eggssell

not bad for $3 or $7.50 for what seems like a fully functional mpc
id still prefer my tank at home, but i could see this eliminating the need for the smaller portable one

opens thinking can get free novation launchapd

I find some cool stuff when I browse the InterTube so thought I should start sharing what I see with you guys. I'll keep adding to this every time I find a video that's worthwhile sharing. They're mainly production videos which is why I though it would be cool to have just 1 thread which showcases heaps of different stuff. I do find a fair bit so I could update this thread a number of times a day, or never at all - keep your eyeballs on this space  
 

with social media being a big and easy source of promotion, i would suggest getting involved with that. it's a stats game today so any kind of traffic that drives you to your socials is gonna help. i don't play a big role with my socials but there's some people around here that could help with suggestions and ideas.  
get out there and get involved in your scene. put money behind the bar, get to know people and even help promote the night by dragging your mates down. it's very much a "what are you going to do for me" situation. when i was running my night i was out to help people but you understand quite quickly why most promoters are the way they are, and it's because no one gives back to the night. it got to a point where i had people ask me to play for free but they didn't promote my night nor did some of them even rock up! (some had no idea what it was. they only contacted me because one of their mates told them too)... 
stay humble, there's too many cock heads out there. show your support for your local scene and those guys will give back to you. 

OK, so there are two things you're talking about here:
1) technical ability
2) getting exposure -> assuming this is so you can move toward getting gigs?
I had a quick flick through the mix.
Genre: Personally wouldn't exactly call it jacking house, there was a bit of variety, but most of the tunes are what I'd expect to hear at a commercial / electro house night. Nothing wrong with that if that's what you're into.. But if you're trying to get gigs and telling promoters you're playing jacking house, I don't really know anyone booking 'jacking house' DJs around Melbourne at the moment, let alone for opening sets.
Mixing: OK in the sense that beatmatching and phrasing was on most of it. Levels were a bit up and down - the mixes sounded a lot like the incoming track just had the drums slammed over the live track, which makes the kicks sound wrong. EQ is your friend here - you don't want the low end of both tracks up if they both have heavy kicks going, you get volume peaks/drops and it makes it sound really noticeable that you're mixing a track in. Also try work on some different transition styles than straight intro/outro mixing with the same EQ movements each time.
Flow: Half hr is pretty short.. But think about if you were in a club, you want to build up to a peak, drop back off a bit to give the dancers a rest, build up again, and the night goes around like this. Then depending on what time the place shuts, fades off a bit toward the end of the night generally. Listen to some DJ sets and pay particular attention to the order they play their tracks.
 
Exposure: The hardest one. You can circulate via socials to friends and you may get a few plays, but the fact is not many people will listen. Unless they're a DJ, they probably don't listen to that style of music day in, day out. As labrat said - if you want exposure in terms of gigs, you need to be out meeting people all the time, frequenting the venues you wish to play at. It all comes down to $ at the end of the day, so they're going to book people they like / will bring them $ in / they're so good that they create the exact vibe the venue is going for.
Also, it's hard to get the first few gigs at venues. Just remember, no matter how good you are mixing in your bedroom, it doesn't transfer into club experience. Using equipment in the loud, dark room, people hanging off you, having to read the crowd, conform to the promoter's vision/music policies, probably had a few drinks before hand, etc... you will probably muck something up. So they will put you at the quietest time of the night; at least to start with. Find the venues you want to play at (generally a venue where you already know someone involved somehow), turn up early and learn what music they play. Focus on becoming good at that genre, and work from there. But at the same time, you want to sound unique (without trying to contradict myself). No venue plays hits all night.
 
P.S. Melbourne is saturated with DJs, and a lot of them are pretty good, at least in my circles. So to become 'known' for being a good DJ around here takes a lot of time and practice. I've been chipping away for years down here.

done

done

only wazza from the main cats will (may) have one but prob not looking to offload. 
anyway hopefully someone will land here thru the magic of google. 
in the meantime lets marvel at 5 yr old ryusei absolutely smash it on the qfo. the dance move at the end still gets me everytime
 
 
 

✌

pretty good read.
having been to many basketball games (mainly sydney kings and sydney flames) the music can really add enjoyment. the hey days of having a band and rodney O was probably the best. though when i was in syd during november, my younger brother and i took his daughter to a kings game. she had soo much fun, singing to every chant and dancing to the music. 

