edubz

this is the way its suppose to be. Its like if you go pay $50 to go hear a DJ, and hear a CD playing instead... junior vasquez, as far as I know is the only DJ that always records his set live like that, fuck up or no fucks up, thats why I respect him more then any other house dj.

im a male, but who is anyone else suppose to know that from a scene name, lol I dont call no one honey, lol

ok, I understand now. a Dj starts a set, and for the first lets say 30 minutes, every blend is good, until 49 miuntes, the beats falls off ... so they finish the mix, 1 hour and 15 minutes. they go back to that song at the 49 minute mark, play that song, and the other song, and blend into together, and then delete the part they fucked up at, and insert the new 2 tracks they just did... kind of takes away from the whole "live" aspect of djing though

I dont understand how you can fix a mix? unless you start the song over and get the blend correct? because once the mix is on 2 tracks, being left and right, you cant just add stuff, unless you start from the middle of the song and fix where you fucked up, then go back, copy and paste the new half of a song, onto your new mix...

I thinks to me, its because trance dj is just that... a trance dj. I hate going out to a club and listening to one entire style of music the whole night. I like to hear a combination of trance, tribal, techno, ect...all mixed in, and trance Dj's are just that... a trance Dj

its called being proud of where you lived and grew up. I am proud I grew up in NY... home of hip hop. where hip hop started when people from the south bronx stole power out of light posts to perform shows. Home of graffiti on trains. Home of break-dancing. Home of famous clubs and famous DJ.... If you dont understand, they you got no love for NYC baby. its like when my uncle from cali comes here and eats a slice of pizza in the city... he says "god, there is nothing like NY pizza" because he grew up here and knows whats up. NY pizza is the shit. But you seem one dimensional and dont seem to understand the concept of what people are saying. Its not about braggin or trying to "look cool" when talking about NY pizza, or NYC clubs, its about a culture of something that was unique here in NYC. Something special. My true NYers know where I am coming from, stand the fuck up!

this is insane, and a slap in the face to all Dj's and music fans, when these worlds famous Djs are putting out all these CD's that are way to perfect using a computer... I really could careless if bedroom Dj's use this to have fun, or mess around, but when you have people like sasha, carl cox,ect,ect that are getting paid thousands to play all over the world using a computer to mix, and putting out a mix like "LOOK AT ME, I MIX PERFECT!" come pay $50 to see me! bullshit. These world famous Dj's are GUILTY of ruining the very dance scene. I mean, damn, I was never aware that these world famous Dj's use computers. I always thought their skills were that good. And I never really thought that they cheated...... I figured, they must be that good These global underground CD's mixed in a computer? They have seriously fooled people on a global scale if they are... If its mixed on a computer it should tell you. You get ripped off if you buy a CD mixed on a computer... how long has this been going on though??? I mean, laptop Djing and such is pretty new, this was not around like 4 or 5 years ago when I was more into the scene... so how long have these Dj's been cheating? Can someone point out some CD's from famous Dj's that were mixed on a computer, because just about all the CD's I see say mixed LIVE @ club whatever...

I have been using logic since it was hybrid on both the PC and Mac....Sadly, it was gobbled up by apple computer, and apple computer killed PC support and also killed VST support. Since then, apple has not really done anything with it but add bloatware, and such, and charge alot of money for small bug fixes, which they claim is an update to the program. Still a great program, but I think it would have been better for the end consumer had emagic not been gobbled up by logic. I check out the website, and read up on it http://www.download.com/Virtual-DJ/3000-2170-10212112.html?part=dl-VirtualDJ&subj=dl&tag=button The sequel to AtomixMP3, VirtualDJ is the MP3 mixing software that targets every DJ from bedroom DJs to professional superstars such as Carl Cox, and is used everyday by millions of DJs, and in many big clubs. It features a breakthrough BeatLock engine that will keep your songs in tune and let you work your mixes incredibly faster than any other DJ. I am shocked they have and are promoting carl cox name on there, but hey... but this is basically cheating if your having the computer do it all for you. not basically, it is CHEATING. I mean, why the hell even DJ? I mean, lets get serious here.... if I went to go hear a Dj, and he just bought a CD set and played it and wasnt even Djing, that shit is wack! so is this Atomix Virtual DJ the shit the Dj uses now to make their cd's? Damn, at least dj1800 you still have to beat match and mix in, I never knew there was stuff that did it for u. question for the laptop Dj's , what are you using to mix ?

your %100 on point. hell yeah! I miss that too.... this is what they say when "digital killed the vinyl star" meaning, a great song nowadays, is killed quick, or rather it has a shorter "lifespan" which sucks.

