Podcasts about Vestax

   In this Episode the guys play a little catching up. We go over the various spots ADM One has been DJing, We also go over how Gemini feels about picking up the Rev7, and we even talk about OBS vs TikTok Studio. DJ Shock One hangs out with us as we have a load of laughs and get ready for the next round of the Beatjunkies IOS Scratch League.    As always give us a follow on IG @Tables_4_Two so you can know what will be gettimng into next. Our next Live Recording will be at the Beatjunkies IOS for the Beat Swap Meet on June 22nd, and again for the Scratch League Final on June 17th. You can give the Institute of Sound a follow on Insta @BeajunkieIOS beacuse they have a ton of events going on at the school that you won't want to miss.Be on the lookout for our Scratch League Round 2 Show Dropping Soon!   In todays show we used "The Underdog Looper" by L.Hundo you can cut it up to all the beats by downloading the TableBeats App, or by using the Web Looper on the Tablist.Net link below:https://www.tablist.net/weblooper/#/looper/3363   All the Beats that we used durning the Promos were from the Flowgrammers 4 Looper by StuntsOne and Funktion OG and can found on this Tablist.net link:https://www.tablist.net/weblooper/#/looper/3364Shout out to the Lost Tone Pros, and Always Remember to Scratch Responsibly.

Notre critique du film "Banger" réalisé par So Me avec Vincent Cassel, Mister V, Laura Felpin. Abonnez-vous au podcast CINECAST sur la plateforme de votre choix : https://smartlink.ausha.co/cinecast   ---   Titre : BangerSortie : 02 avril 2025 (Netflix)Réalisé par So MeAvec : Vincent Cassel, Mister V, Laura Felpin. Synopsis : Scorpex, un DJ autrefois célèbre et aujourd'hui en perte de vitesse. Il a l'occasion de revenir au sommet lorsqu'un agent de la DGSI le recrute pour faire tomber Vestax, son jeune rival en pleine ascension.#Banger #CINECASTHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In this episode as Shock One joins the guys as we Congradulate the 2024 DMC Paris Champions. But before that Shock fills us in about his time djing out at the Don't Fall in Love Fest. We aslo get in how to deal with your nerves while out giging around. Gemini gives a more insight into his TikTok Battle, and then ADM pulls out his copies of the Dirt Style 30th Anniversary 4 Record Set. We also get to hear a story of why you shouldn't leave your records on a speaker! As always make sure to follow us on Instagram @Tables_4_Two   If you liked any of the beats played on this show then head over to the TableBeats App and search for the Lost Tone Pros Our Cuts Are Correct Vol 9 Looper. With beats by Stunts One, Lodus, Dan One, Jewlz, L.Hundo,JReign, Zalamedia AKA DJ Takbo,Relay, and ADM One. You can also use Tablist.net if you are lookinh for a web looper.https://www.tablist.net/weblooper/#/looper/3298NAMM 2025 is right around the corner so be on the lookout for info on the LTP NAMM Invitational. You can support the Tables4Two Podcast by joining us on Patreon. Where you can download Exclusive DJ Edits, Scratch Tools, Watch BTS Video Clips, and Even get Shout Outs during the show!https://www.patreon.com/c/tables4two

From his days touring the world as the European DMC champion with Vestax to becoming the resident Dj in the legendary Pleasuredrome in Birkenhead in the mid 90s. Mike shares his story with Jay Viper.

Now known as Bad Meaning Good, the iconic turntablist formerly known as DJ Excel is the next guest to join this very special episode of Hip Hop Cymru Wales. We sat down with the five time DMC finalist to discuss over three decades of experience and iconic-battles, including the DMC Championships and Vestax, as well as inventing the Twiddle Scratch/Crab scratch, and more! Credits: Miaer "Bad Meaning Good (fka DJ Excel)" Lloyd, Alfy "DJ Demo" Rossi, Richard "DJ Q-bert" Quitevis, John "Cutmaster Swift" Swift and Morgan Khan. Produced by: Dale Lewis and Luke Bailey for Fly Fidelity Media Art direction: Lloyd Bailey Special thanks to Friendly Rich (The Tom Green Show)and DW Smith About: From the producers of Fly Fidelity comes a candid and celebratory history of Welsh Hip Hop—featuring long-form, neglected and under-documented tales from Wales. Hosted by Luke Bailey, Hip Hop Cymru Wales dives into the notable and nuanced evolution of Welsh hip hop history and its impact, exploring the intimate road map to an incredible and powerful culture, that's still enduring and changing lives today. A live exhibition coming Summer 2023 at the National Museum Cardiff in partnership with Avant Cymru supported by Heritage Lottery Fund Wales and Great Western Railway

# 68-C: "A Tribute to Vestax DJ Mixers" (and Moog 984, Pt 2) by Spoken Word with Electronics

# 68-C: "A Tribute to Vestax DJ Mixers" (and Moog 984, Pt 2) by Spoken Word with Electronics

Wir hatten zum Finale der ersten Staffel Marc Hype zu Gast. Und wir dachten nach 19 Folgen, unsere Gespräche würden sich üblicherweise irgendwo zwischen 1:30 und 2:00 Stunden einpendeln - und dann kam Marc. Marc erzählt von den frühesten Anfängen, von den frühesten HipHop-90s und wir nerden hier und da über die Stränge, aber Marc ist ein toller Gast und am Ende stellen wir fest.... Freut Euch auf Staffel 2, denn die beginnen wir wieder mit Marc Hype, der noch sehr viel zu erzählen hat! Social Media: Facebook: https://www.facebook.com/djmarchype Instagram: https://www.instagram.com/marchype SoundCloud: https://www.soundcloud.com/marchype Twitter: @marchype Webseiten: Marc Hype: https://www.marc-hype.com Dusty Doughnuts: https://dustydonuts.bandcamp.com Keep It Dusty: https://www.keepitdusty.com "Wildstyle"-Trailer: https://www.youtube.com/watch?v=lQQyGkWkTNU Odem: https://90erhiphop.de/2017/r-i-p-odem-1973-2017/ DJ Hype: https://de.wikipedia.org/wiki/DJ_Hype Madonna Bar, Berlin: https://web.facebook.com/Cafe-Bar-Madonna-159208807432327/ Walfisch, Berlin: https://de.wikipedia.org/wiki/Walfisch_(Club) Sascha Disselkamp über das Sage (ex-Boogaloo): https://www.tip-berlin.de/konzerte-party/wie-berlins-clubleben-in-den-90ern-zur-legende-wurde/ Swat Parties / 90er Jahre HipHop in Berlin: https://www.tip-berlin.de/konzerte-party/die-anfange-des-hiphop-berlin/ ESK / Disne: https://ilovegraffiti.de/blog/2017/02/10/disne-rest-in-peace/ Advanced Chemistry "Fremd im eigenen Land": https://www.youtube.com/watch?v=HhsEcPiRKrU Kofi Yakpo (Advanced Chemistry) über 90er Jahre Deutscher Hip Hip: https://www.bpb.de/gesellschaft/migration/afrikanische-diaspora/59580/afro-deutsche-rapkuenstler?p=all Cheeba Garden "Houpa Doupa Crapola": https://www.youtube.com/watch?v=LXqPLY5v_Tw Rock da Mo$t: https://en.wikipedia.org/wiki/Rock_Da_Most Islamic Force: https://www.discogs.com/artist/271639-Islamic-Force Naunyn-Ritze: https://www.naunynritze.de Yaam, Berlin: https://www.yaam.de Telespargel, Schwangere Auster: https://berlinonbike.de/blog/die-spitznamen-verschwoerung-schoene-gruesse-vom-telespargel/ Tempodrom: https://www.spiegel.de/geschichte/tempodrom-in-berlin-irene-moessingers-zirkuszelt-der-traeume-a-1235108.html Run DMC, Public Enemy & Derek B @ Tempodrom 1988: https://www.rockinberlin.de/images/Run_DMC_1988-10-22.jpg Derek B "Bullet From A Gun": https://www.youtube.com/watch?v=Nq55500M-t4 DJ Scratch: https://www.youtube.com/watch?v=zW965UUinVc&t=97s Michael Völzke / Graffiti e.V.: https://taz.de/!1720028/ Kool Savas: https://de.wikipedia.org/wiki/Kool_Savas Roskow: https://www.discogs.com/de/artist/137307-Roskow-Kretschmann Mix Master Mike: https://de.wikipedia.org/wiki/Mix_Master_Mike DJ QBert & Mix Master Mike @ DMC World Championchips: https://www.youtube.com/watch?v=Z77n3RPHJ9o *** Nerdalert: https://tenor.com/view/nerd-nerd-alert-gif-5564559 *** Vestax: https://en.wikipedia.org/wiki/Vestax

 Pioneer: https://en.wikipedia.org/wiki/Pioneer_Corporation

 Denon: https://en.wikipedia.org/wiki/Denon

 *** Kylie Minogue & Rick Astley: https://www.youtube.com/watch?v=OiZlXOAOLLw&list=RDI98PBR1TrUo&index=21 Christian Brückner: https://www.youtube.com/watch?v=vEuWdXT4Zdk "Casino"-Trailer: https://www.youtube.com/watch?v=EJXDMwGWhoA #andendecks #djpodcast #marchype #thedirkness #djthomashaak #podcast #djlife #berlin