No professional sports league embraces the entertainment aspect of sport quite like the NBA. As the NFL increases fines for celebrations and Major League Baseball gripes about bat flips, the NBA takes a different approach.
On and off the court, the individualism of players is celebrated. From unique hairstyles to post-game attire to shoes worn during games to pregame dance routines, NBA players are given a platform to be themselves and entertain. The on-court product of the NBA reflects that.
However, NBA franchises know that in the current market, the in-arena experience has to be even greater than just the product on the court to get people in the building consistently. With every game televised, the experience of being in the arena must offer something more to fans, especially on teams that don’t feature a LeBron James or Steph Curry (or Kevin Durant or Klay Thompson or … teams who aren’t the Warriors is what I’m saying).
NBA executives are aware of this, and it’s why we’ve seen teams embrace unique forms of in-arena entertainment.
“Anybody who thinks sports is sports [is wrong],” Atlanta Hawks CEO Steve Koonin told CBS Sports in 2015. “Sports is entertainment. You can’t pull the two apart, it’s like two sides of an oyster shell. They are together. The game is great, but this has to be a relevant part of your lifestyle. You can be the biggest NBA fan in the world and never come to a Hawks game. You can consume us through TV and video games, so to come here we have to be extraordinary and do things that constantly make us relevant.”
The Hawks, like a number of other teams, employ an in-arena DJ, who spins live during the game to offer a unique musical experience that is different from a playlist of arena rock, pop and some hip-hop. Big Tigger is in his third year as the DJ for the Hawks after spending five years with the Wizards in Washington, D.C., and is one of the veterans of the NBA DJ fraternity.
As Tigger explains it, music is a part of everyone’s life all the time, so the job of the arena DJ is to tap into the energy of the building and enhance the experience of the fans.
“It’s a careful balance of not going too far one way or too far that way,” Big Tigger told UPROXX. “Playing equally familiar records across all genres. You’ve got the pop music the dance music was crazy crazy, there was a bunch of those songs. It’s about keeping everybody kinda happy and playing slightly familiar records and then I’ll drop a record and they’ll go ‘oh how you do that?’ I’ll try to intertwine mashups too, which’ll put an old rock record with a hip-hop beat or stuff like that. It’s just trying to keep it fresh and entertaining.”

Big Tigger
 
The first full-time in-arena DJ in any professional sport was DJ Irie, who is in his 17th year with the Miami Heat after coming on before the 1999-2000 season, when the Heat moved into American Airlines Arena.
In advance of opening a new arena, the Heat wanted to bring something unique to the game experience. No team knows the importance of entertainment as being part of the attraction better than the Heat, which must compete with South Beach nightlife to get fans in the building. As they saw it, bringing a DJ into the arena was an opportunity to bring the party off of South Beach and into the arena.
“At the time I was doing a lot of the hottest clubs and I had the hottest mix show on the radio,” DJ Irie told UPROXX, “but all of those were the same genres. I was doing the hip hop spots. That was the year the new arena, American Airlines Arena, opened and they left the old Miami Arena. While that was in process, the marketing team was banging their heads trying to think of what they could do entertainment wise and support wise to bring a new experience to match the new experience of the new facility.”
“That’s where the idea of having a DJ came about,” Irie added. “Mainly because we were in Miami and nightlife is so prevalent and DJ culture.”
To get Irie, the Heat had to find him first, being before the age of DJ’s having websites and booking information available online. The team eventually got hold of him after he worked a team staffer’s birthday party, but Irie at first passed on the idea following the first meeting.
“I sat down with them for the first meeting and spoke about a bunch of stuff,” Irie says. “Didn’t even talk about compensation or anything like that. I asked them about their audience and the style they’d be looking for and we started talking about their season ticket holders, and it hit me. These are the folks that are coming to my clubs. These aren’t the folks that are coming to my radio show. I’m going to have to go into left field to even try to accommodate them and that’s not what I do. So like, ‘I’m not going to be playing Wu Tang? What are you talking about?’ So I literally cut it short and said I wasn’t their guy.”
 

