ju-e Posted November 3, 2014 Share Posted November 3, 2014 Hi, Please take a couple of mins and give me some pointers on what I need to work on. I really will appreciate the feedback Thanks https://www.youtube.com/watch?v=MLwdArnCNIE Quote Link to comment Share on other sites More sharing options...
Guest broke Posted November 3, 2014 Share Posted November 3, 2014 Dope. Record from the mixer, that's my only criticism. Quote Link to comment Share on other sites More sharing options...
ju-e Posted November 4, 2014 Author Share Posted November 4, 2014 Thanks broke, appreciate you taking time to check it out Quote Link to comment Share on other sites More sharing options...
Guest broke Posted November 4, 2014 Share Posted November 4, 2014 Thanks broke, appreciate you taking time to check it out I watched it twice, good stuff man Quote Link to comment Share on other sites More sharing options...
Frost Posted November 4, 2014 Share Posted November 4, 2014 Needs more transforms, haha. Quote Link to comment Share on other sites More sharing options...
Guest Symatic Posted November 4, 2014 Share Posted November 4, 2014 dope mate. looks like you could do with a new scratch record though...... -cough cough- http://cutandpasterecords.bigcartel.com/product/cadence-with-rhythm-flow-cnp001 1 Quote Link to comment Share on other sites More sharing options...
Guest petesasqwax Posted November 4, 2014 Share Posted November 4, 2014 yeah, I would echo Broke's comment about recording through the mixer, but not much else to add. nice cuts man 1 Quote Link to comment Share on other sites More sharing options...
kut_class Posted November 4, 2014 Share Posted November 4, 2014 Yeah that was enjoyable for Mic recording. A good mix of drags and tears, along with some more trendy double time cuts. The 4 click transforms were tight as hell. 1 Quote Link to comment Share on other sites More sharing options...
Mr. Wonderful Posted November 4, 2014 Share Posted November 4, 2014 Nice cuts bro!!! 1 Quote Link to comment Share on other sites More sharing options...
ju-e Posted November 5, 2014 Author Share Posted November 5, 2014 Thanks everyone for the feedback, to be honest it was a spur of the moment thing, hence using a phone and not recording through the mixer. Will not do that again :-) So, I suppose what I am still after is some views on flow, what was missing, what to work on as I think I am a bit out of touch with what is new and next ish. As one of the comments above was getting at (I think anyway, message board sarcasm sometimes passes me by....), there were a lot of transforms (which seems to be my stock transition cut, rather than say a chirp) so what/how do you all transition between cuts, and also going from closed to open variations? Cheers again 1 Quote Link to comment Share on other sites More sharing options...
ju-e Posted November 5, 2014 Author Share Posted November 5, 2014 dope mate. looks like you could do with a new scratch record though...... -cough cough- http://cutandpasterecords.bigcartel.com/product/cadence-with-rhythm-flow-cnp001Ha ha!! Thanks mate :-) Believe it or not, I have got hundreds of the things, but I always go back to the same toasted scratchy seal! :-) Something I should get out of the habit of doing! Quote Link to comment Share on other sites More sharing options...
Mr. Wonderful Posted November 5, 2014 Share Posted November 5, 2014 (edited) How do you all transition between cuts, and also going from closed to open variations? Cheers again This is a great comment J-ue. From my observations most people seam to perform either closed or open fader combinations, with very few mixing 'closed/open' within the same phrase. This is especially hard to do when your are scaling the combination also. Tags Edited November 5, 2014 by djtags 1 Quote Link to comment Share on other sites More sharing options...
Guest petesasqwax Posted November 5, 2014 Share Posted November 5, 2014 Thanks everyone for the feedback, to be honest it was a spur of the moment thing, hence using a phone and not recording through the mixer. Will not do that again :-) So, I suppose what I am still after is some views on flow, what was missing, what to work on as I think I am a bit out of touch with what is new and next ish. As one of the comments above was getting at (I think anyway, message board sarcasm sometimes passes me by....), there were a lot of transforms (which seems to be my stock transition cut, rather than say a chirp) so what/how do you all transition between cuts, and also going from closed to open variations? for me, one of the things that keeps a DJ constantly interesting to listen to is when I don't know what they're going to use to transition between open and close fader/fast and slow etc. It's one of the things I really appreciate about the obvious killers out there (like D, Excess, Toad etc.) - they might use a transform one time, then a drag the next or a chirp or a no-fader scratch etc. it's the unpredictability of it that is probably the hardest part of improvising in any form of musical performance. personally, I tend to spend a lot of time doing drills on particular combos I'm trying to get down or tighten up - autobahns, for instance - and I find that my flow suffers when I do freestyle cuts because I'm over-thinking things. 2 Quote Link to comment Share on other sites More sharing options...