Noise of the Broke Boys Episode 018DJ Phixion shares his music production process and the inspiration behind his recent album, Cinemadeck. We talk about DJing, turntablism, and the artistic relationship music has to other mediums.DJ Phixion's album, Cinemadeck is used as a backing track to this entire podcast. Peep his Bandcamp site to hear and purchase the full album:https://djphixion.bandcamp.com/Follow @Instagram: noiseofthebrokeboysTwitter: BrokeBoysNoiseListen to the Audio on all Podcast platforms. All The Links Here: https://linktr.ee/NoiseOfTheBrokeBoysA broke degenerate hooligan documents conversations about being a Bboy, Breakin', Hip Hop, Dance, Art, Music, Creativity, Innovation, and the slow subtle crumble of society in audio form.----more----[Music]this episode of noise of the broke boysis brought to you by memes you lovearguing over the Internetwhat about condensing out the nuances ofa complicated topic by adding a sentenceof text over a picture of a cute dog areyou too busy to read news articles infact check their sources and wouldrather look at a poorly photoshoppedpicture and gather everything you needto know from that or are you more of thetype that loves to troll the world andwatch it burn with silly low-qualitystock images either way memes are aperfect solution for all theaforementioned desires please check outnoise of the broke boys on Instagram formore information about low-quality memesnow on to the show[Music]in this episode I meet with my boy DJfiction we were both part of the samegroup of delinquents back in school atthat time I was amazed to find out thathe was also an amazing DJ and musicproducer since then he has traveledaround and lived in several countriesincluding the Netherlands and Luxembourghe recently released a new album calledcinema Dec that I absolutely love I putthe entire album as a backing track tothis episode but I encourage you tolisten to it in its entirety without myannoying voice over it included a linkto the album in the description pleaseenjoy the episode with DJ fiction helloeverybody welcome to the end of theworld show international edition today Igot a very special guest his name is DJfiction what's up man how you doing goodman how are you good to be here I'mgreat manso you're out there in Luxembourg rightcorrect dope so we could talk about thatlater but what I what I know you justcame out with a brand new album cinemadeck I checked it out it's one of thedopest shit's I've heard in a long timeyou've been making music a long time manso can you tell me a little bit aboutlike what was the inspiration for thisfor this musical project cuz I know youhaven't really put something out in awhile right it's been a while but likejust like yeah that's probably becauseit's just the way I live like I movedaround hella the last like six sevenyears yeah and yeah it was just it wasmore because of that but the inspirationbehind this specific album is likeold-school movies like sixties moviesespecially French movies Italian moviesthat kind of shit I really like thatshit like Fellini movies or jean-lucGodard Francois Truffaut this kind ofshit so the inspiration for that waslike around 2015 I started watching likehell of these movies like hellaokay then I was just thinking to myselflike there's a lot of good music inthese movies yeah there and also thequotes and stuff and I had it in my mindto make kind of like a concept album andthen revolves around these and yeahpretty much like even the name the nameof the album by cinema deck like inFrance and here in Luxembourg as welllike the theater theater it's like retrotheaters right where they showold-school movies and shit really okaythese are called cinema Tex cinema Tibetso then I just took dick like aturntable yeah yeah and dude like alittle what combination ding okay that'stight that's tight oh yes so you yousaid that they're they're like 50smovies is around the era that like likelet's say like late 50s to like latesixties yeah because it's it soundedlike that you know when I was listeningto it I would hear you know some kind ofold-school stuff you know it has thatthat the recording quality from thattime and so that's what I was thinkingit was probably that you know what ImeanI mean it's also the music I sampledright like a sample hello jazz and funkand shit like that yeah yeah I would saythe vast majority is from the 60s yaknow it was nice because I would hear Iheard a few breaks that you put in therethat I was familiar with and then Iheard a lot of stuff I've never heardI've never heard of and I was kind oflike yo did this guy sample this or didhe make this like what's going on solike I mean it sounds like you obviouslysampled a lot of that stuff so it's likeyou really had to do a lot of diggingI'm guessing obviously sure movie stufflike so when you're Lizzy - I meanuh-huhso when you're like watching some ofthese movies you're hearing you'reyou're just like going that's a dopetrack I'm gonna try to find it and likehow do you how do you I guess pull itout are you able to find the trackpretty easy like how's your digginprocess for thatso like most of the music is not sampledfrom the movies but some of it is how Idig for shit I mean is like how anybodyelse does right I mean like go to recordstores discogs.com is like my fuckinokay I'm buying hello shit on therebut also just like hell it fools uploadshit on like final RIT blogs ok justfine a hellish it like there butbasically like digging um and just undidthe shit the old dudes used to do youknow I mean like premier or Pete Rock orlike the dudes that I admire like DJshadow DJ Krush yeah cam and you justfind out what they sampled from yearsand years of before you know like whosampled calm now everything everythingis outed right like now every is peoplefind the shit but before you didn't haveanything like that you had to just findit yourselfyeah maybe a little bit based on anartist or a label or something like thatof the sampled artists and then youcould kind of like dig a bit further togive it further old shit like this is amaybe obscure album by this artist or bythis label that nobody sampled let'syeah yeah and then with the movies isthe same shit I mean hella old likethere's this one dude it's Dimitri fromParis ok came out with the album in the90s called the sacre bleu that kind ofis sort of the same thing said hedoesn't sample so many French movies hesamples American movies examples havelike Audrey Hepburn and shit like thathad music from those movies as well sothat was kind of like an inspiration forme as well mmm so you were kind of doingthe like the reverse of that of what hewas doing even though he's Frenchfunnily enough but yeah and I'm Americanbut so you're pulling on how to frontyou're pulling out French movies okthat's tight no I mean getting gettinginspiration from like other people likethat is really dope I mean and like whatI really liked about the album is thatit really I could really tell that youwere digging for it and I feel like it'ssomewhat of a lost art at least fromwhat I see on like the mainstream radiosand stuff and it's like it's kind of sadbecause I think maybe because of a lotof copyright laws and stuff that that isgetting like kind of pushed to theunderground a little bit more now butit's like it was super refreshing tohear that because I was like yo this guyput so much time into digging like I cantell this is likeyou know you were had you had the likethe early 90s type of like diggingattitude in that in that in the wholealbum is what I was feeling as Lisa it'spretty much my whole my whole idea likeall I've ever wanted really with musicis just to sound like mid 90s like crushand shadow like I always just went forthat that kind of aesthetic why nobody Imean people still do sample I mean lookat like hotline bling right that wasfucking huge and that was fucking yeahyour sample right nothing else I don'tknow if it's because a copyright orbecause people's tastes have changed youknow people like now more syntheticsounds which also do I also do likecompose some shit and like yeah there'sone track that has practically nosamples I can think of on the album butstill I like that grainy that you getfrom it's kind of like a nostalgic typeof sound you know like right now it itwas very moody what and that's what Iliked about it it was um like I mean itwould yeah I guess similar to like amovie really like you you get like thesemoody tracks in it I was like okay thisis tight you know and it really feelslike you're going through like a wholelike a whole storyline almost you knowwhat I mean is that kind of what you'regoing for pretty much exactly you nailedit like even before I had the idea tosample like specific dialogue and haveit in order throughout the album to makea storyline what I mean but that wasjust way too fucking complicated and inthe end I kind of scrapped it but stillI have that idea in my mind that I couldhave done that like could have made afull-fledged like chopped up my ownstory from all these other movies likeimagining 20 movies that you sample allthese different lines and all thesedifferent languages but yeah you canmake a cohesive story out of it yeah andthen set it to musicit's can opera in a way yeah like hiphop yeah yeah no that's tight yeah I'vealways liked those kind of like albumsthat have some sort of kind of storylineor whatever like what immediately comesto mind is on the album that Dell didwithmmm Dan the Automator remember that oneit was a home runyeah yeah it was like super weird kindof story but it was like it was like Ikind of I kind of dig it yeah or like Iknow Kendrick Lamar does a lot of likeconcept type of stuff like that he's gotsome kind of storyline that like looselyconnects everything I always liked thatbecause this this that the single trackslike our good standalone but then whenyou listen to the whole album you'relike oh I get it dude he yes he has heyou know you you put a lot of likeeffort into like really pulling thelistener in I mean it reminds me sort oflike you know like Pink Floyd used to dostuff like that where they would likethe wall exactly yeah ya know the it'slike the you you put their record on andit goes from beginning to end and it'slike man this was a whole story andevery single song kind of like bleedsinto the other and stuff it feels itfeels like you're on like a I don't knowlike a like a Disneyland kind of likeride or something code through the wholelike the whole album it's it's dope yeahso I really dig that that's tightthanks man that's definitely kind of theapproach I had I missed back in the dayshow to use to have a cohesive album thatpeople would listen to you know cover tocover like nowadays it doesn't seem likethat's the case I mean now it's likekind of more single tracks yeah I thinkeverybody just puts out single tracksmost of the times but I missed I likedthe album format I always liked it yeahyeah yeah albums are like perfect lengthreally for like a listening you knowlike you sit down it's usually about anhour to you know 45 minutes to like anhour which is kind of like what I try todo with podcast to but it's like perfectto sit down listen to some stuff andjust you know take yourself on a rideand stuff but yeah a lot of people don'tdo that anymore which I miss I mean withwit plank with vinyl especially you haveto do that right yeah yeah like a recordand just listen to it right you sitthere I mean I'm in my head like diggingfor samples and shit but I have you knowa bunch of records from like you know90s guys and shit like that and yet youjust have toyou gotta just sit there and listen tothe fucking thing you gotta have allyour you know sense is kind of focusedon that yes so actually so like whileyou're listening to music you're sayingyou're like digging so like what's thatprocess like what's going on in yourhead I guess what makes a sample kind ofstick out to you are you kind of like hiJay how are you just like so I'm notlike musically trained that's the thingyeah yeah I played I played piano forlike I don't know five six years as akid look that was a long fucking timeago I don't remember it but I don't knowyou just kind of hear something like alittle phrase you know a sequence ofnotes or not even just like some kind ofyou know a feeling really and and maybeyou can you know manipulate it a bitlike a lot of samples doesn't sound goodat the speed it's at you know so youjust slow it down oh shit now it soundsgood like a good example of that is doyou know the survival of the fittest bymob deep oh yeahlike there that sample was only justdiscovered recently like what it what itis and it's like fucking ten timesfaster you would never recognized it ohokaybut another another thing is like you'llhear so this maybe could work but maybeI have to chop it up and like rearrangeit or whatever okay what are you doingthat in your mind as you're listeningnot really you kind of just hear it andyou're like maybe that I can use thisokay maybe like you'll end up using oneout of ten it's just like it's that'swhy it's called digging gram you're justdigging for shit and most of it's gonnabe worthless yeah ya know when I wasyounger and I would do that I had a lotof like just trash track you know trashlike records just that I heard like onelittle piece of a thing and I was likeexactly but yeah it's like a ton ofstuff that's just junk though but youwait you're waiting through shitbasically I mean yeah but you thinkabout it in another sense I remember Ithink it was DJ Shadow thatinstead from already recorded music thathas already sold right it's alreadysomeone at one point thought this wasgood so if you're making music frommusic that somebody at one point thoughtwas good your shits probably gonna begood too right mmm I mean how could itnotmmm I see in a weird way yeah that nothat that that's tight no you know whatthat reminds me of like um what's hisname Bob James oh shit yeah yeah likecuz that guy what his his music was justit would always like every two secondsor whatever it would like change thewhole mood of it and I remember there'slike a couple songs he has that so manypeople have just sampled from and I waslike like Nautilus not exactly and it'slike I did not know that that was thesame song because this guy song soundsso much different from this song but itwas a track that you can sample yeah Iwas like holy crap dude that's dope sono but that makes sense I mean like andI know that a lot of times you'll you'llfind an artist that has yeah like youknow say like premiere sampled somethingand you go okay let's check out thiswhole this artist's whole distantdiscography and then find a lot of otherstuff that's just kind of hidden inthere and or whatever or like say likein James Brown's a case like you knowhis band like they had their own albumsand stuff so you go and check them