want to switch to a record that is not 4/4 - often people tend to leave the floor but when the mix flows long enough they might have found the groove before they realize that the straight bassdrum is gone :D

i have to have a wide range of stuff with me - never leave the house without soul / afro / reaggae / brazil etc. so that i can strive off when i feel that the people would take on the challenge or adopt to different moods.the only preparation is when getting my bags done i think about what might fit and what i would be misplaced because of the time of the set, environment etc.
i just played outside in the woods last weekend on a beautiful relaxed, family like party where everyone slept outside and took stuff that is rather reduced, dubby or "wide open" in sound ( e.g. ron trent, needs etc. ). i figured that e.g. most disco wouldn't fit here as much as i does in a club.
i just couldn't understand how another dj could drop some harsh 80's revival electropunk stuff that night - that didn't go with the atmosphere of the party.

kev

08-05-2003, 11:54 AM

Personally, there's this incredible cycle of energy that happens between the crowd and the DJ. It's such a rush. I am completely hooked on that feeling. I think that planning sets definitely take away from that feeling. The only thing I'll do ahead of time is find out what records (when pitched at the same speed) are in the same key. I like mixing in key (you can FEEL the difference).

There is no one particular method with my mixes/blends, except that everything I do in the booth (as far as DJ'ing goes heh heh heh) is done to ADD to the music that I am playing. Whether it's a mix or doing something on the effects box or crossfader I do things to ADD to the music.

I think we can all agree that good programming is the key to a good set, although I must say that there's something to be said about a technically sound DJ like Louie Vega or Ian Friday. Their mixes will grab my attention. They add to the music that they're playing through their blends (well, not just the blends obviously). I've heard cats do blends that were so fu**ing nasty I started laughing. I love hearing sh*t like that.

Dj Alex

08-05-2003, 12:00 PM

Very interesting topic to start from a personal perspective . I think they're are moments when to just drop records from the top and in the mix . Depending on the time you are playing , how the crowd are responding , when the dj feels a little in control of the party he/she feels they can do this .
It also shows the versatility of the dj as well . It is good to work records efx etc as well as so many of the U.S guys do , but sometimes it is not essential to do on every record you play imho . I say this because some records sound great the way they are ! . Back to the original question alot of dj's do not look around at the whole room imho . I know this because I like to look up to the box a few times myself . If you know the crowd in the room or have been watching since the last dj came on what was working well and what was not . it should feel a little easier . Alot of my gigs are in London at places which have a few people I may know or their musical tastes i'm familiar with . If you know what they feel try and play a little something for them as well ! .
When I feel confortable with the crowd and they are entertained then I usually take a little longer in selecting the music . Then they may be open to other genres and are prepared to take a drop in tempo as well . I also try and take into account that your ears can take so much of a beating and it's nice to give them a breather .

On the topic of mixing vs non mixing . I have had the most amazing experiences listening to mixing dj's like Andrew Weatherall mixing techno , dub and assorted beats and more and it being an sonic soundscape that was truly mind opening anyone remember Sabresonic ? . Also Derrick May at Lost and Ministry on a few occasions . I DJ can completely put you in that zone with smooth blends and mixing deep sound textures interweaving like deep house and techno can .
Harvey was also very able to do this altogether in the mix and make it work prety amazingly . he encouraged me more in trying different genres more in the mix .
Then you can hear David Mancuso play and he flows so well by his understanding of the vibe of each record and how it role is played next to the previous one .

It's all vibes..

Peace Alex . :D

mdpm99

08-05-2003, 01:57 PM

Greetings:

IMHO:

Ultimately, the music plays us.

This whole thing started with the fact, DJ-TTables other than radio, ...so that the dancer can and would become part of the musical performance. Being that we cannot always have the luxury of having the original live performance in the "dance space" or in our living rooms -- we therefore must rely on the recordings of a particular musical event.

For 26 years straight, all of my musical recordings were always in one place all of the time. Therefore one would have more options of what would be presented. (on the road this is dramatically reduced) Presently, for the Loft parties, this applies "somewhat" as my location is not where I am physical living.

So I will separate for the moment two categories.

