Mixing Dj Quotes

Think of a story as a stream of information. At best it’s an ever-changing series of rhythms. Now think of yourself, the writer, as a DJ mixing tracks.

Look, dude, you've sampled your life, mixed those sounds with a funk precedent, and established a sixteen-bar system of government for the entire rhythm nation. Set the Dj up as the executive, the legislative, and judicial branches. I mean, after listening to your beat, anything I've heard on the pop radio in the last five years feels like a violation of my civil rights.

Think of a story as a stream of information. At best it’s an ever-changing series of rhythms. Now think of yourself, the writer, as a DJ mixing tracks. The more music you have to sample from—the more records you have to spin—the more likely you’ll keep your audience dancing.

One element you need for a great mix or mastering as producer. Is confidence in what you do.

Because it’s Glasgow, where the weather offers you a creative combination of hypothermia and sunburn simultaneously: and right now it’s playing a DJ mix with six El Nino events, a monsoon, and a drought on the turntables.

At the center of all that gear was the opening DJ, R2-D2, hard at work, using his various robotic arms to work the turntables. I recognized the tune he was playing: the ’88 remix of New Order’s “Blue Monday,” with a lot of Star Wars droid sound samples mixed in.

This was combat. You created the chaos, but at the same time, tried not to be a part of it, tried not to be affected by it. It was a strange mix of hot-blooded instinct, and cold-blooded logic. It was fighting with emotion, but thinking with your head, almost as though your mind was the handler and your body the beast, the two of them at odds, and yet oddly the same. And when the two forces fell into step with each other, it was sickening and exhilarating all at once.

Radically new spiritual movements are cropping up, notably the “atheist” practice of Syntheism. And musicians are creating stranger and stranger electrical sounds and rhythms, mixing them with strained voices, as if to underscore just how mysterious, yet peculiarly familiar, it all seems. And fashionable, tattooed young female DJ s play that music on the dance floor, and we dance under flashing lights into the darkness and get high and drunk and make out, as the reality we thought we knew is being torn down and we plunge into the sublime and the unknown. And far out into the desert, under the clear skies of that luminous, open blackness lit by perfect stars, we find each other in an intimate, loving embrace. Without the slightest effort we converse for hours and all of reality melts away as we let go of our inner shields and. become one. In that timeless moment of forgiving embrace we lose ourselves and find ourselves, both at once.

inbox. It was from Ogden Morrow. The subject line read “We Can Dance If We Want To.” There was no text in the body of the e-mail. Just a file attachment—an invitation to one of the most exclusive gatherings in the OASIS: Ogden Morrow’s birthday party. In the real world, Morrow almost never made public appearances, and in the OASIS, he came out of hiding only once a year, to host this event. The invitation featured a photo of Morrow’s world-famous avatar, the Great and Powerful Og. The gray-bearded wizard was hunched over an elaborate DJ mixing board, one headphone pressed to his ear, biting his lower lip in auditory ecstasy as his fingers scratched ancient vinyl on a set of silver turntables. His record crate bore a DON’T PANIC sticker and an anti-Sixer logo—a yellow number six with a red circle-and-slash over it. The text at the bottom read Ogden Morrow’s ’80s Dance Party in celebration of his 73rd birthday! Tonight—10pm OST at the Distracted Globe ADMIT ONE I was flabbergasted. Ogden Morrow had actually taken the time to invite me to his birthday party. It felt like the greatest honor I’d ever received. I called Art3mis, and she confirmed that she’d received the same e-mail. She said she couldn’t pass up an invitation from Og himself

Don't live in fear. If you are scared of a bad mix you will be a bad selector. the 1% of the crowd who are taking notes will find fault with you regardless. Understand there will always be hate. In fact hate is far more of a driver in this business than love. If you engage with the haters it won't be long before they contaminate you with their negativity. Be a zen thing. Ignore them. they really, really, hate being ignored. If you do actually train wreck a mix, there's no reason why the rest of the set can't be awesome. A DJ performing live has more in common with radio than a recording. It's a stream that only moves forward, and mistakes and blips are lost in time. Leave it, move on. No one will remember but the haters. Leave it to them like a gift.