outand stuff or like they're just thedrummers and stuff like there's a lot oflike just hidden gems out there for surebut it's a problem needs to find it Imean I've been doing this for like youknow 13 14 years you know you do thisover time it becomes almost secondnature you don't even think about itanymore you're just like alright here'sthis here's this you just startconnecting the dots until the pointwhere yeah you kind of almost know whereto look now No so does that change theway you listen to just music in generallike so when you're on the radio you'relike picking out okay what was thissample from or like what is this drumdoing or whatever I mean that just comesfrom learning music production rightokay yeah I can't listen to any musicanymore without thinking in my headwithout like they do this how I was thismixed how was this produced how was thisprogram bah bah bah yeah withoutbreaking it apart and finding all thecomponents of it ya know I've like I'vebeen like trying to do that too I kindof do that for dancing anyways becauselike it's just good to it's a good levelit's a good way of adding like depth tothe way you dance because you can youknow say dint you can follow like abaseline and then you can follow like adrum pattern or whatever and yes whenshe turn that and I noticed that thatskill transfer is really well to musicbecause now you're listening for thosesame things that you would have beenlistening for in dancing but you're nowgoing like okay now how did theyactually make that that little neatpattern or whatever you know this is thethe snare is doing this doot doot dootor whatever so a site no but yeah itreally it it it deepens the way youlisten to music is what it sounds likeit's kind of annoying at the same timetoo like I probably pissed hello peopleoff like they'll be listening to somesong like this these drums a week likethey should have done this they shouldhave yeah so do I do a lot of people golike oh let's not talk about music withyou is that yeah it's just it's justsomething that happens I mean when youwhen you start to I guess yeah they'llkind of deep into something that mayit's probably the same for everythingright you probably have a full sore likehow I entered like video productionshould they get break apart everybody'sYouTube channel like yeah and I meanthat's I guess part of the artists Imean and I know a lot of times when Ilook at like a painting even I'll golike okay you know I like to try to takea step back and just go like okay takeit in what it is what it is and then gointo and like look at how they did somebrushstrokes on it or whatever how thecolors are composed but like you can'thelp but do that because you're tryingto figure out how they made what theydid and you know you know I guess that'sa that's part of the artist quality Isuppose you know I do it with dancing itjust just comes with the territoryyeah it does but itI think it makes the conversation aboutthat particular content even betterbecause from are you talking to right Imean it's best if you're talking tosomeone who knows as much or even morethan you do rightwell even someone who doesn't know likeI mean cuz I don't know that much aboutmusic but I really like hearing your youknow what you have to say about itbecause it's it's making me realize likeoh yeah this stuff goes a lot deeperthan I thought you know what I mean andI'm hoping that oh you know open-mindedpeople would gain the same kind ofinterest into that because I mean musicis just soaked it's so complicated andand just listening to you know just asong on the radio I mean just the likethe primal instinct of yourself is to golike oh yeah like this this is somethingthat groove - it's kind of like you shutoff your your conscious mind and justlet your subconscious like soak in themood or whatever but then if you do letyour conscious kind of like take it intoyou're like man this is reallymathematical in a way you know what Imean it's very scientific it's cool likethat you know and we're just talkingabout production I mean that's all IknowI don't know any fear right you don'tknow any theory at all like like I saidI used to play pianolike I know basic chords scales likecircle shifts this kind of shit but Idon't know anything beyond that likeokay well I mean I feel like that'sthat's a good starting point that maybenot people don't even know I mean it'slike yeah I would say that's as basic asyou get oh yeah sure sure but I know alot of people that wouldn't even knowwhat you're talking aboutyou know what I mean scales and circleof fifths and stuff and you know and Iguess even how that relates to likeharmonics and stuff so yeah yeah sureI mean like I say like well when Iproduce a track I practically alwaysstart with some bass like not not basicinstrument but like a bass likefoundation sample and then maybe I'llcomposeof that so I know I'm already startingwith a key that I didn't think of rightokayyeah I could I could tune the sample toa key that you know let's I want this infucking I don't know I mean you can onlytune it to certain keys that it'salready harmonized with right anywayI usually never start from scratch let'ssay you know I mean yeah I don't needsomething but that it someone probablydoesn't even know what you're talkingabout in terms of like pitch shiftinginto like a different scale and stuff Imean back when I was like a highschooler and I didn't know anythingabout music and I would go and grab likea song like I would try to make littlemixes and stuff and I would grab a songand like I didn't know how to doanything and so it would always soundkind of weird because it would always gofrom like this key to a different keyand and so it was just my you know highschool mix or whatever that I was tryingto make and you could tell that there'ssomething wrong with itbut you musically don't understand itand that's probably me nowadays I meanyou don't even have to like you gothella programs and shit that will justidentify the key for you and like youcould just harmonic mix so breezily yeahthat's true that's true yeah so do youuse a lot of like plugins and stuff whatprograms you use actually so I justproduced using FL okay L studio 20that's what I use since the jump I usedit since like FL five or something butyeah I tried all kinds of other ones Ihaven't tried Ableton that's the onethat everyone uses now yeah I started byusing Ableton actually and that's Itried Pro Tools I tried sonar at CubaseReaper I mean they're all pretty muchthe same from what I can understand it'sjust whichever one you'd like yeah Ireally like about FL is the piano rollit's like super intuitive too- both with like instruments and withwith drums but you know for sequencingbut and then yeah of course hell offucking mixing and and and yeahproduction Suites yeah well games so doyou know a lot about like soundengineeringoh so that's one thing I don't really dolike sound design like designing theinstruments and the voicing no no nowhat do you do like you master your ownstuff yeah yeah okay so that took likehello time to learn as well yeah butit's a art formobviously I'm never gonna get it as goodas a treated room in an engineer yeah byhand I'm cheap man I mean it sounds goodto me so like I mean I don't have likethe best equipment but like the roomreally matters like this room has hellafucking echo I should like put likehello like foam and shit on the wallsokay yeah I wonder if that I wonder ifthat actually helps make it um have moreof a nostalgic sound almost you know Idon't know but I do try to like listento it in different environments likeheadphones car yeah this that whateverwhatever I mean it's it might sound goodon the monitors but it might sound badsomewhere else yeah it's weird how thathappens yeah it's just you'll play it inyour in your headphones and you're likeoh this sounds dope and then you'll goin your car whatever you like manheadphones are the easiest by far tomake sound good as yeah experience yeahyeah yeahso so when you're when you or whenyou're working on mastering a track isthat like part of your workflow or youknow they should be done at the very endlike you've already done you're done butthe production you done with the mixingand you bounce it as a final wave stereowave and then you just master that yeahyeah but when you're in that masteringphase are you going like okay let me getit perfect in the headphones and thenlet me get it perfect in the car let meget it perfect on like a cent a wholesound system in like an auditoriumwhatever the the monitors like thesethesespeakers the studio monitors that's whatI you totally get it perfect on that ohI see okay and so that ideally you wannalike the flattest sound you know theflattest frequency response which isyou're not gonna get unless you havelike I mean sound you know come bouncesback and forth all over the place rightso yeah you're not gonna get the bestsound unless you have a treated room andreally like treated speakers everythinghas to be that's why you would pay amastering engineer like thousands forthis right yeah yeah it's it's crazyunless I was gonna get like returnedlike on my money yeah I don't know Ijust don't see the pointso you you sell I know you obviouslysell your music on Bandcamp but do youdo like a lot of shows and stuff man notfor a long time like I used to but thatwas like Haley years ago deejay live butyeah I should get back into it like butthat's a thing like I mentioned earlierlike I moved around a lot man like inthe last 10 years I lived in like yesSweden Netherlands Belgium yeahSan Diego Netherlands again and then nowhere in Luxembourg and like just so manytimes I had to find sell my equipmentover and over and over you know yeah soI remember you you were gonna ask melike yeah like what's it like to youknow does living in a different countrylike influence your art and yeah forsure it does just because of theinconvenience of moving around all thedamn timeso so what areas you've I mean you'refrom San Jose right and then you livedin Amsterdam for a while and then thelast time I saw you in Amsterdam yeah inAmsterdam and then now you're inLuxembourg were you in anywhere elsebetween there yeah yeah I lived in SanDiego for 3 years % yeah San Diegothat's right and so I mean like whatstake what's been taking you in thoseareas I guess jobs man just don't workso it's just working and so then youknow I like to I like to travel and andlive in different places and shit likethat it's fun I mean it's inconvenientas all hell and yeah pain in the ass butit's cool yeah yeah and so it you thinkit influences like the music you makebecause yummy for sure because sometimeslike when I was in San Diego I had likeno money and I had to just make the shitwith what I had you know yeah I couldn'tbuy the shit I wanted now I practicallyhave everything I wantso she'd become easier now it's alsodepends like what kind of people youmeet right like what kind of you knowmusic with other heads you knowdifferent kinds of people all over theplace right yeah yeah and be myinfluence so do you do have you done anyprojects with other people so a bit butnot that much I had back in San Jose whorecorded some shit over some of mytracks real talented musician here I wasgoing out to Paris for a while it's likeonly two hours away by train and there Imade some some friends and we kind ofwork on some shit together kind of morelike jungle music like you know likeearly mid 90s like Bristol German withway more syncopated break beats for anysizethat and then I met this one Japaneserapper dude be otha goes by our whiteyand we worked on a little bit of someshit together but usually for the mostpart I'm just like a standalone yeahperson okay I'm just like a controlfreak I think in the end like I need tohave like full creative control over allmy shit yeah that's like it's hard toit's hard to not do that because it'slike what you it's like what's yourworkflow dictates you know alone so thenwhen you're working with somebody you'relike oh I want it look like this butthen yeah it's sometimes hard becausethe vision is like not quite matched upit I relate to that because like a lotof times when you're doing like dancestuff like and you're trying to makelike some routine or whatever or likeyou know do some kind of battle orwhatever you're like working with a lotof people and it's like everybody hastheir own idea of what's gonna happenand it just doesn't quite come togetherbut what you always have to do I thinkis just like go okay I'm I'm open tolike taking everybody's thing cuz thisisn't this isn't my thing this iseverybody's thing you know what I meanyeah so it's it's it's it's hard to getover that that fact you know or acceptit you know what I'm saying yeah so uhare you working on any new projectsright now so just nowyeah just put out the album like a monthago mm-hmmand now I think I'm just gonna actuallyfocus on on DJ mixes for a little whileokay I just got this this this mixer yousee right here this is like a super rarevintage Vestax from like 1990 and it'sgot some cool shit this is the same samemix our DJ Krush uses okay dude is likemy fucking idol my hero okayso I think I'm just already put out acouple of DJ Mix's recently but but Ithink I'm gonna focus on that a bit andI mean I'm kind of tapped out now forproduction because I just put the shitout yeah it's like starting from zerowhich is cool at the same time like ohshit I I can make like something yeahyeah tabula rasa yeah it's I mean youyou hustled hard to get the thing doneand now you're kind of like okay let'slike take a second to breathe let thatmusic kind of get around and then workon your next thing how actually how longdid it take you to put together thatwhole album cinema day yeah it's kind ofhard to say because like some of thetracks I made back like in 2015 oh he's16 okay and I just had them I justdidn't do anything with him I just hadto sit and then some of the tracks Imade just like six months agookay we're like four or four months agoso you could say it took like five yearsbut that's not really accurate becauselike you know helot like I would I thinkwhen I first moved to Luxembourg Ididn't work on music for like a wholeyear I was just running around travelingyou know I was back in Europe was likeoh shit let me do this go here have funget drunk blah blah blah yeah so I yeahyou know I don't know total time sometracks probably have like 30 or 40 hoursof work into them whereas others maybelike less than 10 but like the wholeconcept of what I was trying to do Ithought of that years ago okay so it'sit's been kind of like something thathas been in the back of your mind tooyou know put together eventually okayyeah no I feel like I'm kind of likethat with with with like painting youknow cuz I like paint I like to painttoo I'll have like an idea of somethingand I'll start like