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Welcome to Showcasing House Music DJ Mixes by dattrax!! This mix is representative of our dattrax sound which is aggressively layered & textured house. We play all sorts of types of house tracks mashed into one continuous mix whether it be deep, vocal, tech, funky or anything else that would make us dance when mixed with house. It's always about dancing or at least bopping your head till you have to see a chiropractor, otherwise, it's just boring.There is something beautiful about hearing different combinations of house tracks and the different transitions that happen automatically when certain combos are placed on top and through each other. Let alone what you can do to change the feel with volume levels, EQs, crossfader, mixing out, tempo, etc. Our joy is in searching for the perfect mix. It never happens but the journey is a blast. We never repeat a combo, unless it hasn't been recorded in a mix yet. Interesting combos refresh and reinvigorate our love of house every single time.This mix was made on the new Traktor Kontrol S4, but the 'sync' feature was not used. We come from an old-fashion background of playing on crappy DJ & sound equipment and even on turntables with poor pitch control before we got Technics 1200s. We like to always get back to basics for that raw DJ feel.When you only play two house tracks at a time and you use a computer syncing program, that's not real DJing. DJing house is about beat matching, layering, mixing out properly, transitions, programming and creating an overall house groove.I'm not discounting 'sync', it's what it is used for that I'm disputing. If you are fusing three or four songs together and need to focus on being creative by making new sounds and textures and by making sure that the 3-4 tracks don't clash, then beat matching has to take a back seat for that to happen. That's a different type of DJing- that's closer to performance art and a new level in live remixing. Above our pay grade.New DJs that rely on technology to do the work will get burned. Not everyone will get to play in premium clubs with state of the art DJ & sound equipment, so the basics must be solid, so that you can be flexible when you don't have the 'perfect' set-up. Learning the basics and improving on them is what makes good House DJs. I'm not trying to even compare House DJs to Hip-Hop DJs, those guys are scientists, completely next level. Just complaining about lazy, hands in their pockets DJs in the house world.My DJ partner Jim has the Serato-Rane time-code vinyl set up and I have the Traktor S4 midi controller set up now, but we both prefer playing out on vinyl and cds. I think we had a combined collection of over 60 crates of house records. I only have five crates left because I got rid of 25crates over the years. I still don't trust a laptop to not crash, but with cds, unless I lose my cookies in anger and decide to stomp on them with my boots, we'll be cruising just fine at any gig. And as far as tactile-feel and modern flexibility of playing digital music files, nothing beats the Serato/Traktor time-coded vinyl systems.As always - massive thanks to the amazing vocalists, producers, DJs and dancers (even in your homes or while walking about) for their incredible advancement of this beautiful musical genre!! Makes us all feel young, vibrant and extremely happy!!---------------Reach out to us and comment if you like our mixes. Just Google 'dattrax' and you'll find all places online that we've been a part of. Please share with other like-minded individuals.---------------There's a PayPal donate button on the right if you're on our main Podomatic site if you want to buy us a beer to say cheers ; )Our PayPal donation email if you are listening to our mixes on another platform. Any amount of support is welcomed. We appreciate you! dattrax@gmail.com---------------Our main mix site: https://dattrax.podomatic.com/ or at: https://www.podomatic.com/podcasts/dattrax or Google "dattrax" and find the Podomatic link.THIS IS THE BEST OPTION: You can download the free "Podomatic" app, sign up with your email, then search 'dattrax' and subscribe to 'house music by dattrax'. It has a cute pic of my youngest boy when he was little and over my DJ mixer. BOOM!! 120+ mixes, the last 27yrs of our lives in the crack of time between family, friends and work.---------------All tracks bought from https://www.traxsource.com/ and https://www.beatport.com/This mix was created on a Native Instrument's "Traxtor Kontrol S4" controller MK3 version, a crappy PC laptop and No sync applied.