Loft parties:

Many folks who come to the parties (about 6 per year in NYC), I have held in my arms as babies and/or knew at a very young age for the most part. Some of the music that is presented, reflect their relationship with the Loft over the years. As soon as they appear at the party, for the most part, so does a particular song appear, and that experience "is shared knowingly" with other people on the dance floor. It is "our song" so to speak and has been a friend for us for many years. This shared moment becomes for each of us, a moment of love, peace and happiness. So there are usually certain records that will be presented no matter what.....i.e., our roots. (I want to add that this is tied in with that a person will request a particular song - ex Lamount Dozier - Roots - Love is the Message - MFSB -- Frankie Knuckles...What do you want -- Expand your mind -- Journey -- etc., etc.)These will be asked to be played if I haven't already presented the song)

(I am trying to stay organized with my thoughts as I write this, as there are so many deep emotions associated with this. Please bear with me.)

When I go on the road there is for the most part -- one box of records -- 60-75 or so (20 hours of music). As I present the entire musical event of each recording as the artist(s) intended, (this works for me), .....we are therefore talking about maybe 30-35 records which will cover about 8-9 hours.

Three Bardos - the beginning, the circus, and re-entry.

Now as far as planning ahead. Yes, of course I do, in many ways.… Would one jump out of a airplane without a back-up parachute? Go out on a boat without a life jacket? Drive a car without a spare tire?… One needs a musical life jacket....just in case. So, I will organize the records so that if for some reason there is glitch and one cannot have the freedom to get "lost in the music" then I will rely on a well thought out back up system should I have to go into "damage control mode." You see, I suffer from a sonic allergy so to speak. If the sound systems I am working with (sometimes -- particularly on the road) are not up to speed and if there is any distortion applied to the original event (depending how much) than it can hinder my function, musically, period. It also effects the listener and the dancer and the "life energy" of the music. It breaks my heart to hear a song that is loved by all tortured by a sound system with distortion. Sometimes....it may not be the sound system but rather it could do with room acoustics. If you go to Lincoln Center to see and hear the Nutcracker (all acoustic) you want nothing less than a musical result especially after sinking quite a bit of green energy into the situation. Nothing is more painful to me and distracting than a non-musical environment. It is a musical human right. I have at times been in a situation where I had to select (damage control mode) records, accordingly based on the poor performance of the sound system. HOWEVER, if everything is in place, then the "sonic trail" + "the third ear" takes over and "presents itself, then one can now get to the spiritual side. The "verbal mind" can now take a brake and the music takes over. That is the place where all musical wishes, for all of us, can and do come true. I have been there and so have you ... and we know what is being said "hear." Furthermore, all places that present music should be constructed as "Musical Temples" so that music will have a proper nest and take seed and grow throughout the world.

When all situations are in play, including myself, (preparing oneself: proper diet/rest/peace of mind- )as to be in a "state of grace" -- for the music -- good room acoustics -- good clean honest sound....then everything, and I mean everything and anything goes! The music at that point can and will present itself and guide us as our friend and will show us the way h-OM-e. It becomes a spiritual and psychic journey whereas a re-birthing experience joyfully occurs.

Ah......to be born again

smile.gif

d

Ps. If my gibberish needs any clarification, then please let me know.

[ August 05, 2003, 04:34 PM: Message edited by: david mancuso ]

mayz

08-05-2003, 02:08 PM

i play a track, i check what could match on the playing track, i try to beatmatch it & when i thingk its "ok" , i put it in! Yeah! ... but then suddenly ! the beats go totaly wrong ! graemlins/jpshakehead.gif ... Not again !!! graemlins/grinyes.gif smile.gif

When you know 2 records that match very well, you also know when you have to mix them ... well yeah well, thats when you mix them eh ;)

I'm a beginner biggrinangel.gif .. can you tell ? ;)

mdpm99

08-05-2003, 02:32 PM

Originally posted by mayz:
i play a track, i check what could match on the playing track, i try to beatmatch it & when i thingk its "ok" , i put it in! Yeah! ... but then suddenly ! the beats go totaly wrong ! graemlins/jpshakehead.gif ... Not again !!! graemlins/grinyes.gif smile.gif

When you know 2 records that match very well, you also know when you have to mix them ... well yeah well, thats when you mix them eh ;)

I'm a beginner biggrinangel.gif .. can you tell ? ;) Greetings mayz:

I believe it all begins in the Mother's womb....the heart beat sound and vibrations from the (her) heart. Her heartbeat and your heart beat I am sure are in sink...matched beats. And when she speaks to you as new born baby her words become music to your ears. And when you giggle as a baby, it is your love song to Mother.

