true...but why call yourself a DJ, if you rock comps? If you are going to play some shit off a, say, Gilles Peterson comp, you are basically saying "I am not as good as DJ as Gilles, Gilles has better taste than me, so I will play his selections, he dug them up and made them available to me". Fuck dudes who get paid to DJ stuff like this and claim to soul/funk/jazz DJs. Listen to comps at home for listening pleasure, not to DJ with.
You've never played a track that another DJ "discovered"?
sure, played lots of them, but it was something I dug up myself without the knowledge that it was comped. I am not saying I play 100% new discoveries, but, shit there are a lot of "DJs" that arm themselves with nothing but comps and reish stuff and discover nothing for themselves. I just think playing someone elses taste, almost exclusively, is really lame. Go out and discover your own tunes and make your own sets, dont design your DJ sets out of somone else's sets, which is what you are doing if you rock an assload of comps at the club
Records still sound better. I try to keep one gig where I focus on sound quality. rivatemindgarden:
I think this is funny though:
A lot of DJs using Serato now wouldn't have been caught dead with CDJs. So you get the feel of mixing with vinyl? Great. But you still have crap digital sound. But, again, I recognize that I'm a small minority of people who care about this.
I just moved into serious wedding and special event DJing. I signed on with a booking agent this AM and they already got me a $500 gig for Saturday. Damn.
Few people have a fetish records like me. But, I need Serato!
How far do you think we are from having the whole Serato shit contained in the mixer? You know, with a little flip-out LCD screen or something. Just plug your 500GB Lacie into that bitch and go! That would be the shit. I'm about to buy the new Rane mixer, but I'm always hesitating because of this fantasy?
My point is that 2006 Serato seems like a transitional medium. At some point it should all be combined into one single lightweight DJing instrument.
I just think playing someone elses taste, almost exclusively, is really lame.
Are you playing someone elses "taste" or are you playing someone else's music? I don't like it when DJ's claim ownership of records.
I see where your coming from but at the end of the day DJ's still have to pick which songs to play and when to play them.
...and who doesn't love those good ol' Ultimate Breaks and Beats comps
I dont claim to "own" records, I hate that also. I would never have any "secret squirrel" shit. I am the first one to tell anyone when they ask me about a track "oh dude, you can get this for a dollar! Its on so-so and so's LP from '72, etc" but if I go see a DJ I want to hear some stuff I dont know about...I want to hear a bugged out track tucked away on an album you never thought would have anything kick ass on it, I wanna hear that obscure ass soul 45, I wanna hear some wacky ass foreign cover of a US hit. ALL DJs play someone elses music (unless of course they are playing records they recorded obviously)...sure, I play out classics that everybody and their mom knows..those are crowd pleasers, but it is also cool to play out something not many people will know about that grabs them by the boo-boo.
How far do you think we are from having the whole Serato shit contained in the mixer? You know, with a little flip-out LCD screen or something. Just plug your 500GB Lacie into that bitch and go! That would be the shit. I'm about to buy the new Rane mixer, but I'm always hesitating because of this fantasy?
I'm waiting too! It seems like the next logically step to me, to bad that mixer will be $5000 when it drops. The next standard should come around in the next year or 2.
I dont claim to "own" records, I hate that also. I would never have any "secret squirrel" shit. I am the first one to tell anyone when they ask me about a track "oh dude, you can get this for a dollar! Its on so-so and so's LP from '72, etc" but if I go see a DJ I want to hear some stuff I dont know about...I want to hear a bugged out track tucked away on an album you never thought would have anything kick ass on it, I wanna hear that obscure ass soul 45, I wanna hear some wacky ass foreign cover of a US hit. ALL DJs play someone elses music (unless of course they are playing records they recorded obviously)...sure, I play out classics that everybody and their mom knows..those are crowd pleasers, but it is also cool to play out something not many people will know about that grabs them by the boo-boo.
If you can get away with playing that stuff great, but as we all know most of the time you can not. This is what radio shows and mix CD's are great for, but you can't hate on a DJ for not playing some retardly obscure soul 45 at a party. Most DJ's play for the people, not the one record nerd in the corner that's not even on the floor. When I'm drunk at a club (very rare) I want to hear some bangin' shit, and tracks I know. Let's be real nobody is there to get a "lesson".
I dont claim to "own" records, I hate that also. I would never have any "secret squirrel" shit. I am the first one to tell anyone when they ask me about a track "oh dude, you can get this for a dollar! Its on so-so and so's LP from '72, etc" but if I go see a DJ I want to hear some stuff I dont know about...I want to hear a bugged out track tucked away on an album you never thought would have anything kick ass on it, I wanna hear that obscure ass soul 45, I wanna hear some wacky ass foreign cover of a US hit. ALL DJs play someone elses music (unless of course they are playing records they recorded obviously)...sure, I play out classics that everybody and their mom knows..those are crowd pleasers, but it is also cool to play out something not many people will know about that grabs them by the boo-boo.