DILLY ROWE THE INGENIOUS MIND OF A REAL DJ P.3The Ingenious Mind of a Real DJ part 3 features our very own, Dilly Rowe aka Dilly.Also brace yourself for her phenomenal mini scratch, cut and juggle routine paying homage to the great Melissa 'Missy' Elliott and the late Christopher 'Notorious BIG' Wallace. Dilly is a British musician, and multi-genre DJ/turntablist born in London and based in NYC. Dilly grew up on a mix of Hip Hop, Grime, UK Garage, Reggae and Afrobeat in the underground London music scene. She moved to NYC in 2018 and immediately connected with East Coast Hip Hop and DJ culture. Since then, she’s represented the Brolic Army DJ Crew and has been growing exponentially as a turntablist and Open-Format DJ. Dilly has opened up around North America for Hip Hop Icons such as Pete Rock, Diamond D, Rich Medina, Statik Selektah, Evil Dee, Bobbito Garcia and more. Dilly also toured with Da Odd Couple around the USA in 2019 opening up for them at venues ranging from the East to West coast. Her musicianship on the turntables extends from live performances to creating a variety mixes for virtual events and radio stations worldwide such as Soho Radio, BRealTV Radio Nova Paris and Rock the Bells radio. Dilly is known for curating cross genres sets and has played selections of Hip Hop, Breaks, Funk, Trap, Afrobeat, House, Reggae, Dancehall, Grime, UK Garage, Top 40 and the catch-all ‘Open-Format’ with a underlying focus on the women who have shaped these genres. Dilly represents the newest generation of Hip Hop DJs. Her musical knowledge, creative mixing style and technical skills are making her one of the fastest rising female DJs in the industryDilly is one half of turntable group WHITE CHOCO7ATE with DJ Rob Swift. Their latest mix was aired all weekend on LL Cool J’s Rock the Bells Radio for the #labordaymixdown. The mix was an instant hit and is available for streaming here. DJ City featured Dilly for her 420 Mix “Stay Home Stay Stoned” and her Valentines Day mix, “Love Knows No Bounds” co-created with DJ Rob Swift. The mixes both soared to the top 10 in the Mixcloud Global charts within the first 24 hours of release. Please be advised that all material on this episode is clean BUT other links could contain explicit audio.Instagram: @dilly.rowehttps://dilly.world
DJ Stylewarz ist der Künstlername von Michael Whitelov. Er mixt und produziert bereits seit drei Jahrzehnten und gehört zu den bekanntesten Hip-Hop-DJs in Deutschland, da er hier auch die Frühphase des deutschen Hip-Hops mitprägte. 17 Jahre nach seinem ersten Solo Album „The Cut“ veröffentlichte der Wahl-Hamburger Anfang 2019 sein zweites Solo Album „Der letzte seiner Art“. Auf dem Album sind viele bekannte Features zu finden wie Lakmann, Trettmann, Megaloh und Samy Deluxe, mit denen er mehrere Jahrzehnte Deutschrap-Geschichte teilt. Dabei ist es ihm immer wichtig seine eigene Handschrift - seinen Style - zu hinterlassen. Nicht einer von vielen, sondern etwas ganz besonderes sein, das ist Stylewarz Trademark. Was ihn beim Musik produzieren antreibt ist vor allem der Spaß und die Liebe zur Musik. Am liebsten verbringt er seine Tage im Studio in seiner Wohnung in Eimsbüttel, wo er seine Musik produziert und experimentiert. In der Folge spricht Stylewarz über die Veränderungen der Hip-Hop Szene in den letzten 20 Jahren und die kulturelle Einflüsse des Hip-Hops in Deutschland. Viel Spaß beim Reinhören! Viel Spaß beim Reinhören!