a lot of times I'llstart painting something that's likeit's a like just a concept of what I'mtrying to go for and then I'll justnever finish it and I'll just kind oflike hang it up and stare at it to makemyself like you know cuz it seem likeit's yes sorta yeah no that's very truecuz yeah you're what I would always tryto do is just have it there look at ityou know everyday just look at somethingand go okay let's let that kind of soakin my head and see if I can come up withanything cool to do with it you know cuzI think a lot of it is always just cuzI'm really good at just throwing outrandom ideas and stuff but it's notcomposed into anything that makes anysense so but I have to always keep thoseideas in the forefront of my mind orelse I just forget about them so that'swhy I'll try to just paint like aconcept of something and just hang it upor whatever and then like look at it andgo okay that maybe I could use that withsomething else that I come up with sureor like with dancing I do that too Imean with dancing it's like I'll havelike a cool little move that I made butI'm like man there's no way in hell I'mever gonna use this alone so I just kindof write it down and hope that this iswhat I call like frankensteining shit ohyeah yeah you just like take bits andpieces from shit you made that's all notreally good let's say on its own yeahyeah like Frankenstein that shittogether and put it into one thing nowit's pretty good would you would you saythat there's a lot of tracks that you'vemade that are like that oh yeah all thetimehell at times are like I'll find somesample or something I try to use it Itry to make a track out of it nothingever works so I'm say I fucked this it'snot gonna work then like four or fiveyears later I'll have another track I'mlike you know this needs something elseand then I'll go back and go through allmy old man I have like you don't evenknow like a whole library of chopped upsamples like the thousands broWow and then I'll just like keep likelistening to them after this one thisone's holy shitwhoa this is like already in tune orlike oh this like fits harmonicallysomehow or like this fits rhythmicallyor whatever if I my tune it right or ifI chop it yes suddenly becomes usefulthat's that's really tight and that's sosimilar to us to what I do it's it'skind of crazy how similar that is it'show do you keep track of those things Imean like you say you got like thousandsof stuff like Joey it's like I fell intothe program every time you samplesomething and you just like drag it intothe playlist or whatever it'll save itas a separate wav file and then that wavfile is named whatever your sample wasnamed and I'm like a fucking meticulousNazi motherfucker when it comes tolabeling music okay I'm super meticulousabout all of it's all catalogued andeverything so all that shit is just yeahboom right there you would think thatlike so back in the day right you had tolike sample directly from vinyl intoyour MPC or sp12 or whatever whateverbut now what I do I don't know I youcould do that but I just record thewhole record as a wave then I label itand I import it into FL to chop it up orwhatever okay so you have the whole thewhole song and then you have all yourother chops okay that's tight I don't Idon't record a sample on its own likeyou would have done back in MPC daysyeah yeah okay no that'd make that makesenseand and so then like the way that I dolike when I when I'm doing kind of thisthis whole Frankenstein process withlike dancing it's like I'll make a moveand I'll just write down how it startedhow it ends on a piece of paper and Isave that and you know I know that it'slike junk moves but I'll just you knowkind of go on with my life and then oncein a while I'll get I'll start makinganother thing and then I'll end up kindof in the same position and I'll go likeoh yeah let's look back at that movethat I used to do or like that I wasworking on back then and just try tolike Frankenstein it in into it becauseI know that mybody is in a similar position as it wasin that move so let's see if I can likesomehow put it together or like changesomething so that it fits together but Ihonestly don't have a really goodprocess of like remembering that otherthan just writing it down it's hardit sounds I'm way harder with whatyou're talking about it's I mean I knowa lot of people will record themselvesand sometimes I do that but that worksyeah but then you got a crap ton offootage that you gotta go I mean yougotta go back and actually like watchthat shit ya know but yeah I don't Idon't really have time for that so it'smore like I try to associate like a moodto it or like a some kind of feeling toit so then when I'm doing something itin that same feeling it triggers thatand I go oh yeah let me try these likecolors and shit you know my yellownotebook for like this kind of feelingthis is my green notebook whateverwhatever ya know I used to I used tocategorize stuff all the time like thatbecause if I had a move that I thoughtwould make it would be really good aslike an introduction to like a you knowsay like because when you break you kindof you're standing up and then you'll goon the ground I'll go like okay thismakes sense for one of those types ofmoves or like if another move whereyou're going from the ground andstanding up or a way to like end yourset or a way to start it or whateversomething in the middleI'll categorize it that way but theseFrankenstein type of moves like yousometimes lose track of them I man I gotso many notebooks of stuff that I lookat it and I go like oh manI kind of remember how to do this but Idon't remember how to do this so it'shard like I really that's where thefootage would come in handy yeah yeahyeah but I've never been good at likecategorizing like recording myself sobut ya know it's it's it's a process butIII honestly think that that processmakes some some gold sometimes you knowwhat I mean I mean I would say most ofthe stuff I've ever made what came fromthat process anyway and it was that's Ithink that's the only way to really doit I mean no one's gonna just shit out agolden egg right yeah yeahhave you ever shit out one golden egg onyou never works that way yeah it'salways just like months and months ofyou know try this just trial and erroryou know try this try that try this trythat maybe something will work what whoayeah so it's kind of like a playful wayof like creating stuff I mean at leastthat's how I approaches is like I'llplay I'll just play around withsomething and exactly I have a wild assidea just try it out you know andsomehow after like you know God knowsdozens of hours of work you just sitback in actually sounds good yeah yeahso it is is that how you know that atrack is done when you could sit backand go like oh pretty much yeah yeah andthen you're listening to the whole thinglike okay this thing is ready to getmixed like well I do the mixingthroughout the production I shouldn't dothat but I do that okay I think mixingfor me is it's not if I work okay but sothen yeah you sit back and you're likeokay this makes sense I can start youknow maybe mastering it or whatever yeahI can bounce this yeah okay that's tightno wow so yeah so is that you thinksometimes takes forever like sometimes Ihave a track like got a had in a backburner for years okayyeah man so like I I just you know thislast probably a year and a half orwhatever I started getting like moreinto music production and like literallyeverything I've ever made is that it'slike it's shit that I just saved I yeahyou know and I just will listen to itand go like okay hopefully somedaythis'll like turn into the dope I havean idea I like I want to make some kindof album someday but like and I kind ofhave an idea of what I want to do butall these tracks that I potentially wantto use there it's like they're probablyat like 25% to 50% of what I actuallywantedto be but I think it's on to somethingand so I've just been kind of like I'llplay it once in a while to just listento and go ok see if I have any goodideas with it but it's like they're alljust like unfinished projects in my mindso and I'm afraid that it never willbecome that and I never will put out analbum but I'm hoping that someday I doit but most of the stuff I do isn'tsample it's all it's all like acomposition yeah but like in terms ofthe instruments and shit what are youusing because they're all electronic orare you trying to get like realinstruments it's all electronic I have akeyboard over here it's an akai it's a61-key whatever whatever mpk yeah yeahand I have a smaller one too that I cantravel with sometimes take it when I'mtraveling or whatever just to like pullwhat about the voicing the voicing ofthe instruments it's all like yeah it'sit's all I'm trying to like find likegood samples of stuff to use that but Idon't know I honestly just compose somestuff and if the notes sound trying tosound like yeah that that that's hardbecause that's getting into like soundengineering and I'm not good at that atallyou know I got some friends that arebetter at it but it's like you know thatthat's my idea is to like take thecompositions I've made and then you knowsomeday come back and then really likework on the voicing of it because Ithink that's where the big gap is reallyin what I do so I don't know I'm curiousI'm trying to like understand like whoare you trying to sound like if you toldme a I'm trying to like emulate thisdude or you know kind of you know I'mnot trying to sound like anybody reallylike because I approach music kind oflike when I hear something that I like Igo why do I like that and then um soI'll try to like dig deep into like thesong is it is it's just this chordprogression that I really like is itthis instrument the way it's soundingyou know a lot of reallygone back into a lot of like old like90s rock music like Nirvananothing I'm like sure oh man I just lovethe way that they did the guitar work onthis or something and it's like so I'mlike basically when I see that I go okayhow do i how can I make that samefeeling myself and so just what I do isI really study the way they made thattrack and then I go okay this is thepart that I do like about it let me seehow I can make them I said like how Ican I can create like a feeling likethat but in terms of artists dudehonestly I love all sorts of artistsdude all types of music I mean it's notjust hip-hop music or whatever for me sothere's a lot of times I'll listen tolike a country song and I'll be like ohman the way this guy sings this likethis little this course or whatever I'llbe like man I love it and like you knowjust try to figure out why I love it somuch and then you know try to figure itout I don't know I can't really sing butit'd be dope if I could that's that'sone other thing but you know I don'tknow so so essentially every time I makelike a new track it's just it's a it's aconcept of trying to recreate a feelingthat I heard that I really liked so yeahliterally everything I make soundsdifferent I think I mean cuz I couldn'tpin a style to it you know I imaginethat's probably like how Kanye West orwhatever like approaches artists likehim they just have so many differentsounds that are like attached to themyou know what I mean or like who else issimilar to that Keith I was gonna saymaybeI mean maybe even Pink Floyd like it'slike it's hard to pinpoint like whatexactly their style is I think you knowI don't know but you get what I'm sayingoh you know who woulda Tyler the Creatorlike we don't listen to his I neverreally listened to too much and stuff Iknow uh just like a bit I liked hismusic is just kind of like it's I feellike he doesn't have his style is tokind of like have it open I think youknow in a way where it's it's hard topin something to it you know like howyou hear some guys is like okay theseguys do like trap style music orwhatever this is more like a low fighttype of style or whatever it's hard topin it to to those guys you know so umit's good to incorporate all kinds ofdifferent different styles in your shitfor sure yeah like I can give him evenme I'll throw in like drum and bass andshit like I can I can just tell thatwhen they were making the song it wasinspired by something kind ofoff-the-wall you know what I mean yeahyeah I mean shit look at even like De LaSoul or something or Called Quest's backin the early 90s so like you know hippierap yeah yeah it isyeah we're like you ever listen to likefucking brother Lynch or like AK someKool Keith it's like horror movie shityeah it is it's it's kind of crazy yeahthose guys yeah they're like yeah theytell some crazy stories yeah I meanengine but like a brother Lynch I justimagine him and his buddies sittingaround like you know like like okaywe're like gangster rappers but what'seven crazier than like killing peopleeating them yeah yeah dude yeah theythey go they go they take it a stepfurther for sureso actually so who would you say areyour favorite artists right now I meanobviously you're saying like what wereyou saying premiere no all right nowyeah I don't listen to too muchcontemporary music like I'm I'm too busystill digging like what came out in the90s I mean I feel like I'm never gonnabe done okay especially like hellaJapanese shit man like fucking Japaneseproducers from the nineties are so goodand they're really around - yeah it'slike just some random label that onlyput out like five or six records andthat was it and yeah you never heardanything from these fools again butDanna some good shit yeah but like whostill makes good music now like the onlycontemporary producers I can think ofare more like electronic not so much hiphop hip hop to me like like it'sprobably I don't know I sound like adickhead or something but like hip hopto me died like a long time ago likewhat comes out now is not hip hop to meit's like some other thing it's trappedit's whatever it is that it's somethingkind of yeah it's it's it's it's morphedinto something different I mean like II've always said that like hip hopnowadays it it's it looks so differentthan what it started out as but it kindof like follows this in the tradition ofhip hop in the sense that everygeneration of it has tried to dosomething different than the generationwhich I would say follows kind of thehip hop tradition you know of like we'renot biting nothing you know like we'remaking our own thing so like I Irefrained from saying it's not hip hopbut I do think it looks completelydifferent than what it used to be youknow what I mean we're in wearing like anew John or a sort of but exactly youknow it's now it's I feel like it's ifyou were to say hip hop is notnecessarily a genre it's like anumbrellagenres and so you got is trash style ofhip-hopyou got this like 90s style like agolden era type of style yeah you knownow there's like the loaf I shit andthen there's you know