Well this is all new to me! Seriously, I am a logic user, and I use pro tools, but I dont understand HOW you can mix a DJ set in pro tools?? I use logic to make beats, and record audio, and pro tools to edit.... For example, when I am doing a mix, be it on cd, turntables, or a combination of both, I constantly have to fix the songs in the mix so they stay on beat...using the jog wheels, pitch bend buttons, the turntable spinndle, the side of the spinning platter.... how the hell can you keep the mix in beat on pro tools? I just dont get it??? I mean, I have seen this little program here, DJ1800 for the mac os x... which is software base, but it still works on the same concept, beat match and hold the mix with the pitch bend buttons. but seriously, I could not see myself mixing with a mouse, as you need to do all these things together, along with eq, so now I am even more confused as to how its done in pro tools or live as they are midi and audio editing programs.... they are NOT djing programs... I mean, I just dont get it, why would you want to use a mouse to Dj and mix? Its just unnatural... dont mention any names, but WHAT and HOW did he use his computer to make a mixed CD?????? Is he using a virtual Djing program like the one above? I just makes no sense, its EASIER to mix when you have 2 hands instead of one hand and a tiny arrow on a computer screen!!!!!!!!!!! this cant not be!!! I think people are getting the term "mixing" confused... when people record a rock and roll band, and "MIX" using pro-tools, they are not mixing like a DJ, but are mixing the individual sounds down.... still confused

ok, someone explain to me... I was reading an article here on clubnyc, and DJ Behrouz said "They said they want to get two different DJs and that the concept is one DJ from the U.K. the other from the U.S. and they gave me the flexibility to do what I wanted to do. It worked because I didn’t do the CD on a computer, it was all mixed live." umm, isnt that what a Dj is suppose to do??? I am confused, maybe someone can explain... CP : That actually leads perfectly into our next question. I read that you recorded the album in one take. Talk a little about why you did this. DJ Behrouz : I had to go to Europe and finish the CD because the next day my building was being sold and I had to move out of my studio. At seven o’clock in the morning movers were coming to take all my stuff out so at three o’clock in the morning I was mixing the CD. I have a DJ booth in my studio and I lowered the lights, just like it would be in a club. I put all the tracks down and went from start to finish. Yousef also did the same thing, recording his album in one take. It’s funny because afterwards I told Geoff (Oakes of Renaissance) I want you to know I did this CD in one take and he goes “Oh my God, Yousef did the same thing, we should talk about it!†I think it’s perfect, I tried to make the CD as close to the way I play. DJing is still about two turntables, two CD players and a mixer; it’s not about a computer. ok, someone explain to me, when I make a mixed CD, I record it from my mixer, to my motu 896 sound card, and into my mac g4.... I mix it, but its recorded through a computer, but its no different then if it went to tape, or dat... is this guy mean, if you use a computer, your not a DJ???? I dont understand, I am confused. If your a Dj, your suppose to do the mix like that? from start to finish...... Its like if you dont mix it, your being a minnie vanilli. can someone please explain what this guy means? I am really confused about his comments