What is the role of the deejay in shaping hip-hop? Did deejays shape the technology that is used to create the music or were they simply consumers of mixers, faders, and microphones? What is the relationship between deejays and the manufacturers that produced the technology that made hip-hop possible? Andre Sirois explores these questions in his book, Hip-Hop DJs and the Evolution of Technology: Cultural Exchange, Innovation, and Democratization (which can be downloaded for free here). Sirois is both a scholar and a deejay, and his book brings academic discourse into dialogue with working deejays. Hip-Hop DJs and the Evolution of Technology (Peter Lang, 2016) draws on extensive interviews with the deejays that have shaped hip-hop and the technology manufacturers who made the products behind the deejays. The podcast covers the history of deejays, examining the three legends that are considered the founders of hip-hop: DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash. He looks at how they transformed the role of the deejay through their digging in the crates, the development of deejaying techniques, and how they developed a collaborative ethos among deejays even as they sought to develop their own reputations. Then, Sirois explores other deejays, such as DJ Trix, DJ Craze, the Scratch Hamsters, and the Invisibl Skratch Piklz, who worked with manufacturers, including Vestax and Rane, to produce signature mixers and other equipment. (You can view Sirois’s collection of vintage mixers at djpedia). The podcast also examines the complicated ways that deejays and manufacturers worked together even though few deejays received significant economic benefit from these collaborations. Dr. Andre Sirois, also known as DJ food stamp, is an instructor at the University of Oregon, where he teaches courses on filmmaking and popular culture in the media. He has over 17 years experience as a hip-hop, scratch, club, and radio DJ. His scratches have been featured on numerous artists songs, including the gold-selling single by Spose, “I’m Awesome.” He is one of the founders of DJistory/DJpedia, a non-profit organization and archive dedicated to preserving and telling histories of DJ technology and culture. Richard Schur, Drury University professor of English and Director of the Honors Program, is the host for this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
What is the role of the deejay in shaping hip-hop? Did deejays shape the technology that is used to create the music or were they simply consumers of mixers, faders, and microphones? What is the relationship between deejays and the manufacturers that produced the technology that made hip-hop possible? Andre... Learn more about your ad choices. Visit megaphone.fm/adchoices
What is the role of the deejay in shaping hip-hop? Did deejays shape the technology that is used to create the music or were they simply consumers of mixers, faders, and microphones? What is the relationship between deejays and the manufacturers that produced the technology that made hip-hop possible? Andre Sirois explores these questions in his book, Hip-Hop DJs and the Evolution of Technology: Cultural Exchange, Innovation, and Democratization (which can be downloaded for free here). Sirois is both a scholar and a deejay, and his book brings academic discourse into dialogue with working deejays. Hip-Hop DJs and the Evolution of Technology (Peter Lang, 2016) draws on extensive interviews with the deejays that have shaped hip-hop and the technology manufacturers who made the products behind the deejays. The podcast covers the history of deejays, examining the three legends that are considered the founders of hip-hop: DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash. He looks at how they transformed the role of the deejay through their digging in the crates, the development of deejaying techniques, and how they developed a collaborative ethos among deejays even as they sought to develop their own reputations. Then, Sirois explores other deejays, such as DJ Trix, DJ Craze, the Scratch Hamsters, and the Invisibl Skratch Piklz, who worked with manufacturers, including Vestax and Rane, to produce signature mixers and other equipment. (You can view Sirois’s collection of vintage mixers at djpedia). The podcast also examines the complicated ways that deejays and manufacturers worked together even though few deejays received significant economic benefit from these collaborations. Dr. Andre Sirois, also known as DJ food stamp, is an instructor at the University of Oregon, where he teaches courses on filmmaking and popular culture in the media. He has over 17 years experience as a hip-hop, scratch, club, and radio DJ. His scratches have been featured on numerous artists songs, including the gold-selling single by Spose, “I’m Awesome.” He is one of the founders of DJistory/DJpedia, a non-profit organization and archive dedicated to preserving and telling histories of DJ technology and culture. Richard Schur, Drury University professor of English and Director of the Honors Program, is the host for this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