Music is Love

d

[ August 05, 2003, 03:39 PM: Message edited by: david mancuso ]

jsd540

08-05-2003, 02:35 PM

Originally posted by david mancuso:
Greetings:

IMHO:

Ultimately, the music plays us.

Furthermore, all places that present music should be constructed as "Musical Temples" so that music will have a proper nest and take seed and grow throughout the world.

graemlins/thumbsup.gif

SENSE MGMT

08-05-2003, 03:03 PM

I purposely buy tracks that compliment records I have. I'll build mini sets and usually will play tracks that link these sets together. The minisets I compose our of many different moods and textures. So pretend i'll be playing hard peak time hour but I think the crowds about to over do it and tire so I'll play a rec that links well with another miniset I have composed that will be minimal and starts pacing the crowd down. The time where you can slowly ease down the pitch. End of the set I'll play some Sylvester and make you feel like it's the end of the night at the disco. Am I articulating what I'm trying to convey well?

jeremy

08-05-2003, 03:04 PM

Originally posted by david mancuso:
Greetings:

IMHO:

Ultimately, the music plays us.

This whole thing started with the fact, DJ-TTables other than radio, ...so that the dancer can and would become part of the musical performance. Being that we cannot always have the luxury of having the original live performance in the "dance space" or in our living rooms -- we therefore must rely on the recordings of a particular musical event.

Hi David,
It is interesting to me that you mentioned the live performance. When I visited your party in the early 90's I was struck by the feeling that each record was indeed a live performance, as if the bands (Blackbyrds, MFSB, LLSmith, etc etc) were present at the party, and performing for us.
In fact I suppose I was closer to the moment when the song had been recorded than ever before.

Unique smile.gif

jeremy

08-05-2003, 03:07 PM

Originally posted by schmilo:

I was also wondering if you can remember what the tune you played immediately after 'Life on Mars' on Saturday was? My memory can't seem to supply me with a description to give you (bloody skunk! graemlins/conf44.gif ) but I remember making a mental note to ask for an ID.
I'm pretty sure this was 'Galaxy' by War.

DJ76

08-05-2003, 03:15 PM

Nice topic.

I have to say that something weird happens to me at times. I would be walking in the street, going to work or whatever.... and I'd sort of compose a set or a mini-set in my head. The songs will just come naturally one after the other. It happened once or twice that I was wise enough to have a pen and paper on me to write them down. Each song that was popping in my mind was making a lot of sense in terms of order. I'd be repeating one song in my head for barely 30 seconds or a minute when POP! there goes the next song and I guess somehow the hook of the previous song would be the basis for the next one coming. Do I make sense?

But to answer the question, a bit of planning is always good specially when you're having different crowds. It will really depend of my mood. I also have tracks that I like to play together. I don't know how many times I have played ESP "It's you" followd by "Watch them come".... I don't know why but I just matched them so many times that it just makes sense for me to play them together :D And if I'm playing with a lot of familiar faces, they always expect me to play some fetish tracks of mine like some early Roger S. stuff.

What I would love is to be able to have all my records, then just pop whatever I want to play. Bringing 100 records or so with me just makes me feel incomplete. ;)

Nicholas

08-05-2003, 03:19 PM

I think this is why I found happiness on the dancefloors of New York (Body and SOUL, Hamsa, Loft) after getting bored in London.

At Body and Soul, it seemed like the 3 of you had complete freedom to mix or not mix. I heard some of the most amazing beat matched mixes and some of the most amazing non-beat matched transitions. I think having the confidence to be able to change the tempo takes the freedom of expression to a whole new level.

Damn the stuffiness of my home country! ;)

Nicholas

08-05-2003, 03:21 PM

Originally posted by DJ76:
Nice topic.
Of course you have it easy Alex, as pretty much one Theo Parrish record will blend into another with ease.

graemlins/grinyes.gif

[ August 05, 2003, 04:23 PM: Message edited by: Nicholas ]