so I am in this club life out in queens, twisted. I get there early. House music is playing. I went because the people I was with were into hip hop and reagatoon. They cringed as they heard house and dance music. Anyways, DJ camelo was Djing that night. He's a hip hop reagatoon DJ. He wasn't there when I got there, obviously since dance was playing. Anyways, hip hop starts to play and more people come in. Anyways, all of a sudden I see people coming in with 2 technic 1200's, and at least 10 creates of vinyl on a hand truck. well, turns out there was no turntables at life in queens, only cdj-1000's. But Dj camelo was a madman behind the turntables, working hard and mixing hip hop...on a rane 2016 rotary mixer. I went to the booth and gave him props because he was using vinyl and mixing hip hop on knobs. I remember like 3 or 4 years ago I was Djing at my friends club out in LI, and we hooked up the rane 2016 mixer I had, and I spilt the night with the hip hop Dj and he was crying that the mixer had no crossfader. basically, my point is, a REAL DJ is going to be able to work with what ever is in front of him. Not cry and bitch that there is no cross fader or a laptop. also, tiesto comment saying vinyl is dead is troubling.... a hip hop DJ would say he looks dead just pushing buttons behind the booth and being called the number 1 Dj in the world. What would that say about the genre of music he plays? If he is to be the # Dj in the world,dont say a format is dead, when alot of other Dj's still use it. I mean, maybe for dance music its dying, but not so much for hip hop. The problem with everyone being DJ now is, anyone can be. Just download a couple tracks online and bam, your a DJ. But then we go back to the so called "death of dance music" where as the quality of music, DJ's, producers, and even clubs as been dying after the turn of the millennium. Look around, there is no more originality, even clubs nowadays are just carbon copies of other clubs, chain clubs.... music defenently is NOT as good as it was in the past... also, there are hardly any REAL DJ's.. by this I mean, a Dj that plays ALL genres of music. to many times I go out only to be disgusted by a Dj playing ALL techno all night long, or all tribal... I mean, I hate it when I go out and I feel like I am listening to one real LOOOONNNGG song... this is probably the reason why people are turned off by dance these days, the DJ's have no idea what they are doing.

problem is, back in the day, you could go to another state, like cali or florida, and be like, "hell yeah, NYC clubs.... you ever heard of the tunnel???, let me tell you, they stay open til 3 PM the next day...clubs like soundfactory, twilo.... NY STAND UP!".... now, yeah. I went to crowbar.... oh yeah me to, here in florida... oh pacha. yeah I went to the one in europe.... oh.... so basically ow, its just a space, where a DJ plays other peoples music... Just to let you know, NYC "was" and "use to be" famous for original clubs, like the fun house, paradise garage, studio 54, twilo....... its the general principle god damn it.

well the pioneers cdj-1000's are the "technic 1200's" for the digital age... industry standard... I dont like them though, jog wheel feels funny when trying to pitch bend.. not like vinyl where you can squeeze the spindle or touch the moving plater.... the cdj-1000's have some kind of memory card, where you can save cue points for your cd's... so, no more looking for cue points.... these big name Dj's using the cdj-1000's just plop in their memory card into the cdj-1000, and boom, once they stick their cd's in, its all cued up. the cd's 1000's cost like $1,200 for 1 cd deck.... thats alot of money for a cd player....

I agree. I dont like these "chain style' clubs either. I also dont like how in the review on here it said they had a merchandise store. I mean, seriously now.... But what can you do? How many original world famous new york bred clubs are still around? Roxy? It cant even stay open past 6.... I dont want no overrated european Dj's coming here. I want my NYC Dj's from america. I know Erick Murrillo is NYC , but , I never listened to him back in the 1990's, and I am not going to listen to him now. His style bores me. I heard his CD's, not my style... I miss my old NYC, this NYC isnt my NYC, I hear you, we need a REAL NYC club, not some name brand euro shit...

should be good for NY, as bad as the dance scene is right now, it needs something.

this club looks interesting, although the Dj line up leaves something to be desired... I think Im gonna go hear hext hector spin.

duhh...!

also. you deal with this thing called LATENCY... a real pain in the ass.

the future looks bad.... think of it this way. Record labels(I am speaking about dance labels, not the billion dollar corporations like sony) are forced to shut down. Even by going online and selling their music, people still get over by just free downloads. What will happen? Soon, all the music that will come out, will all be from people using bootlegged copies of reason, that will just be shared from friend to friend to friend, ect,ect.... I have noticed a huge decrease in the quality of music since 2000 onward. Hex hector made alot of what people call "classic tracks" as if you go to a NY "classics night" it plays like a hex hector discography tracklisting. if you go to his site, from like 1996 to 2001 hex was doing like 50-80 remixes a year. After 2001, nose dive to the point where he hasnt even done 10 remixes this year. in general, there is hardly any good tracks out anymore. Sure you find a good one here and there, but how long does it last? Think about this, has there been any classic tracks released recently? 2005 is over, name me some classic tracks, as I have been out of the dance scene for like 4 years, and just started getting back into it. any classics in 2005? scary isnt it...