I don't know theold-school stuff you know but you knowwhatever the fuck they do like yeahrapper's delight' yeah that kind of shitso all that stuff sounds so differentand you can tell that there was like ageneration and then that influenced thenext generation and then the nextgeneration but between those generationsyou're like man do they really jumpedbetween them so I yeah I I don't likesaying it's not hip-hop but I don'tthink that it sounds anything like whatit isn't it what it used to be so to melike like like even the basic structurechanged a lot like now the beats perminute are super slow you knowbefore hip-hop was always like what 9385 to like 1 105 or something like thatand that was it and then now it's likefucking like 60 70 beats a minute andyou're like double time high hats allthe time yeah yeah it's you know whattrap music is so weird to me becauseit's like it almost has two tempos to ityou know what I mean it's half time it'shappened exact time yeah and so it'scool because when I listen to it I'mlike all right this is like some shitthat you're just like chilling too butthen also it's like oh this kind of getshyped though but I don't knowthat's why musically it's interesting tome and when I first heard it I was likeand this is some stupid shit but alittle bit it kind of grew on me in in aweird way so I don't know but yeah it'sit it's weird because like the hip-hopdance was breaking and a lot of newmusic yeah a lot of the music now youcan't really break to it now I mean itall just slowed down over the yeah yeahyeah I mean you can dance you can danceto it but doing like traditional breakstyle moves you can't really do due toit so it's it's a it's a weird subjectbecause it it is in the vein of hip-hopbut it's also like I mean for sure theybecome something different you knowbut yeah no I don't know I I dig it it'sthey're doing what they're doing youknow it I'm excited to see where it goesfrom there you know in like 20 yearslike what's gonna be happening peopleman fuck knows man I mean you couldn'tlike predict people say that shit'scyclical right and sometimes I see itlike even like I remember in the 90selectronic music or like the early 2000sas well it was all just a rehash ofdisco music like straight up it was justdisco music yeah yeah yeah and then nowlike not now but okay what like five sixten years ago you had like vapor waveand that shit became LM big and that wasjust a rehash of like later 80's discomusic and especially like the Japanesecity pop shit which is good I love cityyeah so like this is a there is acyclical aspect to it and especially inthese genres like hip hop and electronicmusic where you're sampling all the timereusing shitI think the cyclical nature of it ismore of the feeling or the the mood ofit you know what I mean because likedisco for instance it has this like kindof party like dance with you know theladies or whatever kind of feeling andthen like they kind of went to you knowto like like in house music in a way islike kind of the same sort of thing youknow it's got that same kind of mood toit or like you know I don't know reallyjust dripped down disco yeah it is theycame from the gay clubs in Chicago yeahwhat they were just like yeah it's juststrip it down and make it just pure forto the floor shit yeah yeah yeah butyeah it seems to me like people go oh Imissed that mood I missed that feelingand then now new artists are going likelet's try to recreate that mood withthis new shit that we got you know whatI mean yeah sure that's what I see withthe cyclical nature of it which I thinkit's tight but like I don't know likewhat trap is maybe from nothing maybeit's totally like a new thing but Idon't know where they got this idea tomake it like all half time to make thelike these like really staggeredsyncopated especially with the high hatsand snares yeah yeah I don't know whereI came fromI don't know where it came from eitherbut to me it seems like like maybedubstep kind of like influenced it alittle bit in the way that they do thesekind of drops and stuff like cuz whatabout music as well yeah yeah I meandubstep was always interesting to mebecause what would happen is like itwould do this crazy build-up and thenright when it drops it slows everythingdown it's kind of like the opposite ofwhat you were thinking was gonna happenyou know what I'm Sam like and it's likea traditional techno song it probablyjust start getting crazy you know what Imeanbut it's like you know the drop is likeyou know a transformer sound and it justkind of slows down the beat kind ofdisappears or in a way and I feel liketrap music took that same idea sort ofand then maybe extended it and made itmore of like a you know a rhythmic kindof wait I don't know but yeah it's it'san interesting style of music yeah but Icould see that there's pieces of otherstuff that are kind of in there I don'tknow I think honestly someone probablywas just messing around and then it just[Applause]caught on so I don't know who knowswhat's next yeah maybe a rehash of theof the 90s hopefully well you know whatactually to be honest low-five music isreally blowing up in the last likecouple years and I really think thatthat has huge influence from the 90s youknow what I mean yeah it does it's kindof like I would say that's like acontinuation of like the early 2000slike nujabes and Dilla those are likethe godfathers of this genre right yeahyeah yeah people often put my music inthat genre but I think it's like yeahnot quite butthe thing with like lo-fi music is yeahyou have that really low fire aspectright we're like the shit sounds likeit's actually mixed badly purpose yeahor like has this really like tapequality like where the fucking timeof the pitch you know of the sample orthe whole song even starts to go offright yeah so it sounds like this wobblylike riverboat you know yeah yeah Ithink it's specifically made to soundold and and I guess in a way that it itmakes it sound more nostalgic sort ofexactly which is why I'm going okay notthe 90s is when you would have beenlistening to something on a tape likethat and so it may it reminds me of thatand they got like kind of you know somelike chill like hip-hop beats orwhatever so but it it seems to me likeit's it's kind of some derivative ofthat style of music yeah you're probablyright[Music]so you said yeah you're not working onany new projects but you're just doingmore like DJing now yeah just diggingdigging for for other tracks to mix andlike setting up set lists and shit likethatokay are you gonna try to do any morelike DJ shows I mean now with fuckingnot yeah yeah actually you know what I'mcurious like I've been seeing like a lotof like DJs that are going on yeahvirtual social media and they're doingjust mixes and stuff and like I thoughtabout doing that I would need to buy acamera but yeah I thought about that Imean yeah I could do that ya know thatthat'd be tight no I think there's onedude from Japan DJ Coco have you seenthis fool no he's crazy man he'sincredible like he only uses 45s okayand and nothing else apparently andthe dude is just incredible his mixingskill his like you know blending his hisselection is just bananas I'm thinkinglike this motherfucker must sit all daytill I come up with these these sets youknow he's got to live that life I meanyeah he's nuts man check him out he'slike incredible sick Coco against KOC ohyeah what is he on YouTube or where canI find him on Instagram Instagram okayyeah that's where I see a lot of peopledoing it he's crazy man he's got likethis one like fuckin like he's blind inone eye so like you just like see thisfool doing it likes one eyes like oldwhite looking in the other direction butlike his hands and everything is so fastoh shit and so this is he does he does alot of mixing does view a lot ofscratching or yeah a bit not so much manscratching like that's one thing Ireally like kind of em I mean it's nottotally dead but almost like right youwanna go I don't hear anybody reallyscratch anymore which sucks because theydo it I mean they sweeping it in and ofitself it's become like just like anovelty like you'll go on Instagram andyou'll find like twelve-year-old girlsthat'll out scratch like the DMCchampion straight up but no oneincorporates it into their music anymoreback in the day you would have had somesome scratch hook like the you know DJpremier the 7/3 whatever but now yeah Idon't know yeah no I I definitely missedthat I remember I used to try to scratchit it's like it's a art form in itselfdude yeah for sure I loved watchingthose old bat those like battleswhat is it championships with likeGooglers yeah because it's like dudethis shit is crazy I remember they usedto throw a few shows like in Sacramentowhen I was a kid of like the same kindof thing like they would just bring someDJs in and do it and I was like god damnthis is crazy and it was all like beforelike cerrado and stuff and so yeah yeahjust like you you couldn't just tap abutton and be like okay here we go likeyou know what I mean I can know wherethat shit is on you you see guys withlike they'd stack their records all onthis on the thing so that they can likemix it and they throw that one off inand they keep going I was like dude thisis crazy the process is so it's so crazyI just haven't thought out like yeah youjust planned that shit like practicepractice practice practice practice andthen you got your nice little yeah doyou think you can do any kind ofscratching like that I know you do somescratching but I scratch but I'm backdude nowhere near the level of anythingyeah do you ever try to do that that'slike I never tried to do any like crazyshit like you oldies like crab into theflare into this no no I was always justlike how do I make scratching into partof my productions okay okay like that'swhat I always wanted to do okay like inthe beginning when I first started likeback in college like in Davis yeah likein oh three or something yeah you wouldbe DJing the parties I think that's howI met because you were DJing and thenyou started scratching or some shit andI was kind of like oh this motherfuckerknows what's up cuz like most DJ's likewouldn't do that but I was like oh thisfool has some technique and I thinkthat's why I started talking to youmaybe we're like are you like playingsomething that like some off-the-walllike kind of music and I was like yothis dude was digging for this like it'snot just some fucking Nelly song orwhatever you know yeah I always did tryto do that yeah but yeah that's how Istarted out with DJing parties and shitin Davis and then I also like I waslearning how to scratch but then likesuper quickly I just went you know whatI just want to make my own shit I'm notinterested too much now I'm getting backinto the DJing shit but likelike as soon as I shift it intoproduction that's all I wanted to doyeah so it was like okay like such asfor production I just need to knowsomething so okay I kind of just yeahyeah that's dope so you used outs rightwhen you started producingmaybe oh six oh seven okay yeah that'sprobably when I first heard your musicactually yeah I don't know probably yaknow trying to remember cuz it was likeAnnie I don't you I think probablythrough Andrews yeah I think it wasthrough auntwell I know I think I met you Adam oneof his parties and you were DJ ah likeyuanbao I think we're DJing or somethingah I was probably the Halloween party wethrew no I don't know you before thatyeah maybe I don't know yeah that was along time ago but yeah I I definitelyremember you know what I probably metyou before that but I didn't know youwere DJing but I I really I remember amoment when I was at one of thoseparties and I like heard the DJ justplay something crazy and I was like holyshit dude who's DJing this shit is dopeand then I looked over to wherever youwere and I was like oh shit I know thisdude and I think I talked to you and Iwas like bro you know what's up like youknow what I mean like I had an immediaterealisation that it wasn't some fuckingjust regular ass person just DJing youknow what I mean it wasn't you know wellanyways dude we're hitting about an hourright now so we should probably closethis show out soon do you have where canpeople find you yeah any fucking musicplatform Spotify turns title band campYouTube whatever whatever youtube soit's DJ fiction pH IX IO n is that rightyep yep like we were talking before likewhat were you sayingI picked that name because I wanted aname I could scratch yeah you know Icouldn't make up I couldn't use my ownname I couldn't make up some other nameotherwise I would never be able to findsomething saying it but Iname like shit let me find fucking youknow whoever jaew the damager you knowFat Joe or somebody saying that shitthat could be fiction you know ya knowthat's some old-school shit for sureit's like a lot of people used to dosomething like that because you can findyou can find a record or whatever thatsays that word exactly yeah I know Ineed someone that went by chemical orwhatever there you go same kind ofvalues I just used Serato I mean youcould just have your home where you'llrecord whatever yeah now it's a loteasier you couldn't just do a littleMike shout-out or whatever you needed tolike find a record that you can actuallylike scratch or whatever now it's Seratoyou can kind of do whatever the hell youwant which is which is tight I think itmakes for some I mean shit I haveSerrano right here so what the fuck am Iyou know I don't change Serato at all Ithink it's it's not pushed it's pushedthe world of like music production intolike its realms it could have never goneto so I really like that you know itallows like the I think it extended thelife of turntablism you know what I meanfor sure for sure man you know regulartechniques 1200 you know whatever thatcould have been man it wasn't for Seratoyeah people were just using controllersand CDJs forever yep yep yeah exactlyand so you know it allowed like italmost aloud like turntablism to go moreinto like a mainstream in in a way Ithink I mean not that it wasn'tmainstream in the 90s but it was a sortof dying out out a little bit you knowso but yeah I would save I can't buy theearly 2000s I meanwas I mean still had like fools likeBabu and shit like thatmm that's true battle records yeah withall the steel ones super seal that'sdope so everybody check him outDJ fiction cinema deck it's a reallydope album there's like what 15 tracks16 tracks something like that no is itme okayokay yeah yeah really dope I've beentrying to play I think my phone turnedthe music off but I'll make sure I put aplaylist on this whole podcast so youguys can check that out thanks for beingon dudethis was great thank you amazing manhopefully I'll get this out this podcastout pretty soondope hey thanks for listening guys peace[Music][Music][Music] 

