#beatmatching

[chris-ostkreuz]

Spin It Like You Mean It: DJ Techniques That Won't Crash!

Welcome to the dazzling world of DJing, where the only thing that should crash is an old laptop during a live set! If you’re looking to elevate your turntable game and spin it like you mean it, you’ve come to the right place. In this article, we’ll delve into essential DJ techniques that will help you mix tracks seamlessly without leaving your audience scratching their heads in confusion or,…

[089dj]

Die Rolle von Technologie im modernen DJing

[vc_row][vc_column][vc_column_text] Technologie im modernen DJing – In der dynamischen Welt des DJings hat die Technologie eine Schlüsselrolle übernommen. Von Vinyl-Schallplatten bis hin zu digitalen Decks und leistungsstarken Softwarelösungen hat sich die Art und Weise, wie DJs ihre Musik kreieren und präsentieren, drastisch verändert. In diesem Blogbeitrag werfen wir einen Blick auf die…

[grooveleblog]

[masterclap]

Learn DJ techniques in Masterclap

Record audio

Edit audio

Audio Sampling

Handle audio equipment

Cue tracks

Beat Matching

Mix different styles of music

Perform live on stage

[tonydaddingham]

show me devotion // and take me all the way

yt link✨

[leonardcohenofficial]

prepping for two different vinyl DJ gigs this upcoming weekend on top of my dissertation defense which is a week from monday and of the three events the one in which i have to beatmatch house music is probably going to be the most difficult

[oranjank]

turns out if you go to the trouble of beatmatching your playlists you can get away with some batshit insane song choices.

like my Halloween party playlist has a section that pairs Cannibal with Judas, follows that up with Master and Servant, then slams right into a Rave in the Grave/Spooky Scary Skeletons (Undead Tombstone mix) double whammy and it absolutely rips (to me. you might disagree but then again you might also be lame) which isn't all that surprising since all of those songs are ~130 bpm club bops.

mainstream electronic music tends to use similar-sounding drums and even intros/outros so if you line up the bpms many songs will bleed right into each other. the beatmatching trick still works when you want to mash songs from disparate genres together, but you have to be more careful about matching keys/mood/production/etc. sometimes it's better to just throw a slow, mostly beat-less song in between sections as a transition and move on.

obviously none of this applies if you and your guests don't really give a shit about what music is playing as long as it's music. if you want to safely mix your own weirdo music with crowd-pleasers at a party, however, this is how you do it.

[itwashotwestayedinthewater]

imagining an alternate tumblr 2010s universe where every creative tips post was about DJing better

remember ITS OKAY TO AUTO BEATMATCH!!!! it does not make you a worse DJ!!!

[gondwana]

still cant believe i didnt kill myself when i got kicked off the dj equipment for not being able to beatmatch

[connie-holder-of-flashlights]

Locking myself in a portapotty at EDC trying to beatmatch the dariacore speed edits playing on my phone with the house music rumbling outside. The second dose of floor pills begins to metabolize, 12 hours remain

[hydr0logicoutlook]

last night i was like henry we should do a b2b set soon and he sighs and goes “if only you could beatmatch by ear” 🫢

[leatherdyketerror]

hello promoter!!! please hire me for dj gig. no beatmatching skill bad song selection no podcast mixes 1000 doller payment please!!!!!

[thebonesofhoudini]

That Grimes DJ fail video from Coachella it's a great example of why a lot of celebrity pop stars turned DJs are straight up and down fucking trash. Don't know how to beat match without pressing a sync button. Don't know how to beatmatch without looking at BPM counters. Don't know how to mix on tables. Don't really know anything about DJing. Caring more about looking cool behind the CDJs than actually mixing. This goes for Charlie XCX, Billie Eilish, and other try hards. Bedroom DJs with one month of training can do better than this.

[swampgallows]

okay actually i just saw that post u reblogged of that tiktok of the guy doing the transitions and shit and like. i know u sometimes dj a little for fun right?? so my question is, is that guy even doing anything by turning that one knob over and over randomly or is that shit just for show lmfao 💀

(the tiktok in question)

LMFAOOO he is technically doing shit, basically what he's doing with the one knob is turning it to the next track. he's using CDJs which have a vertical menu of all the tracks on the cd/usb drive (think like an old ipod where you use a tracking wheel to scroll through menus), so every transition he's selecting the next track. but what's most important is that you can see him hit the big buttons on the left side of the cdj which are "cue" (to load the next track) and play/pause, so he's literally just hitting play, selecting the next track on the other cdj while the first is playing, then hitting play on the other cdj. you can also tell because his crossfader (at the bottom of the mixer) is straight in the middle and untouched, meaning whatever he plays will come out at equal volume from both sides.

a handful of times he'll touch the "cd" part of the cdj, which is used to select what point of the track you want to play; he has a laptop which is most likely showing him the actual waveform of the track, and he's using the 'cd' part as a cursor to select the specific part of the track he wants to cue up. cdjs also let you set "cue points" (think like a timestamp) so every time you play the track it'll play from that point. this is way harder to do on a vinyl record; most of the time people will put stickers on their vinyl or sharpie marks to know where to place the needle. since he doesn't touch the crossfader or use headphones, he probably set up all the tracks with cue points so he could just alternate hitting play between them. with cdjs, all of the work a vinyl dj would do in the background on headphones during playback can be done ahead of time.