DJ Irie
 
The Heat continued to reach out to him for a second meeting to convince him to take the gig, so he agreed to another meeting, where he realized the unique opportunity he had in front of him.
“So I came back down to their office one more time and I started asking them about how other teams were approaching this,” Irie says. “How does the DJ in New York do it? The DJ in LA? And they said they don’t have a DJ.”
The team assured Irie that they’d done their research and their homework, and in doing so they found that there wasn’t yet a professional franchise with an official DJ.
“And I’m like, are you serious?” Irie says. “This was across NFL and MLB and everything, so it kind of hit me then I was like, would I have to really change my approach and style? Yes. But there’s an opportunity to really create a new lane and create something from the ground up. I’m not the kind of person to fall back from a challenge, so you know that was what really made it attractive to me.”
Irie agreed to join the Heat and was given a courtside DJ booth and free reign over the music selection — so long as it was clean — to give Miami’s arena a unique experience.
 

DJ OG One
 
That unique, local experience is something that having a live DJ in the arena is able to do that is hard to create otherwise. That local flavor is something that more teams are going for, and having a DJ that knows the local music and can mix that into the arena rock ballads and current chart toppers that are going to be prevalent in any arena (whether a team goes with a DJ, organist, or a simple playlist) is a way to make the experience feel authentic.
In Miami, that means mixing in Latino music with local hip-hop and trying to replicate the South Beach party scene. In Portland, it means bringing in alternative music for spotlight segments that highlight local music that otherwise might not fit into an arena mix. In Atlanta, it means using the fertile hip-hop ground around them to put on in-arena concerts — like they’ll do on Nov. 22 with Gucci Mane — and leaning on those hip-hop roots with what gets played over the PA.
While making the experience feel authentic and unique to the city, the biggest challenge for the in-arena DJ is keeping an audience from a wide range of demographics happy.
Portland as a city has one of the most unique attitudes in the country and a diverse populace. For DJ OG One, who spins for the Blazers at the Moda Center, each night is a unique experience and has a different energy.
“The biggest thing is finding that balance and knowing your demographic,” OG One says. “It’s about being able to find the balance between satisfying the listening needs of the players who are warming up to the wide range of demographic of your audience in terms of the females that are coming into the arena versus the guys and then you’re talking about anywhere from a 16 to 70 age demographic. It’s like walking a fine line on any given night of playing that wide of a range.
One of the things OG One feels is important is for DJs to stay connected to people. He’ll walk out on the court during pregame and sit as if he was one of the fans entering the arena. By trying to match his energy with their energy, he can get a feel for what he wants to play – and more importantly, what the crowd wants to hear.
Every arena is going to feature a wide range of young, old, men, women and fans of all genres of music. To please all of them all the time isn’t necessarily possible, but the in-arena DJs embrace the challenge of trying to mix genres together.
“It’s crazy, but I love it because it keeps my mixes challenging,” DJ OG One says. “You never really get dull. Like in radio, if you’re mixing the same songs on the mix show, you get used to that and you kind of know what you’re going to play. When I’m in the arena, I can have a range of what I want to play but once you get in that arena and you start feeling the vibe of the people, then that can change at the spur of the moment.”
For DJs from the hip-hop community, arena mixes keep things fresh and can help break up the monotony of playing on the radio or doing club sets and also keeps their ears open to finding different music to play.
“I have a lot of fun,” Big Tigger says. “It’s challenging to play to such a diverse audience. You know I’ll drop some David Bowie next to some Drake. That’s fun. It’s challenging for me and equally fun. It’s about keeping everybody kinda happy and playing slightly familiar records and then I’ll drop a record and they’ll go “oh how you do that?” I’ll try to intertwine mashups too, which’ll put an old rock record with a hip-hop beat or stuff like that. It’s just trying to keep it fresh and entertaining.”
From his booth in the middle of the 6th Man section in Philips Arena, Big Tigger pauses mid-conversation to set up the next track, a rock remix of Rack City. As he fades it in, his eyes light up.
“I heard this one on a commercial and said ‘what is that!’ It’s ‘Rack City’ but it’s rock ‘n’ roll and I had to get it. It’s stuff like this that I get to play here that’s different.”
That excitement about finding new music and dealing with different genres and eras of music reminds DJ Irie of one of his first gigs as a DJ — spinning at a roller skating rink.
Irie spent the first five or six years of his career playing there, and he found that the demographics would vary all across the board. There wasn’t a way to please everyone with every track, but his goal would be to make sure there was something for everyone.
“It is a challenge and it’s one of the most wonderful challenges any DJ that’s serious about their craft will encounter,” DJ Irie says. “Young people like to put wheels on their feet and roll around, old people, black people, hispanics, everybody likes to put wheels on their feet and roll around. So it was my job to entertain all of them. So I made it a point that of all these people here I should play at least one song where every single person in here can say ‘oh that’s my jam.’ I think that’s what’s great about it.”
 