Hi, everyone! Last night (April 17, 2020) we did another “Easy Ed Spins the Platters” event on Facebook—or tried to: Facebook pulled the plug after 40 minutes. (Insert your own loving ode to Facebook here.) However, I recorded the mix from my ancient Vestax mixer and it sounded fine. This morning I added a few more of the records I had planned to play in order to fill out an hour of music for you. Reminder: These sessions are informal—I make record selections on the fly, depending on how things are going and on what listeners want to hear. I hope you enjoy the archive! Go to https://easyedsblog.blogspot.com to see the list of records played. We’ll have a new edition of “Easy Ed’s Variety Hour” for you next Friday. Take care and be well!  

A-Trak fue el primer DJ en ganar las tres competiciones más importantes de DJ (DMC, ITF y Vestax), además de ser el primer DJ en ganar cinco campeonatos del mundo.

Episode 86: BOOGIE BLIND On this week’s episode of @RoadPodcast, the crew sits down with Harlem’s Finest @BoogieBlind of @TheXecutioners and @TheHeavyHitters. The fellas talk about Blind djing for @DJCrooked back when he was rapping/producing and performing at colleges in the early 2000’s in NYC (6:11). Blind breaks down Eastcoast vs Westcoast scratching and shares his experience winning the @Vestax.Professional World Championship in 2001 (29:09) and going on @Eminem’s “Anger Management Tour” with the Xecutioners (45:00). Blind explains the history of the “Pause” and “AYO” game (50:01) and talks about dj’ing in different boroughs in New York (59:30). Crooked tells a story of him and Blind having beef over speakers (1:25:30) and Blind shares some memories and speaks on his close relationship with the late and legendary turntabllist #RocRaida (1:58:01).

