Indeed!
I canāt help on the technical side because i have no OT. But try to relax and do what you can before to feel comfortable. Some things will go wrong, thatās the nature of playing live. But you will learn a lot and get better everytime. Good luck and try to have fun on stage!
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I just had a listen to your track (liked it very much, by the way!) and my suggestion, for a club setting, would be to give the different sections a bit more room/time to allow your audience getting into the groove before moving to a change. But this depends very much on the setting and audience, of course. Good luck, and let us know how it went!
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My brain- wired to be more of a sprinter than a plodder so I can only cash them after Iāve written them 
Currently writing things in the studio but absolutely need to have the possibility of live performances to drive me to create a live set.
Iāve got the plan to perform something for my cats while a foster pup howls along in the background but the pressure to succeed isnāt quite enough with their vocal support.
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Give yourself credit - someone heard or knew of you and thought āthey could play this gigā. Thatās not an accident!
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I do the very same thing.
Iāll have a bunch of unfinished tracks and no idea how to put them together.
Book a gig, and magically all that comes together.
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An addendum to this: depending on what kinds of substances the crowd is on, if any, their tolerance for changes over time will vary, as well as tempo preferences.
Also, when Iām playing before and/or after others, if I can, I like to tune my first intro and/or last outro to keep vibes flowing. But if itās a more attentive ālisteningā type crowd, then a more obvious transition between performers is more expected.
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Yep. Booked dates focus the mind wonderfully.
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Lol. Congratulations and good luck.And for god sakes, if there are 10 people dancing, donāt worry about the fartsniffers who arenāt. Music for the masses, my friend.
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9 days left howās it going?
well 10 days is very short timeā¦but take time to focus on at least 4 or 5 main tunes, also have another audio devices for transitions if you need to change project to project. I know been there done few gigs on changing a single song project to another single song project is not my favorite way to do a gig. now I fully transit 5 or 6 songs on a single project so now I do less transitions between set right now. but if you canāt fully do all the songs in 10 days at least take the main ones.
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Obviously he went on the run.
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Just as games and rules help make process less friction-y, I can spin my wheels for hours months and years without a reason to stick with an output!
Yeah Iām learning and building up sample collateral, tracks and the like, but external accountability is the best for intentional output.
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The other side of friction is grip.
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I mix my metaphors until drunk.
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Do you have gimmicks? Signature dance moves? What are you going to wear?
One of the absolute best answers. Thanks. Something I did which did help was just dj the audio of every OT made or demo which if I have an audio I already āperformedā that track live in at least some capacity. It became much easier to get a grasp of where I have no-brainer pairs of trios of tracks that have a natural progession in every sense, and even spot already the biggest gapes where I Will probably use 2-3 hybrid and/or live ambient interludes.
Well gotta keep werking thanks
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Probably a New blue dress or something that reinforces transgender anxiousness into self-identity acceptance energy.
No joke some of my best gigs last year came from choosing it with 100% to crossdress publically for the first times; the energy of āfuck what they think I look cool and classy as fuckā translated into the exact same self-confidence in my sets.
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Just wanting to give one final thank you for the comment that was the most useful at least in terms in being the one htat was most complete and thorough and thus the one I screenshotted for easy reference.
And I fully agree, because my octatrack techno is fairly āpunkā /aggressive at least in terms of the beat (my minilogue works are often very sugary but I think the contrast works) long ambient interludes would feel a bit weird; but like I had mentioned my plan before practicing the octatrack transition you mentioned was playing hybrids such as this so that Iād have only the minilogue (or 303) being used and literally have more or less a full track time to switch banks/scenes/tempo in the octatrackāand on my trial runs it has still proved effective enough that Iām using it still combined with the octatrack transitions method you pointed me towards.
In that sense I reaaally lucked out because the gig is essentially gonna be split into two stages and one of them is just live sets (closes sooner than the āmainā dancefloor of course)ābut the placeās vynil players as opposedto the CDJs were available, so I can play vynils and anyway what few vynil I actually have are the records I have the most familiarity with. Hell I even think that a live set with a vynil player on the table will probably look legit enough for the audience being more forgiving for any rough-around-the-edges jejeje.
For anyone reading this: for me personally it has really worked out to have both my minilogue and 303ās dual outs to be used for going into the octatrack AND being able to sound from a routing 100% outside from the octatrack. This both lets me loop with the octatrack but also anyway sequencer-based synths already play loops. Simply letting the minilogue play its loop for say, no more than 64 steps alone* while switching the āsongā on the octatrack, then starting said track on the octa and fading out the minilogue āriffā works as a perfectly acceptable transitionāI mean there are many many times where you essentially transition this way while DJing.
Of course the octa transition trick combined is what 100% helped me round out every transition, but just sayingādonāt forget that if you have other stuff as elements in your live, those can always be the loop that connects one track to the next, itās not that different from looping a track in a CDJ while being as fast as possible with finding the next vynil for a vynil deck if that makes senseāa little practice and the transition times will consistently be perfect for not losing any momentum.
*: strong text I always keep one hand on the minilogue filter or fiter envelope knobs if Iām letting it play alone for any longer than 16 steps, it keeps things dynamic instead of it 100% looking like youāre setting things up while āanything is making some sound in the meantimeā. And IME anwyway, I at least generally transition at a point where the minilogue will be at the most expansive/climatic (long release, open filter env. etc) and itās a good idea to dial it back a little before dropping the next kick for the next track in an assertive way.
Anyway, I know it wonāt be perfect but Iām already confident it will be fun 
for audience as well. Gonna keep rehearsing now, cheers.
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thatās awesome to hear!
tbh joy in genderfuckery will probably factor into any gigs i finally get plannedā¦
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