If you can get away with playing that stuff great, but as we all know most of the time you can not. This is what radio shows and mix CD's are great for, but you can't hate on a DJ for not playing some retardly obscure soul 45 at a party. Most DJ's play for the people, not the one record nerd in the corner that's not even on the floor. When I'm drunk at a club (very rare) I want to hear some bangin' shit, and tracks I know. Let's be real nobody is there to get a "lesson".
it depends where you are playing and how it is advertised...we regularly get 300+ folks at our soul nights and it is nothing but 45s for 4 hours, rare shit also...yes, people dont care that it is rare,true but as you know there is a lot of rare shit with "oh my god" drums that is just banging. But no, I am not the DJ for the club that wants to hear new hip hop or club bangers. I dont hate on the DJ for playing what they want, but if you are advertising that you are playing soul and funk (this is a local gripe) and you are charging 5 bucks at the door and your bumping nothin' but disco and brainfreeze comps...fuck that shit.
IMHO the issue here doesn't really seem to be what makes for a better sounding DJ set, or a more original performace, or a more practical set up. These are just arguments that aren't directly addressing the issue: whether or not serato users are "keeping it rill". And that doesn't mean keeping it realistic. It means authenticity.
It seems that one of the appeals of record digging is the feeling of authenticity that it can give. You feel truely connected to the culture and music if you have all it's raerest pieces on your shelf. So I think that soulstrut dudes are particularly susceptible to deep concerns over authenticity.
Personally, I crave some level of authenticity, but ultimately I could give a shit. I'm much more interested in the music and the possibilities of DJing. It always seems like those most concerned with authenticity are those who are on the fringes of the culture they want to participate in. Like born again Christians.
Personally, I crave some level of authenticity, but ultimately I could give a shit.
I'm the same way but that's why I think Serato is a good thing. Being able to play your own music/edits/remixes/mashs/sound clips/scratch phrases/phone conversations can REALLY make you unique. If there was ever a time for a DJ to really stand out as an individual this is it, WAKE UP dudes!
Personally, I crave some level of authenticity, but ultimately I could give a shit.
I'm the same way but that's why I think Serato is a good thing. Being able to play your own music/edits/remixes/mashs/sound clips/scratch phrases/phone conversations can REALLY make you unique. If there was ever a time for a DJ to really stand out as an individual this is it, WAKE UP dudes!
It's like muthafuckaz are afraid of freedom. The possibilities are kinda endless.
Tapes, I see your point, but it's a bit like the whole re-issue thing. Who gives a rats where the music comes from? If a DJ is a good DJ, it's irrelavent of how they got their beats. (Used to fuck me off seeing people with their funk compilations when you know they had no idea about the actual record) The people dancing don't come up and see if I have the original.
true...but why call yourself a DJ, if you rock comps? If you are going to play some shit off a, say, Gilles Peterson comp, you are basically saying "I am not as good as DJ as Gilles, Gilles has better taste than me, so I will play his selections, he dug them up and made them available to me". Fuck dudes who get paid to DJ stuff like this and claim to soul/funk/jazz DJs. Listen to comps at home for listening pleasure, not to DJ with.
Hook Up, you're missing my point. I'm relating the attitude of peeps using Serato to dudes w comps. Which illustrates the point even further. Touchy subject on a forum full of stamp collectors. Seems to me that either you're open to the idea of it, or you're someone who has the "You HAVE to have the original in right to play that" mentallity. Just because something is rare doesn't mean anybody sholuldn't play it cos they don't own it. I've learnt a lot from comps and I think everyone here has. My problem is that when I find a song I like and start to research it, is that it usually turns out to be that $100 record. Fuck that, I've already got a copy! THis was illustrated well to me recently when I bought a 3rd copy of a Oz hip hop 12. I bought 2 when it came out, gave one to a friend as a gift many years later, only to find mine had a scratch later on. So I get me another copy, only to find when it arrives, it's chipped and cracked.
Personally, I crave some level of authenticity, but ultimately I could give a shit.
I'm the same way but that's why I think Serato is a good thing. Being able to play your own music/edits/remixes/mashs/sound clips/scratch phrases/phone conversations can REALLY make you unique. If there was ever a time for a DJ to really stand out as an individual this is it, WAKE UP dudes!
Comments
Do you put stickers over your labels too?
sure, played lots of them, but it was something I dug up myself without the knowledge that it was comped. I am not saying I play 100% new discoveries, but, shit there are a lot of "DJs" that arm themselves with nothing but comps and reish stuff and discover nothing for themselves. I just think playing someone elses taste, almost exclusively, is really lame. Go out and discover your own tunes and make your own sets, dont design your DJ sets out of somone else's sets, which is what you are doing if you rock an assload of comps at the club
Are you playing someone elses "taste" or are you playing someone else's music? I don't like it when DJ's claim ownership of records.