What is the role of the deejay in shaping hip-hop? Did deejays shape the technology that is used to create the music or were they simply consumers of mixers, faders, and microphones? What is the relationship between deejays and the manufacturers that produced the technology that made hip-hop possible? Andre Sirois explores these questions in his book, Hip-Hop DJs and the Evolution of Technology: Cultural Exchange, Innovation, and Democratization (which can be downloaded for free here). Sirois is both a scholar and a deejay, and his book brings academic discourse into dialogue with working deejays. Hip-Hop DJs and the Evolution of Technology (Peter Lang, 2016) draws on extensive interviews with the deejays that have shaped hip-hop and the technology manufacturers who made the products behind the deejays. The podcast covers the history of deejays, examining the three legends that are considered the founders of hip-hop: DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash. He looks at how they transformed the role of the deejay through their digging in the crates, the development of deejaying techniques, and how they developed a collaborative ethos among deejays even as they sought to develop their own reputations. Then, Sirois explores other deejays, such as DJ Trix, DJ Craze, the Scratch Hamsters, and the Invisibl Skratch Piklz, who worked with manufacturers, including Vestax and Rane, to produce signature mixers and other equipment. (You can view Sirois’s collection of vintage mixers at djpedia). The podcast also examines the complicated ways that deejays and manufacturers worked together even though few deejays received significant economic benefit from these collaborations. Dr. Andre Sirois, also known as DJ food stamp, is an instructor at the University of Oregon, where he teaches courses on filmmaking and popular culture in the media. He has over 17 years experience as a hip-hop, scratch, club, and radio DJ. His scratches have been featured on numerous artists songs, including the gold-selling single by Spose, “I’m Awesome.” He is one of the founders of DJistory/DJpedia, a non-profit organization and archive dedicated to preserving and telling histories of DJ technology and culture. Richard Schur, Drury University professor of English and Director of the Honors Program, is the host for this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
What is the role of the deejay in shaping hip-hop? Did deejays shape the technology that is used to create the music or were they simply consumers of mixers, faders, and microphones? What is the relationship between deejays and the manufacturers that produced the technology that made hip-hop possible? Andre Sirois explores these questions in his book, Hip-Hop DJs and the Evolution of Technology: Cultural Exchange, Innovation, and Democratization (which can be downloaded for free here). Sirois is both a scholar and a deejay, and his book brings academic discourse into dialogue with working deejays. Hip-Hop DJs and the Evolution of Technology (Peter Lang, 2016) draws on extensive interviews with the deejays that have shaped hip-hop and the technology manufacturers who made the products behind the deejays. The podcast covers the history of deejays, examining the three legends that are considered the founders of hip-hop: DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash. He looks at how they transformed the role of the deejay through their digging in the crates, the development of deejaying techniques, and how they developed a collaborative ethos among deejays even as they sought to develop their own reputations. Then, Sirois explores other deejays, such as DJ Trix, DJ Craze, the Scratch Hamsters, and the Invisibl Skratch Piklz, who worked with manufacturers, including Vestax and Rane, to produce signature mixers and other equipment. (You can view Sirois’s collection of vintage mixers at djpedia). The podcast also examines the complicated ways that deejays and manufacturers worked together even though few deejays received significant economic benefit from these collaborations. Dr. Andre Sirois, also known as DJ food stamp, is an instructor at the University of Oregon, where he teaches courses on filmmaking and popular culture in the media. He has over 17 years experience as a hip-hop, scratch, club, and radio DJ. His scratches have been featured on numerous artists songs, including the gold-selling single by Spose, “I’m Awesome.” He is one of the founders of DJistory/DJpedia, a non-profit organization and archive dedicated to preserving and telling histories of DJ technology and culture. Richard Schur, Drury University professor of English and Director of the Honors Program, is the host for this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
What is the role of the deejay in shaping hip-hop? Did deejays shape the technology that is used to create the music or were they simply consumers of mixers, faders, and microphones? What is the relationship between deejays and the manufacturers that produced the technology that made hip-hop possible? Andre Sirois explores these questions in his book, Hip-Hop DJs and the Evolution of Technology: Cultural Exchange, Innovation, and Democratization (which can be downloaded for free here). Sirois is both a scholar and a deejay, and his book brings academic discourse into dialogue with working deejays. Hip-Hop DJs and the Evolution of Technology (Peter Lang, 2016) draws on extensive interviews with the deejays that have shaped hip-hop and the technology manufacturers who made the products behind the deejays. The podcast covers the history of deejays, examining the three legends that are considered the founders of hip-hop: DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash. He looks at how they transformed the role of the deejay through their digging in the crates, the development of deejaying techniques, and how they developed a collaborative ethos among deejays even as they sought to develop their own reputations. Then, Sirois explores other deejays, such as DJ Trix, DJ Craze, the Scratch Hamsters, and the Invisibl Skratch Piklz, who worked with manufacturers, including Vestax and