Javier Drada

08-05-2003, 03:24 PM

Originally posted by david mancuso:
Greetings:
For 26 years straight, all of my musical recordings were always in one place all of the time. Therefore one would have more options of what would be presented. (on the road this is dramatically reduced).
That is interesting because when Saadir and I would play at Twi Ro Pa I used to bring just about all my CD's 6 Cases total plus misc. Stuff in a backpack. A crate with 120 pieces of vinyl, a record bag with like 60 pieces and another crate with like 80pieces. Plus all the stuff Saadir would bring. It would give us shuch great musical freedom. We could go anywhere we wanted to at any point in time. There were some magical moments, times that I will never forget. It was our own Loft, Garage, Music Box and Shelter. Sometime we were deep in the mix and sometimes we just let the records ride. I learned allot playing together. That spark now has us on this mission with a new night we are trying to develope. Once the magic gets you, your hooked and there is no turning back. For us now there are no boundaries. We play what we feel sometimes it's magical other times it just is...

mayz

08-05-2003, 03:24 PM

Originally posted by david mancuso:
<blockquote>quote:<hr />Originally posted by mayz:
i play a track, i check what could match on the playing track, i try to beatmatch it & when i thingk its "ok" , i put it in! Yeah! ... but then suddenly ! the beats go totaly wrong ! graemlins/jpshakehead.gif ... Not again !!! graemlins/grinyes.gif smile.gif

When you know 2 records that match very well, you also know when you have to mix them ... well yeah well, thats when you mix them eh ;)

I'm a beginner biggrinangel.gif .. can you tell ? ;) Greetings mayz:

I believe it all begins in the Mother's womb....the heart beat sound and vibrations from the (her) heart. Her heartbeat and your heart beat I am sure are in sink...matched beats. And when she speaks to you as new born baby her words become music to your ears. And when you giggle as a baby, it is your love song to Mother.

Music is Love

d [/QUOTE]http://forum.partyguide.be/images/smiles/icon_eek.gif
My god ! beautifull man

smile.gif i'll be thinking bout that next time i'm trying to be connect the records

DJ76

08-05-2003, 03:26 PM

Originally posted by Nicholas:
<blockquote>quote:<hr />Originally posted by DJ76:
Nice topic.
Of course you have it easy Alex, as pretty much one Theo Parrish record will blend into another with ease.

graemlins/grinyes.gif [/QUOTE]oh that's why.... graemlins/rofl.gif

mdpm99

08-05-2003, 03:42 PM

Originally posted by jeremy:
<blockquote>quote:<hr />Originally posted by david mancuso:
Greetings:

IMHO:

Ultimately, the music plays us.

This whole thing started with the fact, DJ-TTables other than radio, ...so that the dancer can and would become part of the musical performance. Being that we cannot always have the luxury of having the original live performance in the "dance space" or in our living rooms -- we therefore must rely on the recordings of a particular musical event.

Hi David,
It is interesting to me that you mentioned the live performance. When I visited your party in the early 90's I was struck by the feeling that each record was indeed a live performance, as if the bands (Blackbyrds, MFSB, LLSmith, etc etc) were present at the party, and performing for us.
In fact I suppose I was closer to the moment when the song had been recorded than ever before.

Unique smile.gif [/QUOTE]Greetings jeremy:

The sound is always set up as though it was a live performance. This is why it (the sound system) is always in true stereo .....whereas the soundstage becomes the dance area.

The realtionship between the listner and/or dancer
is therefore enhanced.

d

schmilo

08-05-2003, 03:53 PM

Thanking you. smile.gif

Originally posted by jeremy:
<blockquote>quote:<hr />Originally posted by schmilo:

I was also wondering if you can remember what the tune you played immediately after 'Life on Mars' on Saturday was? My memory can't seem to supply me with a description to give you (bloody skunk! graemlins/conf44.gif ) but I remember making a mental note to ask for an ID.
I'm pretty sure this was 'Galaxy' by War. [/QUOTE]

jihad muhammad

08-05-2003, 04:06 PM

fk, i agree that you have to go with the energy of the crowd and the vibe that the record gives out. i usually hear another record in my head that i think is going to go perfectly with the cut thats already on. i do like to have tight blends myself but you have to know when to ride 2 cuts together for more than a minute ( lets say like a 4 minute ride ).
i dont like dj's that do the same mix b/c to me it shows no creativitywhich is what i'm listening for when i go to hear anybody play. doing the same mixes to me is the easy way out of not wanting to work. i have noticed that the crowd is watching and listening to your every move so it's always good to entertain your crowd other than just playing cuts.
in playing i noticed when your feeling the vibe and your dancing in the booth the crowd also gets hyped for some reason too. i guess dj's are like celebrities too.