against the velvet rope force fields that kept everyone without an invitation at bay. As I walked toward the entrance, the crowd bombarded me with a mix of insults, autograph requests, death threats, and tearful declarations of undying love. I had my body shield activated, but surprisingly, no one took a shot at me. I flashed the cyborg doorman my invitation, then mounted the long crystal staircase leading up into the club. Entering the Distracted Globe was more than a little disorienting. The inside of the giant sphere was completely hollow, and its curved interior surface served as the club’s bar and lounge area. The moment you passed through the entrance, the laws of gravity changed. No matter where you walked, your avatar’s feet always adhered to the interior of the sphere, so you could walk in a straight line, up to the “top” of the club, then back down the other side, ending up right back where you started. The huge open space in the center of the sphere served as the club’s zero-gravity “dance floor.” You reached it simply by jumping off the ground, like Superman taking flight, and then swimming through the air, into the spherical zero-g “groove zone.” As I stepped through the entrance, I glanced up—or in the direction that was currently “up” to me at the moment—and took a long look around. The place was packed. Hundreds of avatars milled around like ants crawling around the inside of a giant balloon. Others were already out on the dance floor—spinning, flying, twisting, and tumbling in time with the music, which thumped out of floating spherical speakers that drifted throughout the club. In the middle of all the dancers, a large clear bubble was suspended in space, at the absolute center of the club. This was the “booth” where the DJ stood, surrounded by turntables, mixers, decks, and dials. At the center of all that gear was the opening DJ, R2-D2, hard at work, using his various robotic arms to work the turntables. I recognized the tune he was playing: the ’88 remix of New Order’s “Blue Monday,” with a lot of Star Wars droid sound samples mixed in. As I made my way to the nearest bar, the avatars I passed all stopped to stare and point in

God is a fascinating Artist. He is the DJ who scratches and mixes our “breaks” to match the rhythm of his love. He is the Master of montage and collage, creating fantastic patchwork out of every moment we experience.

These are good." Rico popped an extra piece in his mouth. "As good as the ones they sold at your fiera livre?" As soon as she said it, they both froze. This was all on camera. At least she wasn't holding a knife. "No." Rico smiled at the camera. "Better." The skip of joy in her heart brought with it a shadow of fear, but she ignored it and grabbed square black platters and started to plate the bright white pancakes in delicate quarter folds to form a clover. She handed spoons to Rico and he poured doce de leite into them and placed them next to the pancakes. They were done a good two minutes before the rest of contestants, but they would still have to act like they were rushing at the end because it made for better television. "It looks a little plain," Rico said, taking in everyone else's workstations, where everything from empanadas to elephant ears and patajones (Danny, naturally) were being tossed up. "Should I cut up some strawberries? It could use some fruit, and maybe whipped cream?" He was right. It needed something. Plain would definitely get them hammered by the judges. But not strawberries and whipped cream. Not anything so predictable. Ashna raced to the pantry, picked up a mango, and tossed it at Rico. Then without waiting to see if he would catch it, she turned to grab some saffron and ran back to their station. "Can you dice the mango?" Before the question was even out of her mouth, he was slicing. DJ called out the one-minute warning. Ashna pinched out a fat clump of saffron into a metal spoon, mixed in a few drops of milk, and held it over the fire. The saffron dissolved into the milk, turning it orange, and despite the smells from all the workstations, the aroma of saffron permeated the air. DJ started to count down the last ten seconds. Ashna drizzled the saffron milk onto the four spoons of doce de leite just as Rico arranged the mango at the center of each plate.

Back when people listened to the radio, you kept a tape handy in your boombox at all times so you could capture the hot new hits of the week. The intro would always get cut off, and the DJ would chatter over the end. You also ended up with static, commercials, and jingles, but all that noise just added to the field-recording verisimilitude.

Cooking is not different than mixing a track. You should not rely on spices for your food to taste good and you should not rely on fx/ effects for your mix to sound good.

It is either you spend more time recording and less time mixing, or your spend less recording and more time mixing.

DJ Kyos 3M Theory says : A song or an album becomes a flop because of MMM that is Mixing, Mastering and Marketing.

DJ Screw (as told to Bilal Allah) “In the crib mixing, you know, getting high. When you smoke weed, you don’t really be doing a whole lot of ripping and running. I started messing with the pitch adjusters on the turntables and slowed it all the way down. I thought the music sounded better like that. It stuck with me, because you smoking weed listening to music, you can’t bob your head to nothing fast.

If you are a music producer is very important that you clean your ears, before you consider buying monitors or headset for mixing and mastering.

Even when a song is perfect someone will find mistakes in it. What sounds perfect in my ears might not sound perfect in yours. Sound engineering is not about making perfect songs, but it is about making the song, sounds the way you want.

also ask DJ AM to bump the song at Las Palmas. He did throw it into the mix days after I recorded it, mostly because it was the first time anyone had ever said his name on a rap song, something he reminded me of just days before he passed away.

Creativity happens when you mix reality with a world of possibilities.