jopa.

i normally would say on mixtapes i think its fair game. however, siding with vekkeds internet changes things position, i cant deny that mixtapes served that same purpose before the internet. people pushed mixtapes to get their names out there. only most of the time it never went beyond the local scenes, because there were no mp3s then. now a days a mixtape can serve nearly the same purpose as an internet video. i wouldnt know of this board, or have people in other countries know who the RVM or i am without them. but then again, we didnt subsequently make millions... i guess millers music video is better than the thank you mix... but you get what i am saying... its difficult for me to say that i think on a mix tape its okay, but i am not down with making a music video of you rapping over someone elses instrumental record. but that is how i feel... i guess what i am going to conclude with is that i think what mac did is in poor taste and demonstrates his lack of respect for the music and while i dont think he should be held financially responsible i think the hiphop community should take responsibility for themselves and shun him appropriately.

you disagree, so you repeat my sentiments exactly using your own diction?

that is a great argument. it forced me to reconsider my position. now i am able to see that i am hoping finesse wins the case purely because i dislike miller. however, i still cannot compare jacking composition to jacking a sample/snippet... whether its "flipped" or not. he still sought out an obscure record... that i can guarantee mac miller has never heard of... and put work an effort into making a new composition. so here i am, firmer in position that miller is a buster, but also going back on my desire to see him lose a law suit... however further down the rabbit hole vekked drops some bombs on that position. now here is another good argument... now i can see that video has value and encourage a courts efforts to attribute a figure to that value. this is another great argument... how can i wish to see miller lose a case when i can assure you were oscar peterson to sue lord finesse i would def not want to see finesse lose. i think this has to do with the effort for me though... i think it takes more effort, and dare i say passion, to find some nearly unheard of record, cut some samples from it, and compose something entirely new. much more than pressing play on an instrumental and rapping over it. im not going to try and argue why one would be better for hiphop, but i can ask you which do think shows more of a respect and love of music? people who sample(steal) fall in love with records and sounds. people who steal beats are looking for their own gains. def a debatable topic and some good arguments all around. im need to let it all ruminate some more.

i wil comment on this more in depth tomorrow. gotta close this motha. the gist of it will be that what i deplore is the jacking of a brilliant idea. sampling an obscure record and crafting it into a completely new compositioon.... which i cannot logically compare to just jacking that finished composition and putting new lyrics over it. ill have more time to be more lcear tomorrow. holler.

i hope he wins. lord finesse is pretty cool, and mac miller aint. i dont know why i felt like using "aint" there. anyways... there is also a pretty amusing video about some hard new york dudes who get up in millers face for jacking their beat. they go on to show email correspondence verifying their claims.

i may be biased on the first juggle because its the goonies score, but it is very solid regardless... however, the second juggle may be more accessible to a battle crowd. i dunno. its difficult for me to decide since it does seem apparent that the second juggle isnt entirely finished.

such control on the faderless part, man. respect.

battling at that level is something i couldnt even imagine... i respect you guys immensely. before RVM gigs my nerves would start to come up, but like with what jon said we practiced so much that our parts were basically engraved in our psyche. so as soon as i finished my first mix or cut i would be all swayzee.

so great, wax. this hit the spot.

punk rock until about seventeen when i realized that labels are retarded... and i mean that word literally.

yup. glad you figured it out homie... i have yet to come across a midi device i cannot map in traktor.

just found out my traktor is version 1.2.7 anyone know if there are updates from this for free... kind of skint right now. not sure if i used skint correctly. i have seriously found no issues with traktor what so ever. i have noticed that on occasion traktor cannot read the source correctly. i havent been able to find a reason for this. when i replaced the styli the issue cleared up for more than a month, but now on occasion it comes back. basically i have to disconnect/reconnect and clean eevrything and it works again. i know this sounds incredibly hokey, but i have yet to find a definitive cause for my technical issue. i know the key lock feature is kind of a hinderance... i am always forgetting about it and end up scratching with it on for a while, or mixing with it off until i notice a drastic difference in pitch. i do think some sort of auto feature for it would be cool, but i think the obstacle there is how would traktor know if your just pushing a record forward a little to stay in sync or about to scratch?

awesome. grats!

is it for free.99 to current traktor users, or do they want more of my money?

not sure if it was mentioned, but you can also adjust the "sync" grid yourself. so if the auto bpm didnt find the bpms or is off set, like in between the kicks on a 4x4 track, you can fix it your self. you can also set multiple grid start points in one track. so take Prince's Kiss for example, you can set a loop of just the break and grid it, then set a loop of the chorus and grid it separately.... and then use them intermittently. its like the poor mans ableton. you dont need to do that timewarp thing, but can still use a live recording seamlessly mixed with digital recordings.

word. a genuinely good man owns up to his mistakes in such a manner. respect.

bummer no one responded to this. i would enjoy hearing some non diplo baile funk mixes.

i got in this late and didnt want to read five pages, but i can say that the whole interface thing is just about what youre used to. the serato interface looks backwards to me; important information seems to be small and in odd places, and i cant stand not being able to see the wave of the entire track. if i cant look at the grooves of the record then i want to be able to see the wave well ahead into the track. if there is a setting that allows this i dont understand why no djs ive seen use serato utilize it and why it isnt a default. however, i accept that this is probably just because i didnt learn digital djing with serato. traktor makes sense to me and the UI seems logical and simple. i did not know that the serato "box" couldnt operate as a sound card for your computer; that to me seems like a major dick move on their part.

i dont follow... source? that is probably a live drum recording.

luck is for hacks. kill it homie!

the aspect i enjoy most about djing is scratching. i like that i dont need anyone or anything else around to enjoy it, it provides me a release from daily monotonous shit, and that most djs dont bother with it and so i dont feel obligated to befriend someone or converse with someone just because they "dj."

solid. great control showed in the beginning there.

i have a ttm56 that is almost 9 years old... she still performs well, but i have some fuzz issues with the gain on the right channel. i take her apart and clean her every few months. faders are stock, but still feel like new. i would like a new ttm56. maybe a 909 if someone bought it for me. and i saw this new numark mixer that i think is really slick for cosmetic reasons, but im not sure if it holds up for a while performance wise... its the r5 scratch mixer i believe. i really like the matte black. fucking slick.

i think i had that same gemini, because mine had the sampler in the bottom too, but mine had this design: the fader was replaced on it and it said "skratch" across the top of the fader in some cheesy graffiti type, and the cut was like a half an inch from the wall of the fader. i had one vestax pdx2000 and my computer. i used my pc for instrumental beats and practiced cutting only for like a year and a half.

id like to think id do the same for anyone else. there may even be some examples of that on this site. however, i am aware of an issue with my manner and diction. it happens daily at work. people think i am being sarcastic or condescending because i always say please, thank you, sir, and maam, have a somewhat antiquated vocabulary, and always deliver information in an impersonal matter-of-factly sort of way. but its just the way i am; i cannot help it. you may remember i voted for rchecka as best new dver; i think the dude is awesome and meant absolutely no disrespect. but lets consider this more closely... i seriously suggested at the end of my OP not to consider what i, or anyone else, says as jazz and subsequent subgenres were all up for discussion. then he tells me that i am wrong (which i kind of hinted at myself) because "cool jazz is music made by white dudes for old white dudes." which i hope is an abbreviated version. however, the track in question is actually made by an old white man essentially for an old white man. i guess i could have just brushed it off and ignored the rest of the thread. i dunno.