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Fuck that I load my cds as full as I can with tunes.
The whole point of CDJs is convenience and not having to lug around a shitload of vinyl.
Sure it can be easier to grab cds that are labeled with one or 2 tracks, but if you're organized and know whats on each cd there is no reason to not max them out (and make 2 copies of each)

Yeah m8 i dont belive you and think your a troll that you dont know what a fader does or an EQ

Fadre make sound go loud and off

EQ make sound no bass

bloody hell

do you know what a tune is ma8?

ephyks wrote:Actually, I've been wanting to know this for some time now but I haven't read much of this thread yet so I'm not sure if anyone has talked about it but...

When playing out live, how many tunes does one person put on a CD? My brother always tries to convince me that you can put a whole EP on a CD and just track select while mixing. I say this would feel bizarre and you should just put one tune per CD so you know exactly what tune you're going to play when you load it up and it keeps you a bit busier than just standing in front of a crowd and pretending to mess with the levels.

One track per CD? Waste IMO, i saw some djs doing that, but it's not my thing, you'll have fucktonnes of CDs unless you plan on playing same set every time

I used to fill up my CDs (15-16 tunez) but that isn't reallu convenient as it limits when mixing, because you can't mix tunes from same CD.
Nowadays i try to cut it down to say 8 tracks max per CD and i find it works a lot better, i started a separate wallet for my dnb and that's strictly 5 tracks per cd plus few singles that i burnt each separate, making it 2 tracks per CD.
Some people prefer that, because it's kinda like vinyl.
But to answer your question, i think 6-8 tracks per CD is ideal

See I load my cds with max tunes they'll fit, but I make 2 copies so I still have the full arsenal available to me on both decks.

Yeah, i'm not sold on burning doubles. I probably CBA to burn evert CD two times plus i'd need anpther wallet.

It's just a matter of keeper those huge binders at home and a small portable one for gigs.

man, if you're scared about bringing a piece of equipment home and not knowing how to use it, you need to work on that or consider finding another hobby.

part of the fun of producing and djing is learning and having new toys to play with and teaching yourself. are you scared to buy a new fancy cell phone cause you might not know how to use it? would you not buy a new board game because you don't know how to play without reading the instructions? I hope not.

anyway, i'll give you a little help with what things on that mixer are going to do and the concept of mixing in general.


think of djing as a way of taking multiple songs, playing them together, and making them sound like one solid mix using transitions while both songs are playing.

now since you say you've been producing for awhile you should understand this concept: an even, flat mix sounds best (for this argument's sake)
how do you achieve a good mix for a song? basically through gain structure (volume of each element) and eq (volume of each part of the frequency spectrum)

on a basic mixer, each deck is going to have a fader for its gain. and each deck is going to have 3 (sometimes 4) eq knobs. these are the lows (kicks, the sub, etc.) the mids (midrange bass, vocals, melodies, etc) and the highs (hats, the high end of midrange sounds, etc)

your goal as a dj is to take two songs and mix them together so that they sound coherent and pleasing to the ear. since you have two tracks that need to sound good together, you should subtractively eq one track. let's say the track you're going to be mixing in, turn down the bass and highs before you bring it in to the mix so that you just have a melody from the intro or something while the first track is in its outro. you'll bring in the kicks and highs and whatever from the second track at the appropriate time. knowing song structure and every bar of your music helps with the where and when part of mixing.

all you REALLY need to know is the two gain faders for each track, the crossfader, and the eq, and that's basically how they all work. i know you could read that with all the other helpful links everyone's posted but i thought you needed it put in a way that isn't so technical that you'd understand. good luck, and don't be scared of new gear because you don't know how to use it before you've ever even touched it!

when one songs finishes, pull it back, start the next tune, best way imo

basically all what you need ^ good post mikeyp



edit: treed

ephyks wrote:Actually, I've been wanting to know this for some time now but I haven't read much of this thread yet so I'm not sure if anyone has talked about it but...

When playing out live, how many tunes does one person put on a CD? My brother always tries to convince me that you can put a whole EP on a CD and just track select while mixing. I say this would feel bizarre and you should just put one tune per CD so you know exactly what tune you're going to play when you load it up and it keeps you a bit busier than just standing in front of a crowd and pretending to mess with the levels.

about 15
because thats about how many artist/song names i can write onto the cd w/o it getting too messy
i also burn duplicates too:D as it gets quite sad if you have two songs you want to mix that are on the same cd


I love it when people play premixed albeton sets and pretend to mess with the levels!

Rappone wrote:Many DJs use minimal hardware nowadays, some even pre record their mixes on ableton, then on stage practice 'the art of doing nothing'. DJing isn't nearly as hard as producing.
And you don't need books there's pretty much all the info you need scattered online. Just do the right research

On a side note - hayato was my fave char on mavel vs capcom.

