I compose, and listen, but the whole beat matching thing never clicked with me. I’ve done it a bit on friend’s turntables, but the process (for me) was tedious. My ADD-riddled brain just wouldn’t sit still long enough to do that. (even when aided in those years)
I like to watch people mix. Used to have turntables where I lived at one point, so lots of DJ friends would come over and play records all night. Micro-Living-Room-Raves.
Similar to attempting to code for me. I can read a LOT of code. A lot of C, a bit of assembly even, and understand what’s happening. I make a good proof-reader for people writing code even. But trying to get my brain to do it just doesn’t work. I’ve tried about a million times, because it would open some things up for me. (digital module creation for example) I’ve had one on one sessions (which is usually how I learn best) tried self-teaching. Some things my brain just won’t do.
I’ve seen it. As soon as I look at the blank page to start writing my own though, everything I learned flys out my ears or something. I also have this thing where I have to do my own (everything) from the ground up. I will look at other things to learn a bit, but I have to then create my own version of it. (synth modules would be the primary example) For some reason I can do that. (in the analog domain)
Them and old Tom Waits live tapes are the best music to listen to on a lazy, rainy day. Went a few years of playing Django daily. He’s a great inspiration too. If he can be such a bad ass with three fingers, us five fingered plebs have no excuse.
Love “I’ve had my Moments” (think that’s the title). Reminds me of Harris driving his car down the stairs and through yards in the beginning of LA Story. Listen to it when I’m driving sometimes.
I’ve heard the term “business techno” thrown around a bit lately when talking about this kind of thing where an artists image is almost more important than quality of output or talent. You’re not missing a thing.
@OP: you gotta drop some chemicals and listen to it again, best in a dark room and very loud. If then you still don’t get it, there might just be nothing to get there.
I will check the book! Thanks!
In my casez I rarely really like a track on its own but LOVE it in a set. And I am always surprised how it works that way. Like I can’t stand the track for 3 minutes but I am ok with it in a 7 minute loop
Probably because good djs can create a momentous journey with their track selection and programming/mixing. I have a couple thousand record singles, but I’ve rarely ever sat around and just listen to them like one does a jazz/soul record, unless I was planning a set. Even at the store, most people hop the needle around to preview the track and if it’s potential buy, maybe listen to it for a minute or two. This is mostly because its the norm to structure techno/house tracks with the beginning allowing time to smoothly mix out of another record without to many sounds clashing. Well that and when crate digging you usually have a stack to get through.
maybe not right thread, but for me part and parcel of popularity and djing over the last several years.
this Grimes coachella “mishap”. that she made clear wasn’t her fault. something about outsourcing.
i’ve never used CDJs or whatever the current setup is for club/event djs.
so what happened? she sent her tracks to someone who set the digital file bpms at the wrong speed or hardware mapping not expected?
Mixing on DNA strands, and transmitted straight to the slot behind your ear. All the feeling of clubs and outdoor spaces with none of the hearing damage!
As soon as I look at the blank page to start writing my own though, everything I learned flys out my ears or something. 
