It went well, I think. I – along with the other DJs in the competition – owe some thanks to the guys at Boxcar Management for putting on a great event. Lots of people came out, and it was a great time.
Live footage of my set:
(SPOILER: the camera never turns away from the goofy looking DJ guy)
… and a recreation of the set on Mixcloud:
(I forgot to record the set at the event itself, but based on what I remembered about the set and the live footage I could recreate the set pretty well.)
Anyways, yeah. As promised, here’s this week’s tutorial, on warping tracks in a way that will make your DJ life more convenient:
See you next week! Leave some comments if you have any questions!
For those of you who are following along, we are in week 2 of the saga entitled “Clint Learns To Be a Laptop DJ OR ELSE” due to my impulsive and possibly insane entry into a local DJing competition despite my lack of any DJing experience.
As you may remember, last week I was frantically watching and rewatching DJ tutorials from Abletonlife.com. UPDATE: At this point I feel like I am ready to perform, the internet saved the day again! YAY CLOUD
I wanted to discuss my DJ setup a bit. I’m using a PC laptop and an Akai APC40 controller… I’ve taken on a lot of the points that Ryan from Abletonlife recommended, and I’ve also gone and created my own custom DJ FX rack for this performance. Check out the video below (18 min) to see how it all works:
One of the things I was particularly interested in was which of the two library tracks was the “good one” that I ended up using when things were rocking. The answer is: the one that groups tracks by type is the one I use exclusively. If I were recreating this set I wouldn’t even bother with sorting them by key. In my opinion, the best way to sort them would be by type and THEN by key.
On that topic, one of the things that was recommended in the Abletonlife tutorials was to assign these kind of goofy 1A, 2B signifiers for musical keys to the tracks instead of just saying what key they are in. Two points about that:
It is most DEFINITELY a useful thing to put clips’ keys into their clip names. It’s a huge help in making a great sounding mix.
I think that if I used a crutch like that 1a, 2b thing to relate keys together, my music theory professor would burst through the wall of my studio like Kool Aid Man, revoke my degree, and possibly end my life.
Music theory is fun, guys! It’s not that hard to understand what keys work well together.
Another thing that AbletonLife discusses which I took issue with was this notion of putting in a warp marker every 4 bars. That, friends, is crazy talk. I’ll go into more detail next week about how I warp tracks for DJing – I found a useful tip that will help you if you’re a DJ.
EDIT (10/27/2011): I reread this and I think I come off like I think you need to learn a ton of music theory to be a good DJ. I definitely don’t think that’s required. All I’m trying to say is, I think exploring a bit about the relationships between keys will help make more cohesive mixes and will be fun at the same time.
Unlike previous Tutorial Thursdays, this week’s featured videos will not be of my own creation. I’m going to let the Internet tag in on this one because I am currently busy warping tracks, practicing sets, and having a nervous breakdown by turns.
About a month ago, my good friend DJ Rachael P talked me into submitting a demo for entry into a local event here in Lansing, MI, USA called the Capital City DJ Olympics, about which I made two assumptions:
I would probably not get in, and if I *did* get in that meant that most of the people that were in it were at around my skill level.
Since this thing is on Sunday nights, no one was going to be there.
Both of these assumptions turned out to be false. This is a HUGE event for Lansing. And the DJs are legit. Scarily legit:
The guy on the left there is DJ Lee J, aka the house DJ for the Detroit Lions and Detroit Tigers. o_O
So here’s a thing: I’ve never DJ’d in a club in my life. My entire DJ life up to this point consists of one (1) work event wherein I played some background music while people ate dinner.
Here’s a picture of me going into cardiac arrest at the Capital City DJ Olympics:
So yeah. I’m not the teacher this week. This week, I have been watching stuff and learning things, specifically these DJ tutorials brought to us by Abletonlife.com:
It’s Tutorial Thursday here on fwonk.com. Once again, I’m going to talk a bit about Ableton Live; specifically, this week’s set of tutorials is about Racks.
Ableton added the Rack concept in Live version 6, and then added the Drum Rack feature in version 7. They are, in my opinion, one of Live’s most powerful features. In the videos below I’m going to explore the basic usage of each of the three Rack types:
FX Racks: (with a quick discussion of the difference between serial processing and parallel processing):
and finally, Instrument Racks (wherein I discuss how to construct a big polysynth sound using only simplers and simple sawtooth waves):
There’s a lot more to discuss regarding Racks, so I will definitely come back to this topic in the upcoming weeks.
Other topics in the queue for Tutorial Thursday:
-the 100% legal way to get permission to post a cover version of a song online
-film scoring in Ableton Live (with some discussion of the music concepts used in developing a film score)
This is the first in a series of Ableton Live tutorials that Fwonk* will be providing for free, here on the blog. I intend to make this a weekly* feature, so if you have any Live topics you’d like to learn about, post about it in the comments, either here or on Youtube!
*no promises on what day of the week we’re talking about.
This week, I’m going to start out with a pair of tutorials that might help aid you in organizing your sessions.
First, this tutorial shows how to create a default session template…
… and this tutorial discusses why it might be a good idea to throw out the idea of even having a default session template:
-a three-part tutorial discussing Racks within Live
-a series of tutorials discussing scoring for film and video within Live (with some additional discussions regarding general film scoring techniques)