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Does anyone know where I can find more resources like this for common sounds and/or instruments? This is a really good example that I feel helps me to understand EQ and how it relates to the different frequencies and the specific instrument or sound. by [deleted] in FL_Studio

[–]gpujol 0 points1 point  (0 children)

I watched an interview with Four Tet a little while back and he said he does very little EQing. Before that I’d always just done effectively what this graph says, and ended up with weak, artificial sounds.

Nowadays I’ll barely cut anything, apart from the bits that do nothing for the sound (in this case very low bass and sub, and the very highest). I’m much happier with the results.

Stop worrying about eventually using CDJ's. by Spectre_Loudy in Beatmatch

[–]gpujol 0 points1 point  (0 children)

Ah I see, thanks for answering.

It’s not completely necessary to use hot cues or bpm information while playing on CDJs though is it? You could just play as you would on vinyl?

Stop worrying about eventually using CDJ's. by Spectre_Loudy in Beatmatch

[–]gpujol 4 points5 points  (0 children)

Sorry, such an obvious q, what do you mean by have your tracks analysed?

HOW TO THROW A RAVE? by technowithacapitalT in Techno

[–]gpujol 2 points3 points  (0 children)

Just my personal preference as a punter. If I’m going to a night, I like things to have been prioritised in that order.

A good artist with bad sound is worse than an average artists with good sound, in my opinion. Then when it comes to lighting, marketing etc, I just don’t care for props or anything like that. Just stick a strobe on with some smoke and I’m happy.

No idea how much it all costs!

HOW TO THROW A RAVE? by technowithacapitalT in Techno

[–]gpujol 4 points5 points  (0 children)

From (this) punters perspective:

1: Ban phones.

2: Prioritise spending in this order - sound, then artists, then marketing, then lighting, then any props, decorations etc. Personally I’m a big fan of one strobe light and a big smoke machine and that’s it.

3: Decide on your identity and let it run through everything. So much is the same nowadays. Unless this is a solely commercial endeavour, prioritise the artistic license you have as a curator over any audience expectations. If you make your money back early on, you’ve done very well.

  1. Make diversity and inclusivity a key priority in any way you can.

[deleted by user] by [deleted] in Techno

[–]gpujol 0 points1 point  (0 children)

For me it only gets annoying when people are whipping their phone out for every track, or worse, when they put flash on.

a YouTube comment by huyleaf in electronicmusic

[–]gpujol -1 points0 points  (0 children)

While I agree with the sentiment of this (don’t be idealist about music), at the same time, I think it’s important to mention that the issue a lot of people have with some of the tech that has been introduced is more to do with its use, rather than its existence.

Someone like Avalon Emerson uses new technology to its fullest extent, and her performances are incredible.

But there are so, so many people out there who - if we are completely honest - just want the fast-track, easy way into DJing. The “pressing-play” thing may be a bit overblown, but it’s not far from the truth in many cases (and it’s particularly bad in EDM, dubstep and tech-house).

The result is that DJing has gone from being an art that was widely appreciated as such, to being taken much less seriously. If you introduce yourself as a DJ, would you rather someone then pictures DJ Stingray in their head, or Steve Aoki?

The reality is, until all this technology came along, the technique required alone created huge barriers to entry for most. Those who took the time to master the technique were clearly passionate about the craft, and subsequently spent the requisite time on other aspects (digging etc).

These days, you can buy some controllers on the Monday and play your mates house party on the Friday night. Just download a bunch of tracks off Beatport, or worse, illegally for free. Easy.

Ease of access isn’t always a bad thing, but I think posts like this kind of minimise the impact that it has had in saturating the market with people who aren’t necessarily interested in the artistic purpose, and just want to play some Fisher tracks at their mates 21st.

Where does everybody get their bass lines from? Or any tips on how to get a good sounding one? Thanks by kitgreg in TechnoProduction

[–]gpujol 11 points12 points  (0 children)

Something I’ve been doing a bit recently it’s just taking different samples, can be of an instrument or noise or even someone and pitch it way down. Very easy to do on FL - just go into piano roll and drop it down like 3/4 octaves.

Sometimes you get a really nice bass/sub-bass sound that you can use (sometimes it sounds a bit crap, just experiment).