I see where your coming from but at the end of the day DJ's still have to pick which songs to play and when to play them.
...and who doesn't love those good ol' Ultimate Breaks and Beats comps
I think this is funny though:
A lot of DJs using Serato now wouldn't have been caught dead with CDJs. So you get the feel of mixing with vinyl? Great. But you still have crap digital sound. But, again, I recognize that I'm a small minority of people who care about this.
I just moved into serious wedding and special event DJing. I signed on with a booking agent this AM and they already got me a $500 gig for Saturday. Damn.
Few people have a fetish records like me. But, I need Serato!
How far do you think we are from having the whole Serato shit contained in the mixer? You know, with a little flip-out LCD screen or something. Just plug your 500GB Lacie into that bitch and go! That would be the shit. I'm about to buy the new Rane mixer, but I'm always hesitating because of this fantasy?
My point is that 2006 Serato seems like a transitional medium. At some point it should all be combined into one single lightweight DJing instrument.
I dont claim to "own" records, I hate that also. I would never have any "secret squirrel" shit. I am the first one to tell anyone when they ask me about a track "oh dude, you can get this for a dollar! Its on so-so and so's LP from '72, etc" but if I go see a DJ I want to hear some stuff I dont know about...I want to hear a bugged out track tucked away on an album you never thought would have anything kick ass on it, I wanna hear that obscure ass soul 45, I wanna hear some wacky ass foreign cover of a US hit. ALL DJs play someone elses music (unless of course they are playing records they recorded obviously)...sure, I play out classics that everybody and their mom knows..those are crowd pleasers, but it is also cool to play out something not many people will know about that grabs them by the boo-boo.
I'm waiting too! It seems like the next logically step to me, to bad that mixer will be $5000 when it drops. The next standard should come around in the next year or 2.
I getting impatient though.
If you can get away with playing that stuff great, but as we all know most of the time you can not. This is what radio shows and mix CD's are great for, but you can't hate on a DJ for not playing some retardly obscure soul 45 at a party. Most DJ's play for the people, not the one record nerd in the corner that's not even on the floor. When I'm drunk at a club (very rare) I want to hear some bangin' shit, and tracks I know. Let's be real nobody is there to get a "lesson".
it depends where you are playing and how it is advertised...we regularly get 300+ folks at our soul nights and it is nothing but 45s for 4 hours, rare shit also...yes, people dont care that it is rare,true but as you know there is a lot of rare shit with "oh my god" drums that is just banging. But no, I am not the DJ for the club that wants to hear new hip hop or club bangers. I dont hate on the DJ for playing what they want, but if you are advertising that you are playing soul and funk (this is a local gripe) and you are charging 5 bucks at the door and your bumping nothin' but disco and brainfreeze comps...fuck that shit.
It seems that one of the appeals of record digging is the feeling of authenticity that it can give. You feel truely connected to the culture and music if you have all it's raerest pieces on your shelf. So I think that soulstrut dudes are particularly susceptible to deep concerns over authenticity.
Personally, I crave some level of authenticity, but ultimately I could give a shit. I'm much more interested in the music and the possibilities of DJing. It always seems like those most concerned with authenticity are those who are on the fringes of the culture they want to participate in. Like born again Christians.
And like Cosmo said: "Do YOU homie".
I'm the same way but that's why I think Serato is a good thing. Being able to play your own music/edits/remixes/mashs/sound clips/scratch phrases/phone conversations can REALLY make you unique. If there was ever a time for a DJ to really stand out as an individual this is it, WAKE UP dudes!
That's got to be a joke.
Assuming it is, if one is lacking authenticity, they will try to cover that up with all kinds of "lifestyle choices."
I like records. So I go out and look for them. I like girls too, but I can't marry my records.
It's like muthafuckaz are afraid of freedom. The possibilities are kinda endless.
Hook Up, you're missing my point. I'm relating the attitude of peeps using Serato to dudes w comps. Which illustrates the point even further. Touchy subject on a forum full of stamp collectors. Seems to me that either you're open to the idea of it, or you're someone who has the "You HAVE to have the original in right to play that" mentallity. Just because something is rare doesn't mean anybody sholuldn't play it cos they don't own it. I've learnt a lot from comps and I think everyone here has. My problem is that when I find a song I like and start to research it, is that it usually turns out to be that $100 record. Fuck that, I've already got a copy! THis was illustrated well to me recently when I bought a 3rd copy of a Oz hip hop 12. I bought 2 when it came out, gave one to a friend as a gift many years later, only to find mine had a scratch later on. So I get me another copy, only to find when it arrives, it's chipped and cracked.