it does matter whos watching. On certain torrent sites, they have software, and if the developer of the software asks for their software to be remove, the torrent site removes it, but at the same time there is tons of other shit.... I guess it depends.When ever I make a beat, I copyright it, and since I am registered with ASCAP, if anyone ever stole it and played it, ASCAP would take care of it. For example, if your playing my song, and I email you and say, take it down or pay me, you might not care. However, if ASCAp and their lawyers contacted you, its alot different and holds more weight. I mean, piracy is pretty crazy these days, but even optimum online promotes it. They only ask you DO NOT share files. In other words, you can download, but not upload. from their site. http://www.optonline.net/Cservice/Article?CID=type%3Dreg%26channel%3D68%26article%3D1993918 Are you exposing your personal files to the Internet? Or running a server without even knowing it? If you use a peer-to-peer application without disabling the file sharing option, the whole Internet can have access to files on your hard drive. The University of Chicago publishes a handy reference* for disabling file sharing on various peer-to-peer applications. By disabling file sharing, you can continue to enjoy the Internet services you like, but you'll keep the network clear for other users. And you'll stay clear of the restriction against running servers found in the Optimum Online Residential Terms of Service. strange isnt it... as for your friend, yes she was on FM. Thats falls under the jurisdiction of the FCC, hence thats why she violated federal law... again, I doubt they are going to go after a DJ for posting mixes online, they have bigger fish to catch.

i been working the the music industry for 2 years, doing royalties. Its a pain in the ass when your trying to get an album out and someone didnt clear a sample. People from Dr. Dre to Apple computer have been sued for not clearing samples. copyright infringement. but seriously, people share software and stuff on torrent sites, I mean, I guess it all depends who's looking, but I seriously doubt (and i have never heard of) anyone coming after a Dj for streaming music or offering downloads...

"Digital preserves music the way formaldehyde preserves frogs. You kill it, and it lasts forever."

good question. In theory you can not release other peoples copy righted music without their permission. Be it streaming or what ever. yet in dance, its accepted. I mean, unless the person is going to sue... and all those tunnel vs soundfactory CD's were illegal, yet you would see them in record stores. Ironically, thats bootlegging, and its funny how the record stores that sold dance music, would sell bootlegg CD's, are now being killed off by bootlegging online music. So it gets tricky, to many loopholes. to many ways to go. if you really want to read up on it, http://www.law.cornell.edu/uscode/html/uscode17/usc_sup_01_17.html