the 'cd' knob can also have a "vinyl mode" where it functions as if it were a vinyl record, meaning instead of scrolling through the wave form of the track, it will manipulate the playback itself by slowing down, speeding up, or reversing the audio as it would on vinyl. this is essential for beatmatching on vinyl, since all you can really do is play a record faster or slower to make it play in time (match the beats) with the other track. cdjs are digital, so they can be played at any speed you want, and most now come with an automatic beatmatching tool that will set the tracks at the same bpm (beats per minute) FOR you. this is why, when cdjs came out, many people said cdjs weren't real djing, since that's basically the only function a dj even performs aside from track selection.

he does hit the pitch shift and faders a few times (fades in Wake Me Up then hits stop on Counting Stars, cues up Holy Grail, hits stop and slides the pitch shift down [toward him] on Wake Me Up so it sounds like it's "powering down"). on my tables bringing the pitch shift toward me turns it up, making it faster. but i think some cdjs are either reversed (down is up and up is down lol), or maybe theyre customizable since it's all digital anyway.

i guess the cool thing about cdjs is that quick mixes like this are possible on that equipment; this would be nigh impossible with turntables, especially if all those tracks were pressed onto different records. but sonically it's just an absolute trash fire to listen to LMFAO

thanks for letting me rant about dj stuff heehee

[rgr-pop]

i think the genesis for this has two parts: conceptually, it's a continuation of the financial crisis love songs mix i was trying at years and years ago. many will remember. it revolved entirely around the idea of short skirt/long jacket, which is that there was something financialized about dating at the end of/beginning of the century. and, you also know this about me, i'm conceptually preoccupied above all else with the 'right before.' this effort still has not cracked that open for me, but i go on. what better theme for a 9-11/radiohead/enron/fukuyama obsessed person born around that time, and also, what better gift could i (electroclash era millennial) bestow. at some point in the prehistory of this project i asked marisa for some recommendations and she made this perfect and spot on mix about, maybe, the right-after. it was obvious to me this year that electroclash as an economic phenomenon was foundation of this mix, so i spent that time earlier this year researching and putting together this collaborative mix with your and my suggestions. partially this is all like anticipating that they will come for electroclash after they invented--and i think, are getting wrong--'indie sleaze.' it's much easier to get electroclash right, i think, but i wanted to get ahead of it, too, lol.

aside from that, the idea that i would do 'live mixes' (am not a dj) came to me a few years ago when i started collecting this certain type of sound from 1993--it really really all started with thinking about how the mr t experience put out a nerdcore track that sounded straight touch and go. so i started collecting these kind of droning repetitive rock grooves from that era, and filing them by year. i was thinking about how it came to be that everything was grunge (maybe more in the great lakes/noise sense than the hard rock sense) for a year or two. i was calling this 'pop noise americana' and this is where i started to talk about wet beats, soggy grooves. i was also very interested in framing as dance songs the rock (not even industrial) songs from that era that did a lot of big/small build-bust-climax stuff in the period between nirvana and the point when that would come to more or less belong to emo. i don't have these lists on this computer but i recall this is my favorite song from that period of my thinking, and rim shack flipped something on for me, too. this is also when i became really insane about brainiac.

pop noise americana:

i started collecting things in this way, and it became obvious really quickly that i didn't have the range to describe what i wanted to be describing, and i was too out of practice to even be able to hear what i was looking for as well as i wanted. so i had to learn to beatmatch before i could do anything else. in general don't @ me dj haters but if you want to practice listening skills or other kind of detail-focused music skills for other kinds of music needs, you should teach yourself how to dj a little bit. it's really good practice! so i said something back then like this is the opposite of a brad shoup mix. concerning one moment in time, but very small and focused. i also wanted to (i continue to want to, and keep failing to) make tiny, concise micromixes. like this one. a little mix like that, but about a very specific sound instead of an idea on its own. i was imagining 12 songs from the same year with very similar grooves if maybe from slightly divergent scenes or genres. but what i want to do is also the same as brad shoup mixes, which produce something that doesn't rely on your memory and doesn't necessarily reinforce what you already believe to be true about a year in music. (in this way what it is really the opposite of is the hood internet mashups, which i'll return to.) the thing you know i always do in mixes is selectively take something you know very well and force you to listen to it differently (or tell you that you're wrong about it). and in general deep listening in a year should serve the purpose of challenging conventional wisdom about music as well as history. but for me, i think more than he does in his playlists, i like to do something like: here's five songs you maybe don't know, and they will help you be surprised by this song that you do know, a very obvious or perhaps cliche or perhaps forgotten hit, and maybe you will be a little startled.

i don't remember how i decided to do 01 00 99 at all, or when or why i decided to work backward (though i'm sure it was with the intention of closing 99 with my signature climax sugar ray falls apart), but i started a pile of songs with little beats that surprised me for whatever reason, just a save for later pile of grooves, and in that heap i had mirah - of pressure, and that was kind of that. i knew i could make some dance hits from that, the era of, you know, tracy + the plastics. (incidentally i have cut them entirely... rip.) my process starts with my own instinct and combing my own music library, then doing an associative deep dive using only - only ! - my own memory, wikipedia articles, discogs rabbit holes, and primary sources from the period. maybe a little similar artist spotify clicking through. once i get a draft down and a to-listen list, then i can start reading year-end lists and casually browsing like brad shoup playlists if he's done them, or peoples pop polls. then when i think i know what i have or am trying to demonstrate, i edit and build, and only at the end do i go through and listen to the hood internet year mashups. after i do that i can add new stuff to my review pile from their suggestion but i also check: do i have too many songs that the hood internet has? if so, that's hits parade, gotta go back a few steps and work it out. if the vibes are nostalgia generated (emo nite) it's not right!

[tonydaddingham]

anything you've been dreaming of // but i just won't do that

yt link✨