Mr. Wonderful Posted November 6, 2014 Share Posted November 6, 2014 I find that my flow suffers when I do freestyle cuts because I'm over-thinking things. I would fully agree that over thinking something is bad for flow. The reason for this is that using your cognitive senses means that the information takes longer to process and inhibits the blood flow to your muscles limiting their functions. You need to be using your autonomous senses which uses less cognitive power, which speeds up the controlled loop function from brain to muscles. Tags 1 Quote Link to comment Share on other sites More sharing options...
mfsop Posted November 6, 2014 Share Posted November 6, 2014 From my observations most people seam to perform either closed or open fader combinations, with very few mixing 'closed/open' within the same phrase. This is especially hard to do when your are scaling the combination also.I wonder what you mean with "scaling the combination" - is it related to the pitch? Letting go of what you've drilled is really a huge problem, partially because it makes you feel more secure and similar combos that you haven't practiced as much sound more sloppy. To develop the autonomous senses you're talking about requires concentration in the first place, though. Ahh, the problems of a scratch nerd. http://www.studioscratches.com/the-scratch-djs-guide-to-deliberate-practice/ 1 Quote Link to comment Share on other sites More sharing options...
Mr. Wonderful Posted November 6, 2014 Share Posted November 6, 2014 (edited) "I wonder what you mean with "scaling the combination" - is it related to the pitch? Letting go of what you've drilled is really a huge problem, partially because it makes you feel more secure and similar combos that you haven't practiced as much sound more sloppy. To develop the autonomous senses you're talking about requires concentration in the first place, though. Ahh, the problems of a scratch nerd. :)"-------------------------------------------------------------------------------------------------------------------------------------------Regarding 'scaling' I totally mean 'pitch control'. Using different scales of pitch to make your combinations sound original. Not just ascending and descending scales, as everyone can do those these days. Regarding autonomous sense, you are correct you will have to use significant cognitive function to learn the basic patern/combination/scale, but once you have done the hard work you should be able to do it using your autonomous controlled loop. But having total control and not thinking about any paterns/techniques within your freestyle is what I think it should be about. Having confidence knowing that you can do anything and everything, leaves more room for your creativity. Tags Edited November 7, 2014 by djtags 1 Quote Link to comment Share on other sites More sharing options...
ju-e Posted November 7, 2014 Author Share Posted November 7, 2014 From my observations most people seam to perform either closed or open fader combinations, with very few mixing 'closed/open' within the same phrase. This is especially hard to do when your are scaling the combination also.I wonder what you mean with "scaling the combination" - is it related to the pitch? Letting go of what you've drilled is really a huge problem, partially because it makes you feel more secure and similar combos that you haven't practiced as much sound more sloppy. To develop the autonomous senses you're talking about requires concentration in the first place, though. Ahh, the problems of a scratch nerd. http://www.studioscratches.com/the-scratch-djs-guide-to-deliberate-practice/ Nice article, thanks for the link :-) Is that your site? Quote Link to comment Share on other sites More sharing options...
mfsop Posted November 7, 2014 Share Posted November 7, 2014 I wish but it's Short-E's site. Quote Link to comment Share on other sites More sharing options...
ericuk Posted November 7, 2014 Share Posted November 7, 2014 dafuq have I just walked in on? This thread should come with a Nerd Alert I like the cuts, but if I was bullied into finding areas of improvement, I would say that your cuts follow a structure where a listener could possibly predict when a burst of cuts is coming. Someone mentioned D styles and Toadstyle earlier (mops jizz off the floor) and they are great because they keep it simple and funky, while adding the complex cuts as little treats here and there. On the plus side, your cuts are clean and you have all the technicality needed to rock with the best. 1 Quote Link to comment Share on other sites More sharing options...