Atlanta Hawks
 
In-arena DJs aren’t the only forms of musical entertainment at NBA games. Only a third of the NBA employs an in-house DJ. Most still have the old PA system playlist, one that pumps out the Jock Jams style playlist of arena rock anthems while occasionally mixing in recent hits and sometimes leans on an organist.
In Atlanta, the Hawks bring a unique mix with Big Tigger as DJ and Sir Foster bringing his added flavor on the organ.
Next time there’s a nationally televised home Hawks game, do a quick Twitter search for “Hawks organist.” You’ll see tons of tweets asking who is on the keys in Philips Arena or “did the Hawks organist just play ‘Black Beatles?’”
The answer to those questions is Sir Foster, and yes, he did just play Rae Sremmurd on the organ.
Sir Foster takes the arena organ experience to the extreme, rolling through a deep library of songs and playing from his wraparound keyboard — designed by Lady Gaga’s keyboardist — setup next to the crowd in the lower bowl
“Everything that we did was new,” Sir Foster says. “Most times when you see in-arena music, the organ player is way high up above the stadium, and I wanted to be among the fans and they let me do that. So everything with me has been an experiment. At first we learned as we went — what’s the best place for me, how can we get fans to interact — and I think now we’ve figured out and learned exactly what we are.”
What he learned was that he is the league’s most popular organ player because of his commitment to learning and playing new music. When a new song hits the top of the charts, Foster learns it. When an Atlanta artist drops a new single, Foster learns it. If fans request a song enough, Foster learns it.
That deep archive makes Foster something of a human jukebox — not to be confused with the Southern marching band. Sir Foster has long taken requests from fans on Twitter, but this year the Hawks have created a sponsored Twitter request line called “#MyATLJam” to capitalize on his expansive library of keyboard knowledge.
Now three years in, the Hawks have also begun giving their unique combination of Big Tigger and Sir Foster more freedom to come up with collaborations. The two will do battles at times and this year they’ll put on their first ever halftime show, with help from the Hawks’ 3D court projection.
“I remember when I first came on, I had first seen DJ Irie with the Miami Heat,” DJ OG One says. “At first I didn’t think the NBA had anyone outside of pushing a button on some music that they would even consider a DJ. So when I saw Irie, I was like, ‘oh man they got a DJ in the arena.’ I made a beeline for the Blazers.”
That inspiration has led to an increase in in-arena DJs, but it has to be the right fit, both in culture and talent. Places like Atlanta, Miami and Portland have a music culture and the talent in the city to make it work. Others may not, but as DJ Irie notes when the fit is right, a DJ can make enhance and make for an authentic, local experience.
Some teams have tried it out and had to abandon it. Others went with it, and it’s become as much a part of the NBA experience as the t-shirt cannon or Red Panda flipping bowls onto her head. .
The key is to match a city’s flavor with the aesthetic of the team. For a team like the Cleveland Cavaliers, that meant getting LeBron’s personal DJ, Steph Floss, spinning right on the concourse in front of everyone. For Brooklyn, that meant considering lighting as part of the experience. For the Hawks, that was finding Big Tigger and Sir Foster to accurately represent what Atlanta is like.
While the NBA continues to try and serve its audience in the best way possible, trial and error will be a part of it, but the important thing is that the NBA isn’t afraid of taking chances or trying something new.
“The NBA is always quick to say it’s entertainment,” Tigger says. “Music is an integral part of everyone’s existence from after game, not at the game, when you wake up, when you go to bed. So having the ability to help affect the energy in the building with the music is equally as amazing a challenge as it is gratifying. You play the right song at the right time and they go ‘Ahhhhh,’ and that’s all a part of DJing.”
 