Rane, to produce signature mixers and other equipment. (You can view Sirois’s collection of vintage mixers at djpedia). The podcast also examines the complicated ways that deejays and manufacturers worked together even though few deejays received significant economic benefit from these collaborations. Dr. Andre Sirois, also known as DJ food stamp, is an instructor at the University of Oregon, where he teaches courses on filmmaking and popular culture in the media. He has over 17 years experience as a hip-hop, scratch, club, and radio DJ. His scratches have been featured on numerous artists songs, including the gold-selling single by Spose, “I’m Awesome.” He is one of the founders of DJistory/DJpedia, a non-profit organization and archive dedicated to preserving and telling histories of DJ technology and culture. Richard Schur, Drury University professor of English and Director of the Honors Program, is the host for this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
dattrax: This mix was a blast to make and received the most 'likes' in Facebook that we've ever gotten when posting mixes in the house music related groups that we've joined. Over 3 dozen 'likes' so far and over 1300 plays/downloads in total (inc. FB visitors), and it's only been up for 3 weeks as of this written post. So happy that others in the world are enjoying our vision of house music, it's very gratifying. Thank you all very much. Please feel free to interact with us in the comment sections of any mix you've enjoyed below. This mix is representative of our dattrax sound which is aggressively layered & textured house. We play all sorts of types of house tracks mashed into one continuous mix whether it be deep, vocal, tech, funky or anything else that would make us dance when mixed with house. It's always about dancing or at least bopping your head till you have to see a chiropractor, otherwise, it's just boring. There is something beautiful about hearing different combinations of house tracks and the different transitions that happen automatically when certain combos are placed on top and through each other. Let alone what you can do to change the feel with volume levels, EQs, crossfader, mixing out, tempo, etc. Our joy is in searching for the perfect mix. It never happens but the journey is a blast. We never repeat a combo, unless it hasn't been recorded in a mix yet. Interesting combos refresh and reinvigorate our love of house every single time. This mix was made on the new Traktor Kontrol S4, but the 'sync' feature was not used. We come from an old-fashion background of playing on crappy DJ & sound equipment and even on turntables with poor pitch control before we got Technics 1200s. We like to always get back to basics for that raw DJ feel. When you only play two house tracks at a time and you use a computer syncing program, that's not real DJing. DJing house is about beat matching, layering, mixing out properly, transitions, programming and creating an overall house groove. I'm not discounting 'sync', it's what it is used for that I'm disputing. If you are fusing three or four songs together and need to focus on being creative by making new sounds and textures and by making sure that the 3-4 tracks don't clash, then beat matching has to take a back seat for that to happen. That's a different type of DJing- that's closer to performance art and a new level in live remixing. Above our pay grade. New DJs that rely on technology to do the work will get burned. Not everyone will get to play in premium clubs with state of the art DJ & sound equipment, so the basics must be solid, so that you can be flexible when you don't have the 'perfect' set-up. Learning the basics and improving on them is what makes good House DJs. I'm not trying to even compare House DJs to Hip-Hop DJs, those guys are scientists, completely next level. Just complaining about lazy, hands in their pockets DJs in the house world. My DJ partner Jim has the Serato-Rane time-code vinyl set up and I have the Traktor S4 midi controller set up now, but we both prefer playing out on vinyl and cds. I think we had a combined collection of over 60 crates of house records. I only have five crates left because I got rid of 25crates over the years. I still don't trust a laptop to not crash, but with cds, unless I lose my cookies in anger and decide to stomp on them with my boots, we'll be cruising just fine at any gig. And as far as tactile-feel and modern flexibility of playing digital music files, nothing beats the Serato/Traktor time-coded vinyl systems. BTW... if you enjoy this mix, then why don't you buy us a beer? There's a PayPal DONATE button on the top right side of this website. For Toronto or Global bookings: dattrax@gmail.com
The D.O.K. aka The Descendent Of Kingz is more than a MC. He is a teacher, community activist, performer, and revolutionary that has been fighting for change in his community for over 17 years. Born and raised in Fort Worth, TX, DOK has embraced Hip Hop Culture for as long as he remembers. "The first record I ever owned was "Rapper's Delight"; DOK says; "I was only about 7 years old and I memorized the whole song. I had a cousin who was one of the first Hip Hop DJs in Fort Worth, and he hipped me to all the East Coastshit, The West Coast shit, and the Dirty South. I heard P.E., Run DMC, KRS 1, and Whodini before they had national distribution. I heard NWA, 2Short, and Ice T long before the West took over. The Geto Boyz, MC A.D.E., Masta Ace, and 8Ball and MJG was holding down the South way before the current southern dominance in Hip Hop. My roots are deep."
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