Not so much the death of vinyl, but file sharing hurts the dance industry the most. For a tiny dance label is gonna cost them alot to press vinyl... if DJ's and music lovers support the industry then its a good thing. There is a good read on how digital has changed the game... Record stores cannot afford to stay open. Electronic Dance Music events attract a frighteningly severe level of attention from authorities yet, more often than not, fail to be financially solvent, eventually being forced to give way to the Hip-Hop and Reggaeton behemoths. And finally, that age-old question: Do people really think that music should be free, or worse yet, a commodity? File sharing has hurt all corners of the music scene, but the dance music scene was hit particularly hard and is indeed still recovering. Independent Dance record labels don’t have deep pockets, nor do they have the corporate sponsorship that Metallica, Britney or Madonna and the “big 5” record labels enjoy. So a decline in sales has more of a ripple effect in the small pond of the Dance music scene. Additionally, the damage caused by file sharing does not lie simply in lost record sales, but also in lost marketability. Declining record sales will not convince a record label exec to sign and invest a lot of money in a DJ or a Producer. As a result, Producers and DJs become less able to create music for a large audience and the availability of House and Dance music may diminish greatly. To catch up, there had to be an across the board (read: across all genres) acceptance of the modern technology that could not simply be “uninvented.” In order to catch up, in order for artists (remember them?) to start making money again, there had to be an evolution from the Vinyl-exclusive format of dance music. Historically, by gearing dance music towards DJs and those select few “in the know”, a large consumer population was excluded and alienated. They eventually turned to file sharing, armed with the rationale of “it’s not available in stores so I’m not hurting anyone.” Additionally, it is worthy to note that history may very well be repeating itself right now. This could well be the 1980s after Disco crashed down from the heady heights of commercial success to full-blown rejection. Disco met such a vicious backlash because the consumers found themselves in the middle of a saturated market -- with no quality assurance, anything and everything was given the disco treatment, often with the hopes of making a quick buck. Today, greed is not the only reason the market has become flooded. Technology, you see, has become a curse as well as a blessing. The wide availability of recording and production equipment (and its reasonably affordable price) has made every other music fan a bedroom DJ/Producer. There’s no need to worry about high manufacturing costs or even paying a promotions staff when you can simply upload the your tracks to your website, or fileshare them with friends who will pass them on to their friends, and so on. Even starting your own independent record label is not the lofty task it once was. The effect that is now being seen is that, faced with a diluted market of average quality or worse music, the consumer feels this music should be free. All these factors have lead to a sharp increase in the quantity of releases on record store shelves. With a no filter for quality, it becomes difficult for the casual fan (and even some professional DJs) to sift through a hundred or more new releases each week for three or four good records. Additionally, as shelf life decreases, even the quality records don’t stay on the shelves as long as they used to. So, the last 7 years have been Sodom and Gomorrah: Free music, more advanced technology, music piracy is perfectly acceptable! But let’s look at one consequence that goes beyond the mere fact of lawsuits, fines and declining record sales: our shortening attention spans. (You’re still reading… good for you! There may be hope for your attention at least.) During the early-mid 1990s, club-goers and radio-mix-show-listeners would hear unreleased tracks months, even up to a year before they saw a release. Even a large majority of the material that was released was so underground that most people wouldn’t know where to find it. They would have to pick out specific identifying qualities of the track in an effort to track it down (“oh, you know, that track with the Elmo-sounding voice on it!” or “it sounded like a male vocal, but maybe it had been pitched way, wayy down – I don’t even know!!”). Today, after dancing to a record in a club, you can get home as the sun is rising, flip on your computer, connect to your favorite file-sharing program and, without much difficulty, find and download that track. But the process of producing and releasing records hasn’t quite caught up to that speed yet. By the time a record sees a proper release, people have already been dancing to it in the clubs, hearing it in online DJ mixes and downloading it to their iPods for the past six months. At this point, very few people really feel the need to actually buy that record to support the label and the artist and to ensure that the quality music they love will continue to be available. And while we’re at it, take a look around the music scene as a whole (and I mean any genre of music here): you might notice that independent dance music is not the only scene that is suffering. Go to any city with a mall and/or a handful of national chain music stores in the nearby vicinity. Now, look for the independent music shop. It’s kinda hard to find, eh? Whether you’re digging in crates for old jazz records, early 80’s punk or new wave or an old Chicago house track, there are increasingly fewer stores that can afford to offer the music lover this luxury. The so-called death of dance music is not being rung in by the tolling of the digital download bell. To put it in overly-dramatic terms, the grim-reaper has already walked among us – illegal downloads. Yes, it was a lot of fun to get music for free and rationalize that “This music isn’t available anywhere else,” and “I’m only using these downloads as a sampling device to see if I want to buy it”. And yes, it seems preachy to say that illegal downloads take money out of artists pockets and food from their family’s mouths. It does not only that but also deprives the rest of the world of this music that we all supposedly love. Going beyond the consumer, the technology of legal download sites has made the global dance music scene smaller, a more close-knit community that is accessible even to kids in the Deep South, Industrial Midwest or even the Alaskan Tundra. This is overwhelmingly good in that it ensures the continued vitality of dance music. People complain that legal downloads and CDJs are forcing the old fashioned record stores out of business. Perhaps they are to a degree, but think about the kid who has no access to this kind of music (since you’d be hard-pressed to find that rare David Morales mix of Mariah Carey at your average Best Buy, Sam Goody and Wal Mart) and has to rely on buying records from Ebay or downloading MP3s from a variety of legal download sites. When a kid in Indiana or Kansas gets bitten by the dance music bug, whether he’s seeking out vinyl or burning mixes onto CDs, this is someone who is going to dig as deep as he can to get to this music; listening and learning about its history, and just about jumping out of his skin when he finds old 12” dance records in the back room of his college’s radio station. These are people who will ultimately keep dance music alive, whether it is in its original underground home or at the height of commercial success before being relegated back to the underground once again. That is why, with House becoming more widely available, we have to do our part to truly show our support. Every legitimate sale, be it traditional vinyl or CD or the less-tangible MP3 file, shows the world (including those corporate shot-callers and their purse strings) that House music is worth supporting. This will insure House music’s future availability and vitality; and who would want to argue with that?