They're both completely incomparable. You can also argue that if DJing is so much easier, Why are there so few big DJs who do.n't produce.
It may be easy to DJ at a competent level in the same way producing at a competent level is relatively easy (this is true because so many people can).
There are only a few DJs that are famous just on their DJing talent alone (Yunx, oneman, ben ufo, Joe Nice etc. in our scene) just like there are only a few producers who are famous on their producing alone (burial, zomby etc.)
I'm sick of hearing producers booked on their producing ability turning up to clubs and playing shit sets, while DJs who don't produce are just ignored.

djredi2step wrote:

Rappone wrote:Many DJs use minimal hardware nowadays, some even pre record their mixes on ableton, then on stage practice 'the art of doing nothing'. DJing isn't nearly as hard as producing.
And you don't need books there's pretty much all the info you need scattered online. Just do the right research

On a side note - hayato was my fave char on mavel vs capcom.

They're both completely incomparable. You can also argue that if DJing is so much easier, Why are there so few big DJs who do.n't produce.
It may be easy to DJ at a competent level in the same way producing at a competent level is relatively easy (this is true because so many people can).
There are only a few DJs that are famous just on their DJing talent alone (Yunx, oneman, ben ufo, Joe Nice etc. in our scene) just like there are only a few producers who are famous on their producing alone (burial, zomby etc.)
I'm sick of hearing producers booked on their producing ability turning up to clubs and playing shit sets, while DJs who don't produce are just ignored.

the producer has no excuse to play a shit set if he is booked for his music, however, that's the way it should be.
today, anyone can have anyone's music to play out. people want to hear Producer Guy's tracks live. no other dj is going to play as many of Producer Guy's tracks as he is.
also, from a booking standpoint, when everyone and their mother djs, it's usually a better idea to go after guys who produce and have a name for their own music rather than someone who plays 100% someone else's shit

mikeyp wrote:

djredi2step wrote:

Rappone wrote:Many DJs use minimal hardware nowadays, some even pre record their mixes on ableton, then on stage practice 'the art of doing nothing'. DJing isn't nearly as hard as producing.
And you don't need books there's pretty much all the info you need scattered online. Just do the right research

On a side note - hayato was my fave char on mavel vs capcom.

They're both completely incomparable. You can also argue that if DJing is so much easier, Why are there so few big DJs who do.n't produce.
It may be easy to DJ at a competent level in the same way producing at a competent level is relatively easy (this is true because so many people can).
There are only a few DJs that are famous just on their DJing talent alone (Yunx, oneman, ben ufo, Joe Nice etc. in our scene) just like there are only a few producers who are famous on their producing alone (burial, zomby etc.)
I'm sick of hearing producers booked on their producing ability turning up to clubs and playing shit sets, while DJs who don't produce are just ignored.

the producer has no excuse to play a shit set if he is booked for his music, however, that's the way it should be.
today, anyone can have anyone's music to play out. people want to hear Producer Guy's tracks live. no other dj is going to play as many of Producer Guy's tracks as he is.
also, from a booking standpoint, when everyone and their mother djs, it's usually a better idea to go after guys who produce and have a name for their own music rather than someone who plays 100% someone else's shit

if i were drinking something i would've just spit it out lolllllll not what i was expecting at all

like i said though, no excuse to play a shit set. if you produce that well that you go from nothing to playing all the time you better spend 12 hours a day learning how to not fuck up

See I've seen some shit producer sets (good producers, poor sets) who were booked from europe to play here which were disappointing, and I've also caught a few fakers playing premixed cds.
I've also seen great producers who used to traditionally DJ, go to ableton live pa and such and still be amazing (Fucking Raiden!)
The production credits and clout behind the name definitely get the top billing bookings, but half the time I'd rather see skilled locals playing others music who have perfected the craft of djing.

deadly habit wrote:See I've seen some shit producer sets (good producers, poor sets) who were booked from europe to play here which were disappointing, and I've also caught a few fakers playing premixed cds.
I've also seen great producers who used to traditionally DJ, go to ableton live pa and such and still be amazing (Fucking Raiden!)
The production credits and clout behind the name definitely get the top billing bookings, but half the time I'd rather see skilled locals playing others music who have perfected the craft of djing.

i'm with you there as I don't play any of my own music out. what I play and what I produce are different atm, so i'd be pissed to see a guy who produces well but sucks play over me but when it comes to those guys who just about everyone knows, the guy who produces is gonna get the gig and i'd rather have it be that way, tbh. as a fan I'd rather see that.

Honestly it's a mixed bag because you generally get to hear dubs, but in a poorly mixed set when it comes to bad producer djs.

mikeyp wrote:also, from a booking standpoint, when everyone and their mother djs, it's usually a better idea to go after guys who produce and have a name for their own music rather than someone who plays 100% someone else's shit

Thats the point really. Everyone and their mother also produces.
Are you at a club to dance or just hear unreleased tunes from one aspect of the scene? I would say a mixture of the two.
A lot of producers underestimate DJing. They are producing music to be played by DJs. If they're booked to play their music out and cut out the middleman, they should do it properly. It also goes the other way (e.g. N-type, great dj, not so great producer)
Producing and DJing are as hard as eachother. Just because you can produce very well doesn't make you a good DJ and vice versa.

very true

Yea I have no shame admitting in a club scene I'm a mediocre DJ, prolly the pressure (at home without a crowd I'm a beast), but I've been top billing a few times due to production releases, honestly some of the openers spun much better and deserved top billing, but people were there for my production shit and dubs.
It's a catch 22.
That and often to calm those stomach butterflies I tend to drink too much to ease it up or smoke too much ganj.