Source

The party was last night and it went ok. I found chewing gum helped with the nerves and a couple of drinks before hand. 
I thought I could have done better but everyone else though I was so good and really enjoyed it. It was hard to get people dancing but I found that playing tunes that girls love got it going and I didn't really notice how many people I had actually got on the dance floor until I looked at the photos. 
One problem I had was people messing with the mixer and my laptop. Luckily people didn't know how mixers worked and they touched the wrong jog wheel aha. 
I started playing at like 8:30 and I was playing by myself until like 12 and then my other DJ friend hopped on with more tunes and we did a mad B2B for like another 3 hours aha.
Thanks for all the help as well guys it really helped me and I really appreciate it.

I think you're overthinking it too much. We've all been in this situation so I won't take it away from you but a lot of that is out of your control. 
Firstly, don't do the maths of how many songs per hour you'll play because it never works out that way. Like we said earlier just keep collecting tunes. You may never play any of it but one day you'll need one of them. 
You obviously don't wanna play all your bangers straight away so you can do what Andy suggested and throw on a chill mix for an hour or just play chilled stuff. You need to build up to it. Use the time only as a reference. Don't switch styles completely because you assume by 9pm it's time to go harder. Keep the time in mind and look at everyone around you. Experiment with a few different tunes to test the vibe and go from there. Some nights I was playing bangers by 10 and other nights I couldn't get people going until midnight. Different crowds will react differently so that's something you need to see at the time. 
You'll know if you play a song no one likes because they'll let you know. Usually, everyone will stop dancing and stare at you. It's really awkward but that's usually the indicator. Don't feel disheartened by that because it happens to all of us. Like I said, different crowds react differently. Don't just cut that track into a new one. Try mix it out so it doesn't come across like you've made a mistake, because you definitely haven't. It just looks better when you mix the tunes and you look like you're in control of your crowd.
I guess to summerise, don't freak out and don't overthink it. What you portray in you head usually never happens and you freak out for nothing lol I don't know what you could do to calm down but I use to chew gum. 

Have a couple of podcasts or something to chuck on early in the night whilst you wait for a few people to get there.
personally I'd mix quick(ish) because 18 year olds have the attention span of a goldfish at times.
be prepared to play some super shit music, because that's what the people want.

For an 18th I guess you'll likely want to have a variety of popular. The majority of people will just want songs they know + songs they grew up to + anything recent. Aria charts, some stuff from JJJ, etc.
Reading the crowd is something that can be explained as a concept, but you'll only learn it from experience. The second part to this is having the right catalogue of music and organisation to cater, once you know what's working/what isn't.
You'll make mistakes - we've all made heaps. What I can say is nobody will notice except for you, so just move on as if it's all going to plan and it will be fine. Confidence is key
 
 

I would say hit up the mainstream stuff first because as a warm up DJ you need to build the crowd. Maybe start with some deep house and move into some mainstream stuff then start playing some bass house to build the crowd for the headliner. Just be cautious not to "out-do" him. Some guys get a bit funny like that so keep it simple, play some cheesier tunes (even cheesy top 40 bass house remixes) to get the crowd in the mood and you've don't your job right.
how long are you playing for?