Bepsin dates all the way back to 1994. Recorded live using a Vestax mixer, three 1200s, and two non-pitch-shifting CD players, because y'all, we weren't even dreaming of those yet.

What we gonna do right here for Episode 113 is go back. WAY BACK. Back in to time... Ten years ago. Sounds like a long time, doesn't it? Well, David and Trip take a look back and see how much different everything was: 2007 marked the beginning of the mobile revolution. Apple announced the iPhone, and since then, mobile technology has drastically changed the definition of a phone. As DJs, there's so many apps and ways for our devices to help us DJ, now...all thanks to the advancement of smartphone technology. DJ Mag's Top 100 is saturated in trance and rife with voting controversy.  Beatport's Top 9 selling tracks in 2007 indicates the dominance of electro-house in the years before dubstep domination. Daft Punk releases Alive in 2007 (which went on to win a Grammy in 2009). Grandmaster Flash & The Furious Five were inducted to the Rock & Roll Hall of Fame. Pioneer launched the DJM-700 and the CDJ-400, Technics put out a super-limited run of 1000 SL-1200MK6, Vestax released the first serious DJ controller (VCI-100), and among several other hardware releases from Behringer, Xone, Korg, and others, the Innofader drops on to the market. Traktor Scratch comes in to being after splitting off from Final Scratch. Beyonce topped the charts in 2007, but the much of the top 20 was saturated by the likes of Akon, Timbaland, Fergie, while Rhianna and others were solidifying their superstar status, as well.

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

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

First podcast after 5 years break. Some kind of deep techno and minimal + a bit of house. Enjoy. Tracklists and other info: http://www.gudowski.pl/

Here is the final installment of DJ Krafty Kuts in the mix. A brilliant selection of "ol skool" hip hop and rap, perfectly blended. Destined for heavy rotation on playlists everywhere. Thanks for tuning in and be sure to support Krafty Kuts everywhere online.       Krafty Kuts on Soundcloud

Soon I will find myself in the middle of a South African summer as I prepare for a November - December S.A. tour. The folks at Ape Concepts have been working hard to make this happen. This mix is from my residency in Greece (Ellada) Cayo Blanco...

STILL rocking out on the decks at Cayo Blano beach club in beautiful Loutraki, Greece... Thanks to Kostas Kontaya and the staff at Cayo Blanco for bringing me back to Ellada (Greece) 4 decks of madness starts NOW..... For booking, contact Mr. Capers @ AGENTSOULDOCTOR@GMAIL.COM Facebook: https://www.facebook.com/tonysoulsf

San Francisco's own MASTER DJ TONY SOUL... Currently touring the globe bringing smiles to the lovers of DEEP HOUSE.... Living in Greece and now booking... CONTACT MR CAPERS: agentsouldoctor@gmail.com

NOW BOOKING FOR ASIA & EUROPE. CONTACT: MR. CAPERS @ AGENTSOULDOCTOR@GMAIL.COM FOR THE PAST 3 YEARS SAN FRANCISCO’S MASTER DJ TONY SOUL HAS BEEN ON FIRE ACROSS THE GLOBE PLAYING IN OVER 30 CITIES AROUND THE WORLD FROM CLUBS IN ROME TO THE BEAUTIFUL SHORES OF CANICO, PORTUGAL OPENING FOR CARLOS MANACA, TO NYC/FINALE (PACHA) OPENING FOR ZED, TO FESTIVALS IN MOROCCO, AND BEACH CLUBS ALL ACROSS GREECE. FINISHING UP SHOWS IN MIAMI, NEW ORLEANS, SAN FRANCISCO, AND NYC THE SOUL DOCTOR IS RETURNING TO EUROPE, BASED OUT OF GREECE AND READY FOR A SUMMER OF SOUL.... ARE YOU?

NOW BOOKING FOR ASIA & EUROPE. CONTACT: MR. CAPERS @ AGENTSOULDOCTOR@GMAIL.COM FOR THE PAST 3 YEARS SAN FRANCISCO’S MASTER DJ TONY SOUL HAS BEEN ON FIRE ACROSS THE GLOBE PLAYING IN OVER 30 CITIES AROUND THE WORLD FROM CLUBS IN ROME TO THE BEAUTIFUL SHORES OF CANICO, PORTUGAL OPENING FOR CARLOS MANACA, TO NYC/FINALE (PACHA) OPENING FOR ZED, TO FESTIVALS IN MOROCCO, AND BEACH CLUBS ALL ACROSS GREECE. FINISHING UP SHOWS IN MIAMI, NEW ORLEANS, SAN FRANCISCO, AND NYC THE SOUL DOCTOR IS RETURNING TO EUROPE, BASED OUT OF GREECE AND READY FOR A SUMMER OF SOUL.... ARE YOU?

Hello For our 14th episode are we presenting a norwegian musician who has a different background other that techno. We are talking about Hans Frønes also known as @Triggerpunkt. He has been wondering out on techno grounds for some time now and he seems to have found his sound. Recorded 100 % live in studio. Gear; Vestax vcm600, Allen & Heat xone 1D, iPad/Lemur, Ableton live9, Echo Audiofire 2. This is what he has to say about the mix: “A podcast for nerds, recorded 100% live in the studio. Recorded from the master channel. Gear: Vestax vcm600, Allen & Heat xone 1D, iPad/Lemur, Ableton live9, Echo Audiofire 2. Well there you go... You would just have to sit back and listen.

