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capo ultra wrote:

dubfordessert wrote:im guessing he keeps the crossfader in the middle to start a mix otherwise what he said makes no sense

I kind of know what he means though, I do the something similar since I read what Oneman does. It makes it easier to drop rallies on grime mixes. You keep the fader down until you drop the first beat, then you put it straight in and error correct on the fly using pitch control.

The point in keeping the fader down initially is cos your using vinyl. If you're using cds you don't have to worry about the thus thud thud of queuing up so you could essentially just keep all faders on full all the time. Esp as CD's show you vague bpm values too.

Yeah this is usually how I mix. Think it's more of a hip hop based way of doing it

Some Mitsabishi hate right there then

because mistabishi is a worthless tnuc

see mistabishi phantom dj drama on doa 4 years ago

guy was always a prick before he broke out anywho, plus he wore horrid sweaters out to parties

skimpi wrote:So he uses the cross fader instead of the channel faders? Isn't that like how it was designed to be used?

What I meant was when I have seen AK play out he lets you hear him beatmatching and all. Most people raise the faders up or cross over after they match. I dunno if he does it all the time though, I know I've heard studio mixes not like that. I have heard him trainwreck before and recover so well that I thought maybe he just did that on purpose lol (maybe he did).

From the other interview

MM: So you keep it in the middle, the fader…

AK: Yeah yeah. I keep everything up. And I hit start, and I make it on beat. I’m not gonna get it on beat silently without anybody knowing and then put it on so everybody thinks I’m a fucking magician. You know what I mean? This is mixing, this is what you do.

MM: Its raw.

AK: Put it on and it doesn’t start on beat, so you make it on beat. But its like a good time, because its drum and bass. Drum and bass is about having a good time right now. Its not about bro-ing out and having your face melted. Its about going in, having a great time and just vibing out to proper beats, baselines and just thats whats up, there really isn’t any more to say about everything than that. (laughs)

I'm gonna say it. Fuck this dude man.

5910 wrote:I'm gonna say it. Fuck this dude man.

why

pkay wrote:because mistabishi is a worthless tnuc

see mistabishi phantom dj drama on doa 4 years ago

guy was always a prick before he broke out anywho, plus he wore horrid sweaters out to parties

Beat me to it. He got abused.

Phigure wrote:

5910 wrote:I'm gonna say it. Fuck this dude man.

why

I couldn't even get through the whole thing, not even through the 2nd or 3rd question.
His relentless complaints about people limiting their creativity because they aren't listening to what HE considers a wide range of music is frankly appalling.

I used to rate the guy too, can't fade the fact he's a top DJ, but fuck man, he's full of shit imo.

But you didn't read past the first question...
But that's okay if you don't agree, no worries. He's not trying to change your opinion, just speaking his.

I did, I just couldn't get much further.
And I'm open to that, I just have strong faith that he's wrong.

tbh, my initial response was harsh. There's some shit I relate to in there, but that "We did it so much better than kids are doing today" shit pisses me right off. Right fucking off.

5910 wrote:tbh, my initial response was harsh. There's some shit I relate to in there, but that "We did it so much better than kids are doing today" shit pisses me right off. Right fucking off.

it's true though, and i'm what you could call a "kid of today"

show me a single response that's so ridiculous that it deserves a "fuck this guy"

The fuck this guy is directed at the attitude. I simply cannot relate to that. Try going back in time to tell him that he, and all the peers he rates so much were and are shit, because they didn't listen to some old Ragtime, or Classical music... What bothers me is his adamance on the subject.

he's commenting on the stagnation of a lot of modern stuff because it's people just listening to modern producers and copying them, basically inbreeding within a genre and it's damn true
if all you listen to is disposable music from the genre you produce, you're just going to make boring generic disposable music
considering he's used his high profile before in the past to push forward unique unsigned guys i'm all for his attitude rather than those who profit on the short life span copying the 15 minutes of fame producers instead

deadly habit wrote: considering he's used his high profile before in the past to push forward unique unsigned guys i'm all for his attitude rather than those who profit on the short life span copying the 15 minutes of fame producers instead

Example:
He worked really hard on this, put in a lot of effort and money and didn't really get shit for a return: http://www.discogs.com/AK1200-Weapons-O ... se/1211933

It was a good compilation/mix, and quite a few of the people featured later got famous. Not many people supported it though, or gave him shit for it instead. He said he got pretty discouraged from trying that again unfortunately. Not a lot of people have tried that before, so it's a shame.

my homie soccer mom on the first track

i agree with everything he's saying. i've felt this way for a long time, that the people who made original jungle back in the day, they were taking from all kinds of different influences and creating something brand new. sampling old funk and soul breaks, jazz, hiphop. nowadays, its just feedback creating more feedback. everyone is making drum and bass influenced drum and bass, which ends up being like a copy of a copy. a bootleg ripoff of the original. it's something that happened to me when i started making beats. all i had been listening to for a long time was oldskool jungle, ragga, and dubstep. i felt stagnated. i had to go back to the well, go back to my original influences, and then make some kind of futuristic version of that

yup, so few people are musically well rounded nowadays

if anyone stateside has earned their right to have a 'get off my lawn' speech its Dave. Dude (imo) has done more for stateside than DSL, more than Hive, more than Evol Intent, etc etc. Dudes relationship with Playford, Danny Breaks, and Digital pretty much ushered in the jungle/dnb era in the US. Outside of the 3 years after drowning remix came out he's been the most underappreciated dude in drum and bass hands down. Far eclipsing the lack of respect for Trace (another travesty in drum and bass)

Anywho if you cant to relate to what hes saying odds are you're either new or middle school drum and bass fans (nothing wrong) just cant relate to someone who's been holding it down as long as some of you have been alive (literally)

People used to make tunes influenced by Roy Ayers or Kraftwerk etc. people made tunes with influences deriving from soul, hip hop, reggae, funk, rare groove, disco, rock and roll. That was a huge wealth of knowledge all having the same basic foundations. Music theory was a big deal. knowing how to layer sounds and create moments, and write music that drew you in and drove you around. Now, it seems much music is made for novelty, who can get the noisiest lead line or heaviest bass sound.

This was the paragraph that hit me the most because I completely relate to it. It was really Roy Ayers, the Mizell brothers, Dub, Hip-Hop etc. that got me into producing.