If you're on right before the headline act, think of your set as wanting to end around the same level as the style of tunes they play. Then play tunes that create a nice build from who's playing before you, up to their set. You want to get the crowd up and about on their feet, without outdoing the main DJ for the night.

i have st-150s for about 7 years and yeh still going strong with original stylus
so yeah stantons go well
for sampling its probably more important how you sampling (what are you using) versus the turnie you using. unless you ripping whole tracks. then i guess you'd want one that has much less wow and flutter (though it gives it that turntable feel)

Got a recording of my set from last night up. Was opening set (7pm), so bit more downtempo with a (significant) hint of disco vibe. Enjoy
 
 

Depending on what funk you're playing, it can be a weird. Also tempo changes in the tracks can make it more difficult.
If you want to count the BPM of your tracks you can get this app https://itunes.apple.com/au/app/bpm/id296956954?mt=8
Find a few records you have that are similar tempo, or even the same tempo would be perfect for beginning to learn. Something with a consistent kick makes it easier to get the technique down pat in the early phases.
 
This youtube playlist is full of beginner DJ tutorials, scroll down to the bottom (hit load more) to find some of the older ones which are based on vinyl.
https://www.youtube.com/playlist?list=PLkqsu4WzeMg7hmBi9Nr7lK4lqoOYZpVvW
 
Also just to touch on what oxy said: -2 on the pitch fader isn't equal to 2 BPM, it's -2%. If the track's original tempo was exactly 100 BPM this would be correct, but if a track was originally playing at (exactly) 80 BPM, moving the pitch fader -2% would make it 78.4 BPM. If a track was originally at 130BPM, -2% would make it 127.4 BPM... Also one of the joys of vinyl is you need to be aware of  the fact you may get small fluctuations in pitch depending on how good your decks are etc.
Good luck

I would assume funk would be similar to mixing dubstep, dnb or breaks... Maybe more so hip hop. If this is so, the snare is what you'll be beat matching to as the kicks are not consistent like house style music. 
As far as timing in concerned, I would assume that there would be a 4 or 8 bar intro so mixing in and out would be quite quick. This comes with practice and knowledge of your tunes

I'll do you one better, get yourself a beat counter, you can find them in the app stores on your smart phones, then start listening your vinyl and tap to the beat. I started mixing using vinyl like the dinosaurs did back in the day, what i had to do was borrow a beat counter off of a friend and i then started to do this to all of my vinyl at the time. On each track, i'd just write a number next to it (get little stickers from officeworks if you're worried about ruining the wax), that number was the BPM and allowed me to know how far off it was from the other track. Then it's just a matter of playing with you tempo controls until you can match the beats.
eg...
Say your 1st track is counting at 122bpm, and track 2 is counting at 124bpm. You need to decrease the speed of track 2 by 2bpm (-2 on tempo) and then when you release the track it might need just a little bit of nudging here or there to match it perfectly.
 
It'll take some time to get used to but this is how i taught myself, if it worked for me who is now mixing Drum & Bass at like 175bpm, then i'm sure it'll help you out.
 
i did however find this video on YouTube that should give you a better visual:
 
 
 

Fark such a good song

A simple technique you can learn is to "swap" the bass EQ. So the transition would be summarised as follows:
 
-Track A is playing
-Bring in track B with bass EQ cut
-When you've got the faders right up on both tracks, cut the bass EQ of track A at the same time you bring in the bass EQ of track B
-Fade out track A
 
The key point to all of this is timing... Knowing when to hit play on the incoming track, when to bring the volume up, when to swap the EQ, and when to fade the old track out. Most of this timing comes down to knowing about phrasing. Here is a decent video I just found in about the concept:
 
 
 
Just a note on that video - long term you don't want to rely on the visual cues in Traktor as you may want to move onto CDJs / vinyl down the track which may not have as much detailed info, or Traktor may get it wrong. Use it as a learning tool if you wish, but rely on your ears
 
 

hey mate nice vid. agree w kodiak maybe use short clips.
 
plus one for three little birds, easily one of my top marley tracks.