Tee Cee 13

08-05-2003, 04:31 PM

As I'm feeling the record that's playing I'm humming the next selection it takes anywhere from 3 to 4 min. into the record thats play'in.. Then I slap it on the turntable.... I leave room to operate in case something eles pops in the Krainium... Which might turn out to be a better selection than the one I was humming... More than enough time to slug a drink or toke the weed... graemlins/stupid.gif

julian_kelly

08-05-2003, 04:39 PM

Sometimes when I'm in a situation where the record is running out and I'm somwhat unsure of where to go, I sometimes move to simply mixing in bonus beats. I think many dj's underuse bonus beats or even simple stripped down dubs for that matter.

Bonus beats are an awesome tune to use in buying time and changing the mood/genre...its also fun to layer two tunes on top of a bonus beat. I also throw sound effects, thunder..rain..animal noises...tv/movie clips... into my 'scapegoat' category as well graemlins/rofl.gif

peace,
julian kelly

ps...FK...I know im puttin you on the spot, but how about submitting a mix or two to G-Man graemlins/rofl.gif

Originally posted by FK:
....Sometimes, in the last few months, I have noticed that I get so involved in playing and working the living p*ss out of a song, I have about 40~20 seconds before it fades out. Life at that speed becomes a very interesting exercise, as your subconscious has to take over. No luxury to decide anything; your fingers, instinct, whatever (I'm not even sure) makes the decision for you. But more often than not, in that pressure situation, something quite mesmerizing will come up that I would have never thought about in a million years.....

jeremy

08-05-2003, 04:42 PM

Originally posted by julian_kelly:
[QB]
ps...FK...I know im puttin you on the spot, but how about submitting a mix or two to G-Man graemlins/rofl.gif
(Shining that spotlight) How about the tapes from last Saturdays DeepSpace/PlasticinePeople?
A stunning night which I want to relive!

darrow

08-05-2003, 04:46 PM

Originally posted by FK:
During a gig, how long before the record you are playing ends do you make your next selection?
Assuming, I don't have something in mind already, I usually am digging for my next selection as soon as the record I just put on starts to play. That's not a hard and fast rule though. If the record I put on is one that I can work - effects, bass, mid, treble, etc. or if it's one that really should just be left alone, then I'm in no hurry to pick the next cut.

Originally posted by FK:

If not, do you plan your sets in advance?
FK No. I do play records during the week before the gig and find myself digging through my collection, pulling out old stuff or not-so-new stuff or just stuff I haven't played before. Those records are typically the ones I end up taking with me. I dont plan my set record for record though. The only time I've planned a set is when I had to dj for a crowd that wanted r&b and hip hop (many years ago). I wasnt familiar enough with the stuff i bought (nor liked it as much) to allow myself to wing it.

Originally posted by FK:
Do you sometimes plan mini-sets while playing, or beforehand? Hmmm...if I've come up with an intersting mix during the week, I'll try to remember to test that mix in front of a crowd. I'm the absent minded professor though. I usually end up forgetting what I mixed together that sounded so good.

Originally posted by FK:
Do you like DJ's who play the same mixes over and over again?
I'd rather not hear the same mixes over and over again, but I don't go out enough to the same party each week to notice that. Do DJs really do that?

jeremy

08-05-2003, 06:34 PM

Originally posted by darrow:
<blockquote>quote:<hr />Originally posted by FK:
Do you like DJ's who play the same mixes over and over again?
I'd rather not hear the same mixes over and over again, but I don't go out enough to the same party each week to notice that. Do DJs really do that? [/QB][/QUOTE]Paul Anderson, Norman Jay, Karl Brown (and others I'm sure) all used to have specific mixes that they would repeat for weeks, or sometimes months.

Norman Jay used to track Most Wanted-Calm Down with Stevie Wonder-All I do, and Twin Hype-For Those Who Like To Groove with Chukim-Do It.
I think he was actually learning to mix at the time, so he got those two mixes perfected, and ran with them for months!

Paul Anderson used to have a set routine that would be the first 30/45 minutes of his set.
It was the same, beat for beat, every week for ages!

The thing about it I guess is that when you embark on a familar road, people know where they are going and tend to enjoy it.
It's just the budding DJ's in the crowd that get bored ;)

YUJI-SAN

08-05-2003, 09:49 PM

liL Ray

08-05-2003, 10:01 PM

Originally posted by C hristian:
Before you go on the road, to the club, etc. you have to pull records. So how do you do that? How are you deciding which records stay home and which go out? you try(big word here) to visualize the party in your head, but you never know 'til the crowd gives you the permission to take them there....however, here is the best answer to your question from AK on the first page....