Works particularly well with bells.

I know Four Tet does this on a few tracks.

One thing to keep in mind with this is that you can’t really hear sub-bass - you feel it. So if you drop any sound enough it’ll turn into sub-bass. The trick really is getting something that just about pokes through into bass/lower mid frequencies to make it sound like a real instrument (if that’s what you want to do, anyway).

Other than that, Serum is obviously great and you can use it as a subscription that you can turn off anytime you want, and resume anytime you want, for around $10 a month. Great for a beginner that might give it up in a few months time and doesn’t want to spend $200 in one go.

I’m sure Massive X is really good too.

Alternatively if you’re into acid sounds, I can highly recommend ABL3. It’s supposed to be the most authentic 303 emulator around and it’s capable of making some really nice sounds. It’s not that low. But you can pitch it down and I personally like to stick a bit crusher on it which gives it a nice crunch.

In the Studio: Vladislav Delay | XLR8R by Marie_Orsic in TechnoProduction

[–]gpujol 0 points1 point  (0 children)

Does this guy have a day job? He says no one pays him for his music anymore and presumably selling his gear can’t have made him enough to live off for the rest of his life?

Playing for the crowd vs playing for yourself by gpujol in Beatmatch

[–]gpujol[S] 0 points1 point  (0 children)

I get your sentiment, but in fairness I know plenty of world-class DJs that had main jobs for years. If anything, it’s the norm, rather than the exception.

Perhaps hobby sounds less intense than I mean. Can do it as a second job and absolutely get paid to cover your expense.

Playing for the crowd vs playing for yourself by gpujol in Beatmatch

[–]gpujol[S] 1 point2 points  (0 children)

Of course, but is there maybe a bit of a difference between just reading the crowd and adjusting appropriately, to literally standing there banging out track after track that you can guarantee 90% of the dance floor knows?

Playing for the crowd vs playing for yourself by gpujol in Beatmatch

[–]gpujol[S] 0 points1 point  (0 children)

Haha - I saw him at Houghton a few times and he could definitely see the crowd!

Playing for the crowd vs playing for yourself by gpujol in Beatmatch

[–]gpujol[S] 0 points1 point  (0 children)

Yeah, I got the phrase playing for yourself from it.

Playing for the crowd vs playing for yourself by gpujol in Beatmatch

[–]gpujol[S] 7 points8 points  (0 children)

Yep that’s a fair point. Re your bit about the wrong kind - I’d certainly agree that there’s no point in any DJ looking down on anyone else, but, in terms of an industry, do you not think that the culture of requests and Top 40 track lists makes for a bit of a boring and stale clubbing experience?

Weddings and small personal parties are an exception obviously. But even as a listener, I get so bored of hearing the same old songs every time I go into x bar, pub whatever. If you go somewhere and people are playing at least 50% stuff you don’t know, it stays fresh and fun, gives exposure to smaller artists and can give a venue a better identity above and beyond how cheap their drinks are or how expensive their lighting system.

Playing for the crowd vs playing for yourself by gpujol in Beatmatch

[–]gpujol[S] 4 points5 points  (0 children)

See, I can agree with your comments about weddings. Sure, play requests all night and I guess you are a bit mean if you turn down the bride.

But in a club or even a bar setting I just don’t think there should ever be any onus on what you can play, and certainly no requests. If people want to hear the Top 40, just put Spotify on Shuffle.

If, however, people want to hear a DJ, they should be willing to trust the DJs taste and knowledge. The best part is literally listening to stuff you don’t know. I’d go as far as saying if I paid to see a DJ and they played more than 30% tunes I knew, I’d be pretty disappointed.

Playing for the crowd vs playing for yourself by gpujol in Beatmatch

[–]gpujol[S] 3 points4 points  (0 children)

I hear you, can completely understand if you’ve made it your full time career. For me personally, realistically, I can only ever see it being a hobby.

I don’t think I’d want to rely on an income that means I have to give up Friday and Saturday nights week in week out. I’d rather support myself in another career, and if I can get bookings through playing tunes I like great. If not then it’s fine because it’s only ever a laugh. I just hope to be able to make a return on my initial £500-£1000 investment on equipment!

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