FACEBOOK: https://www.facebook.com/tonysoulsf?f... JUST ANOTHER NIGHT OF DEEP HOUSE LIVE FROM PORTUGAL ON THE ATLANTIC OCEAN NOW BOOKING. CONTACT MR CAPERS @ AGENTSOULDOCTORGMAIL.COM

FACEBOOK: https://www.facebook.com/tonysoulsf?fref=ts NOW BOOKING FOR CHICAGO HERE IS AN AUDIO RECORDING OF MY MOST RECENT VIDEO SET. TO WATCH THE VIDEO, GO TO: http://www.youtube.com/watch?v=CAIvGNoVe_o

LIVE MIX! This mix was done by me live onto cassette tape many many years ago. I just recently found it and remastered it. Contains all your oldschool favorite tracks. This is the way oldschool is meant to be mixed two turntables a mixer and a tape deck.Tracks BY CHIP E.,J.M. SILK,ADONIS,AND MORE.

Proud to present Craft from NYC sharing with us an hour of amazing Techno, recorded live at National Underground in New York City at Twice as Proper event with Mas Teeveh, Justin Shumacher, Chanski and Shadi on November 9th 2012. It was also aired on our week long showcase at COCO FM radio on November 28th 2012. 1. Mas Teeveh - End Behind The Act - unreleased ambient 2. Duckhunter - Granade (Craft remix) - [NOSI Music] 3. Mike Wall - Up - [Hidden Recordings] 4. Cosmin TRG - Vertigo - [50 Weapons] 5. Craft - Brooklyn Beautiful (Justin Schumacher remix) - [Subtrak Records] 6. The Black Dog - Heavy Industry (Shifted Remix) - [Dust Science] 7. Empty_Room - Steady Balance (Original Mix) - unreleased promo 8. Mas Teeveh - This Might Happen When You See The Future - unreleased promo 9. Sick-B - Substance (Craft Remix) - [Ungeklart Music] 10. Psyk - Clown (Original Mix) - [M_nus] 11. Craft - Hypnotic Poise (Original Mix) - unreleased Bio: Twice as Proper/Party People/Feed The Raver 18 years Djing, 13 years producing. 5 years planning events. Born in NYC, Craft bought his technics 1200's & Vestax mixer at age 14 with his own life savings in 1994. He taught himself the skill of beat matching and studied the art of blending tracks smoothly to perfection with persistence. He began producing music in 1999 under the name "Craft" or "Craft Music Productions. He dj's 3 times per month on average in the NYC underground techno scene for his established "Twice as Proper" techno events and other local showcase events. He evolved from the Vinyl-only days to CDj’s of all types, and now often performs live with his all-in-one DJ workstation M-Audio Torq Xponent. In 2010, Craft traveled to Europe for his Italy Dj tour to Milan, Rome, and Terracina, then experienced an incredible Costa Rica DJ Tour covered by much media attention (national radio and TV). Craft ended up the year by hosting 8 Twice as Proper events in 5 stunning different stunning venues in Playa del Carmen, Mexico. In 2011, Craft performed on the main stage at "The Works" during DEMF/Movement (Detroit Electronic Music Festival), as well as in Washington DC at Funxion and Sweet Spot clubs, and also at Boston’s famous Rise afterhours club as headliner in the main room for 5-hours. He was finally approached by countless labels for remixes and original EP’s and is now signed on 15 top labels based in 6 countries (USA, UK, Germany, Italy, Hungary and Malta). Craft currently has 6 EP's scheduled plus more remixes coming out early 2012 alone. In 2012, Craft showcased for Cultured Citizens event at The Old Miami in Detroit, and performed at an incredible 5 after parties during Detroit's Movement Festival 2012, including performances at The Works, Belle Isle, Bookie's, TV Bar, and Motor-City Wine. Craft co-created the NYC techno movement "Twice as Sweet" with his partner Shadi in 2007. It was later renamed "Twice as Proper Sessions" and has reached an impressive "over 200 events" and counting in the past 5 years with an illustrious list of over 100 guest DJ bookings. "Feed The Raver Podcast show" was founded and hosted by Craft himself along with Jenny Arredondo. It debuted worldwide on March 3rd 2012 with interviews and guest techno DJ sets from a different city around the world every 2 weeks. Feed The Raver officially partnered with Movement festival media coverage and has been interviewing international superstar techno DJ's as well as promoting the festival itself. Craft also created and designed the "Party People" T-Shirt which has a history of its own...

Hi guys this month I have decided to use my dj20 mix as the 30th episode of my podcast. Hope you enjoy and thanks to everyone who voted for me. www.dj20.co.uk Tracklist Sunny Lax - Isla Margarita (Original Mix) Eximinds & Aimoon - Laverna (Original Mix) Aruna - Save The Day (Tom Fall Remix) Rick Mitchells - Sub Zero (Original Mix) 2nd Phase - Domino (Original Mix) Lange - Desination Anywhere (Original Mix) Richard Durand & Heatbeat - Devil Inside (Original Mix) Orjan Nilsen - Filthy Fandango (Original Mix) Thomas Ulstrup - Bomba (Original Mix) KhoMha - The Dark Knight (Original Mix) MEM - In Control (Original Mix) Coldplay - God Put A Smile Upon Your Face (Stephen Kirkwood Remix) www.stephenkirkwood.co.uk www.facebook.com/djstephenkirkwood www.twitter.com/stephenkirkwood

Please to bring you the latest episode of the world famous "Words and Sounds Radio Show" hosted by my brother, your brother DJ Bobby Bob. This guy is amazing and continues to produce quality music and shows at such a high level. My post here is to garner even more support for this program. Please download it, tell a friend or two, feel free to share. Check the picture of DJ Bobby Bob as Jill Scott visited the studio. We love what we do and we're still here because of YOU! dj come of age

Live your summerbreeze with Sander Van Doorn and Tommy Trash

Long time not updated huh?. I hope You will like it, its one hour long easy deep/prog housy stuff with little addict of deep techno. I will put some new stuff asap in december. Tracklists and other info: http://www.gudowski.pl/

Mitschnitt von der Live-Sendung vom 6.7.2011 auf www.houseapotheke.com

Play a love game with Barbra Streisand in Bangkok

This is special 2 hours mix for You with beginning of spring 2011 :-) Two hours of tribalism! ENJOY! Tracklists and other info: http://www.gudowski.pl/

First one in 2011. I prepared for You some stuff from my actual playlist. Mainly some kind of techno and house. One hour of easy listening groovy material ;-) Tracklists and other info: http://www.gudowski.pl/

Second part of holidays 2010 2 hours podcast. This part is done with few classics of progressive scene from labels like J00F, Contrast, Gut Feel, and few more. Tracklists and other info: http://www.gudowski.pl/

Recorded live at one small underground open-air party :-) Some other side of my mixes, sounds like more techno ;-) Enjoy! Tracklists and other info: http://www.gudowski.pl/

Third podcast in this year. This time we got a few newest releases from Mistique Music, and Sentence Records. Few older stuff too, enjoy. Tracklists and other info: http://www.gudowski.pl/

Recorded live at event with MoShic in Hedonic Club. Krakow, Poland. Tracklists and other info: http://www.gudowski.pl/

First one in the 2010, check it. Tracklists and other info: http://www.gudowski.pl/

Last one for the end of 2009. Enjoy. Tracklists and other info: http://www.gudowski.pl/

Dark progressive is here, beware! Tracklists and other info: http://www.gudowski.pl/

One hour in Moshic style, dark style of progressive. Viva la Underground! Tracklists and other info: http://www.gudowski.pl/

Tech and Tribal House. Enjoy! Tracklists and other info: http://www.gudowski.pl/

This time one hour in SUDAM style, enjoy and feel that vibe! Tracklists and other info: http://www.gudowski.pl/

One hour with 2000' Progressive stuff. More wet, more melodic, with more vocal... dance! Tracklists and other info: http://www.gudowski.pl/

Very various mix. Enjoy my fav in last days, for beginning of the holidays. Tracklists and other info: http://www.gudowski.pl/

Tribal, Deep, Prog - House! Tracklists and other info: http://www.gudowski.pl/

Melodic Progressive House this time, with some addict of Tribal House. Tracklists and other info: http://www.gudowski.pl/

From minimum to maximum. Enjoy this hot hour! Tracklists and other info: http://www.gudowski.pl/

Hour with deep sounds. Tracklists and other info: http://www.gudowski.pl/

We starting with the new year, new episodes, new things to do. Enjoy this hour for Ya. Tracklists and other info: http://www.gudowski.pl/

Check latest mix for the end of 2008. Have a good year 2009 my Friends! Tracklists and other info: http://www.gudowski.pl/

Fourth part of the Darkside Chronicles Podcast by Tomasz Gudowski. Deep vibes of house this time. Tracklists and other info: http://www.gudowski.pl/

One hour for the end of the holidays. Tracklists and other info: http://www.gudowski.pl/

Second part of Darkside Chronicles Podcast by Tomasz Gudowski. Tracklists and other info: http://www.gudowski.pl/

First of the all. Enjoy the vibe. Tracklists and other info: http://www.gudowski.pl/

Mixtape #33 (In Flew Aunts) by DJ SiLLY iLL A super funky blend of contemporary and classic U.S. hip-hop, mixed intelligently with funk and soul classics, and the occasional hidden gem, juggling theatrics, general turntable insanity... Get at me at djsillyill@gmail.com or on Myspace/djsillyill I am also 1/3 of the Microdahts on Myspace/microdahts