Originally posted by AK:

Also, I don't "plan" sets, but often do have a general theme or mood in mind for the night. On the rare ocassions (these days) that I have enough time, I may go through more than one theme or mood in the same set. I do have certain records that I like to play together. I think of them more as "strands" or "threads." For example, from a certain record I could go in one direction and play 5 or 6 other records, or from that same record go in another direction and play 5 or 6 different records.

In the final analysis, you have to know your music well enough--and be flexible enough--to go wherever it is you need to go to make the party happen. That's why I almost always bring more records than I'm likely to need. I know it when I'm packing my bag, but you just never know...

liL Ray

08-05-2003, 10:14 PM

Originally posted by FK:
Reminds me of these European DJ's faces when they heard a real Larry Levan tape Live at the Garage, and couldn't believe how 'BAD' it sounded to them, and so totally missing the point in the process.

Go figure, the first time I went to London in 1983, they looked at me like an extraterrestrial because they couldn't believe you could match beats. Then that's all some of them started to care about.

In Europe, many people find it 'wrong' if records don't beatmatch now....which is why everything has to be brought to the same tempo, like it or not. (Munchkinized R&B songs, etc...) It's become more important than if it actually sounds good or not.

And forget downtempo peak songs; that's for bars and chill-out rooms; although now Hip-Hop can help change that! Peaks and Valleys? A thing of the past. Now, we offer you the same uniform landscape by the mile. But the mixes are great. http://deephousepage.com/smilies/sleep.gif

Don't get me started! (well, actually, no need to.... I haven't stopped) :D Now let's see how many folks who used to say mixing is what matters is gonne jump on the programming bandwagon now that Francois has said what a few here have been saying forever....musically, it would be a much better world...thanks FK for laying down the word, maybe now they will listen.

08-05-2003, 11:12 PM

Originally posted by liL Ray:
<blockquote>quote:<hr />Originally posted by C hristian:
Before you go on the road, to the club, etc. you have to pull records. So how do you do that? How are you deciding which records stay home and which go out? you try(big word here) to visualize the party in your head, but you never know 'til the crowd gives you the permission to take them there....however, here is the best answer to your question from AK on the first page....

Originally posted by AK:

Also, I don't "plan" sets, but often do have a general theme or mood in mind for the night. On the rare ocassions (these days) that I have enough time, I may go through more than one theme or mood in the same set. I do have certain records that I like to play together. I think of them more as "strands" or "threads." For example, from a certain record I could go in one direction and play 5 or 6 other records, or from that same record go in another direction and play 5 or 6 different records.

In the final analysis, you have to know your music well enough--and be flexible enough--to go wherever it is you need to go to make the party happen. That's why I almost always bring more records than I'm likely to need. I know it when I'm packing my bag, but you just never know... [/QUOTE]Why thank you, Ray. Good thread. And thanks to Francois and everyone for sharing.

Nege

08-05-2003, 11:13 PM

Originally posted by liL Ray:
<blockquote>quote:<hr />Originally posted by FK:
Reminds me of these European DJ's faces when they heard a real Larry Levan tape Live at the Garage, and couldn't believe how 'BAD' it sounded to them, and so totally missing the point in the process.

Go figure, the first time I went to London in 1983, they looked at me like an extraterrestrial because they couldn't believe you could match beats. Then that's all some of them started to care about.

In Europe, many people find it 'wrong' if records don't beatmatch now....which is why everything has to be brought to the same tempo, like it or not. (Munchkinized R&B songs, etc...) It's become more important than if it actually sounds good or not.

And forget downtempo peak songs; that's for bars and chill-out rooms; although now Hip-Hop can help change that! Peaks and Valleys? A thing of the past. Now, we offer you the same uniform landscape by the mile. But the mixes are great. http://deephousepage.com/smilies/sleep.gif

Don't get me started! (well, actually, no need to.... I haven't stopped) :D Now let's see how many folks who used to say mixing is what matters is gonne jump on the programming bandwagon now that Francois has said what a few here have been saying forever....musically, it would be a much better world...thanks FK for laying down the word, maybe now they will listen. [/QUOTE]graemlins/grinyes.gif