imadje

if you already have a laptop that can handle it get one of the following: ns6, s4, ddjt-1, mc 6000. these are the new generation of midi controllers that will do to cd players what cdjs did to vinyl in the mid '90s. i.e. begin to dominate the market and leave the old skool stroking their chins in disgust. The old skool can catch up and enjoy or can stay underground and enjoy. What you choose for your future is neither their problem or concern, even if they claim it is. ...as i hope you know by now I play all formats and love them all but if i were buying new now I would def go with one of those 4 controllers. they have all the options and reliability of the cdj set ups at half the cost and less than half the weight. Plus you wont ever have a problem finding a song using a software search while you may struggle to get a CD out of your wallet. BUT: please disable beatgridding and never use sync.

^ haha, i knew i recognised that melody. fookin inspector gadget... brilliant

not forgetting the "mash-up", "re-edit", or in live music the "cover" version. it is a massive grey area in djing but in the live music scene publishers get a simple payout which allows bands to cover songs live under the venue license. To release a cover they have to have permission and probably a contract that agrees to share income. I define bootlegs as "pirate copies" so are 100% illegal and probably funding terrorists. generally apart from "bootlegging" i think all djs should be encouraged to play with stuff (i.e. do re-edits, remixes, mash ups, re-workings etc) and play it out and let people enjoy their creativitiy, but if they start making cash or a rep from it they must in some way respect the original composer and share the wealth if there is any. If they dont they deserve to be sued for their theft of intellectual copyright IMO. however if the punters lap up any old shit like cbg says melbourne does... well then to me that means it's time to go underground again. The true headz will find/ follow the true sound and the best scenes are always born in the underground.

skillz caps That post is mainly aimed at the beatmatching EDM DJ or the dj in a big room though yes? Hip hop DJs, scratch DJs and those of us who like to do a bit of everything dont all have to the same amount of care into our headphone choice. Mobile djs and those of us who play smaller rooms also dont need to concentrate on headphones so much IMO. Personally I much prefer to listen to the front of house output, that way i am in the same place with the same vibe as the punters, hearing exactly what they hear and eqing accordingly. I use the headphones to: 1)chk i've chosen the tune i want 2)set a cue point (or maybe 2 or 3 hot cues and possibly a loop) 3) beatmatch the tune as close as i can get it. then it's headphones off and listen to the front of house again for the mix. Sometimes there are delays, echos or horrible frequencies... but if i can hear them the punter can hear them and this knowledge affects how i eq and mix. If the sound quality is really bad i may use my shoulder to push the phones back up to my ear occasionally so i can monitor my beats. This ruins the cable on the phones. For this reason the factors that affect which phones I buy are as follows: cheap: less than £50 as a pair never lasts me more then 4-6 months due to the shoulder/cable squashing mentioned above pack flat: coz i like everything easily stowable for transport reasonable sound quality: nothing amazing but i need to be able to make out the song and hear the snares so i can beatmatch. bass response s not that important. I generally use akg k518 dj headphones or sennheiser hd 212. however i can also mix in headphones if the need arises and so understand your post above. If i'm on a huge stage where someone else is controlling the front of house sound (not happened in a while!), doing a silent disco or mixing at home i like good quality sound so i use beyer dynamic 770dtpro.

^yep, i'm as guilty as anyone. apologies all.

my body is a temple and my god is a dj

normally: you use the headphones to hear whichever track you have selected to cue. at the same time you listen to the music that people would be hearing in an audience through the same speakers they do. This is called "front of house" in headphone mixing: you use a rotary pot which lets you decide whether you can hear the cue channel or the front of house output in your headphones. so you listen to the front of house in your phones by having the pgm/cue selector all the way over to pgm. then when you want to cue up you turn the pgm/cue control towards cue. then you use your phones to prep the track you are cueing as usual. then you turn back to pgm to mix. In practice you may find a preffered position for the pgm/cue mix which lets you concentrate on the "front of house" so you can hear what the audience hears, but that also lets just you hear what you are cueng up too. this technique works really well but if no one is controlling the "front of house" output you must occasionally take of your phones to check the sound quality that the punters can hear is reasonable. this wont matter to you hoddi until you are in a club or gig.

^ yer that deserves practice, but no harm in fading down vol or applying extra phase for a few secs if you know the dodgy bit cant be avoided but the mix is worth it. ...and listening to the end of the tune is always worth it coz you never know what the artist puts at the end... you may want to use it.

i love you guys.

absolutely what i need to know next. thank you lloyd.

^dims gone mate, he was a pussy so i killed him and ate his liver. lookin fwd to review tho.

haha, i got one, i only come on here to avoid it mate. nice place this is

purpose? delete as applicable: to be a bot. to survive cupes death ray. not to follow djazs advice. to distance myself from my respectable past.

in a past life i was nearly respectable. now i just eat, smoke, drink, snort, chomp and play choons. havent i met you all before somewhere?