#beatmatching

[superlazybonesvsgeek]

Happy weekend x Halloween 🎃🤡😈 • #halloween #dj #hkdj #femaledj #djing #djlife #housemusic #house #ghouse #music #musiclover #friday #hkg #hkig #hklife #likeforfollow #likeforlikes #play #beatmatching #remix #mashup (at Vibes) https://www.instagram.com/p/CkTkaUVyUW6/?igshid=NGJjMDIxMWI=

[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

[thesherrinfordfacility]

show me devotion // and take me all the way

yt link✨

[iamoutofideas]

if I had adderall I swear wouldn’t be using the sync button as much

[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

[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!

[determinate-negation]

i just started djing only a few months ago so idk but i dont get why people would not focus on learning to beatmatch first and foremost like why put yourself in a situation where youre freaking out at a venue bc the equipment they have doesnt sync… which i saw happen at the two sets i even did

[ilovemusic24]

Immerse yourself in the art of DJing with our Advanced DJ Course. Elevate your skills as you learn intricate mixing techniques, masterful track selection, and live performance strategies. From beatmatching to dynamic effects, this course empowers you to command the dancefloor with confidence. Join us and take the spotlight in the world of electronic music.

[superlazybonesvsgeek]

We are back at #redsugar at @kerryhotelhk 😎big love to @entertainingasia strong return haha 🥳Let’s bring back to HK nightlife 💪🏼 • House music all night long ❤️ • #dj #hkdj #femaledj #djing #djlife #housemusic #house #ghouse #music #musiclover #friday #hkg #hkig #hklife #likeforfollow #likeforlikes #play #beatmatching #remix #mashup (at Kerry Hotel Hong Kong) https://www.instagram.com/p/CkSCVl9SDR0/?igshid=NGJjMDIxMWI=

[thesherrinfordfacility]

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

yt link✨

[iamoutofideas]

I honestly don’t know how the disco djs beatmatched in the 70′s like the drummers timing just goes all over the place on these songs

[marlenejunkerus]

Navigating the DJ Industry with Supreme Jones: Insights into Booking Gigs and Networking

Becoming a DJ is not just about mixing beats and playing music; it's also about navigating the complex landscape of the DJ industry, which involves booking gigs and building a network of connections. In this blog, we'll delve into the essential strategies and insights that aspiring DJs need to know to succeed in the industry, from securing their first gigs to expanding their reach and visibility through effective networking.

Mastering Your Craft

Before diving into the world of DJing, it's crucial to master your craft and hone your skills as a DJ. Spend time practicing your mixing techniques, learning how to beatmatch, and experimenting with different genres and styles of music. Attend DJ workshops, watch tutorial videos, and seek mentorship from experienced DJs to enhance your skills and knowledge. Additionally, invest in quality equipment and software to ensure that you have the tools you need to deliver top-notch performances.

Moreover, strive to develop your own unique style and sound as a DJ, which will help you stand out in a competitive industry. Experiment with different techniques, incorporate your personality into your sets, and stay up-to-date with the latest trends and innovations in the world of DJing. By mastering your craft and cultivating your own signature style as emphasized by experienced DJs including Supreme Jones, you'll be better positioned to attract gigs and captivate audiences with your music.

Building Your Brand

Building a strong personal brand is essential for success in the DJ industry, as it helps you establish your identity and differentiate yourself from other DJs. Start by creating a professional DJ name and logo that reflects your style and personality. Then, develop a compelling online presence through social media platforms, such as Instagram, Facebook, and SoundCloud, where you can showcase your mixes, engage with fans, and promote your upcoming gigs.

Moreover, create a professional website or electronic press kit (EPK) where you can showcase your portfolio, highlight your experience, and provide booking information for potential clients. Invest in professional photography and videography to create high-quality promotional materials that accurately represent your brand and image as a DJ. Additionally, consider collaborating with other artists, musicians, and event organizers to expand your reach and visibility within the industry. By building a strong brand and online presence as underscored by professional DJs like Supreme Jones, you'll increase your chances of booking gigs and attracting opportunities to showcase your talent as a DJ.

Securing Your First Gigs

Securing your first gigs as a DJ can be challenging, but with the right approach and persistence, you can land your first opportunities to showcase your skills and build your reputation in the industry. Start by reaching out to local bars, clubs, and event organizers to inquire about potential openings for DJ gigs. Offer to play for free or at a reduced rate initially to gain experience and exposure, and don't be afraid to hustle and network to find opportunities.

Moreover, leverage your existing connections and network within the local music scene to uncover potential gig opportunities. Attend industry events, music festivals, and DJ competitions to meet other DJs, promoters, and venue owners who may be able to offer you gigs or referrals. Additionally, consider creating a demo mix or promotional video showcasing your DJ skills and style, which you can use to pitch yourself to potential clients and bookers. By actively seeking out opportunities and putting yourself out there as guided by experienced DJs such as Supreme Jones, you'll increase your chances of securing your first gigs as a DJ and kick-starting your career in the industry.

Networking and Collaboration

Networking is key to success in the DJ industry, as it allows you to connect with other professionals, gain valuable insights, and uncover new opportunities for gigs and collaborations. Make an effort to attend industry events, conferences, and meetups where you can network with other DJs, promoters, and industry insiders. Be genuine and approachable, and don't be afraid to strike up conversations and exchange contact information with people you meet.

Moreover, consider collaborating with other DJs, musicians, and artists on projects and events to expand your network and reach new audiences. Collaborations can take many forms, from co-hosting DJ nights and parties to producing tracks and remixes together. By working with others, you'll not only gain valuable experience and exposure but also build lasting relationships and connections within the industry. Additionally, consider joining online communities and forums for DJs, where you can share tips, resources, and experiences with other professionals in the field. By actively networking and collaborating with others as encouraged by professional DJs including Supreme Jones, you'll increase your visibility and opportunities for success in the DJ industry.

Building Relationships with Venues and Promoters

Building relationships with venues and promoters is essential for securing regular gigs and establishing yourself as a reputable DJ in the industry. Take the time to research and identify venues and promoters in your area that align with your style and target audience. Reach out to them via email or social media to introduce yourself, express your interest in performing at their events, and inquire about potential booking opportunities.

Moreover, consider attending events and parties hosted by venues and promoters to familiarize yourself with their style, clientele, and programming. Be proactive and professional in your communications, and be prepared to showcase your talent and value as a DJ. Additionally, offer to provide promotional support and assistance in promoting events in exchange for booking opportunities. By building genuine relationships and demonstrating your commitment and reliability as highlighted by experienced DJs like Supreme Jones, you'll increase your chances of securing regular gigs and building a successful career as a DJ.

Navigating the DJ industry requires a combination of talent, hard work, and strategic planning. By mastering your craft, building your brand, securing your first gigs, networking and collaborating with others, and building relationships with venues and promoters, you'll be well on your way to establishing yourself as a successful DJ in the industry. Remember to stay true to yourself, remain persistent, and continually seek out new opportunities for growth and development. With dedication and perseverance, you can turn your passion for music into a rewarding and fulfilling career as a DJ.

[gondwana]

reading the BEATMATCHING wikipedia page and clenching my jaw hard as fuck