Chris Posted November 7, 2014 Share Posted November 7, 2014 The flares at 1.36ish are a bit sloppy... but it's generally dope. My take on the things that Eric and Pete and others in the thread have alluded to is that predicability is the key differentiator between good and great scratchers. I notice that you use drags a lot to close phrases and find the downbeat again, as do a lot of people (myself included). If it's not drags, it's some kind of 'comfort combo', I quite often do the same 2 click chirp flare or something. It helps me, and I'm positing that it's the same reason for most people, to 'find' the pocket again. Muscle confusion after losing the 'balance point' if you will of where you'd tend to start a phrase kicks in and it's a way of hitting reset. The thing is this sounds repetitive in practice, sounding like lots of little phrases stuck together rather than an extended freestyle. It's something that D-Styles, IQ, Toadstyle, Ruck, etc don't seem to get caught up in and it's why to my ear they're the dopest when it comes to freestyle. When I came to this I started practicing two things. Firstly, starting phrases on different beats of a bar, and consciously changing between starting with forward and backward record movements and open and closed fader cuts. Secondly, trying to impose a non resolving cross rhythm on my phrasing, so that I don't come to an end of a phrase in time with downbeats. Unfortunately my fader bust the other week and I'm completely out of practice anyway, so I'm not really giving any proof to my ramblings. 1 Quote Link to comment Share on other sites More sharing options...
Guest petesasqwax Posted November 7, 2014 Share Posted November 7, 2014 When I came to this I started practicing two things. Firstly, starting phrases on different beats of a bar, and consciously changing between starting with forward and backward record movements and open and closed fader cuts. Secondly, trying to impose a non resolving cross rhythm on my phrasing, so that I don't come to an end of a phrase in time with downbeats. Unfortunately my fader bust the other week and I'm completely out of practice anyway, so I'm not really giving any proof to my ramblings.both of those are absolutely superb ideas, mate. Starting phrases on different beats is probably particularly challenging at first, but can only help to diversify flow and introduce more unpredictability Quote Link to comment Share on other sites More sharing options...
ju-e Posted November 7, 2014 Author Share Posted November 7, 2014 The flares at 1.36ish are a bit sloppy... but it's generally dope. My take on the things that Eric and Pete and others in the thread have alluded to is that predicability is the key differentiator between good and great scratchers. I notice that you use drags a lot to close phrases and find the downbeat again, as do a lot of people (myself included). If it's not drags, it's some kind of 'comfort combo', I quite often do the same 2 click chirp flare or something. It helps me, and I'm positing that it's the same reason for most people, to 'find' the pocket again. Muscle confusion after losing the 'balance point' if you will of where you'd tend to start a phrase kicks in and it's a way of hitting reset. The thing is this sounds repetitive in practice, sounding like lots of little phrases stuck together rather than an extended freestyle. It's something that D-Styles, IQ, Toadstyle, Ruck, etc don't seem to get caught up in and it's why to my ear they're the dopest when it comes to freestyle. When I came to this I started practicing two things. Firstly, starting phrases on different beats of a bar, and consciously changing between starting with forward and backward record movements and open and closed fader cuts. Secondly, trying to impose a non resolving cross rhythm on my phrasing, so that I don't come to an end of a phrase in time with downbeats. Unfortunately my fader bust the other week and I'm completely out of practice anyway, so I'm not really giving any proof to my ramblings. Thanks Chris, nice reply. This is the sort of thing I was looking for. Good to gauge other peoples understanding, and I am pleased with the feedback from everyone bearing in mind it was just some cutting and nothing particularly great. I wanted to put what I would call an average file up and see what people could suggest to improve it as I am feeling out of touch as to what is next level and need some help. Absolutely agree with what you are saying (including the weak one click taser variations ha ha), and as for the phrasing finishing on a down beat, I have always found that when I have started to shift phrasing too much causes people to struggle to understand it (and it becomes even more self indulgent and over technical and less funky), hence falling back to finishing on the downbeat and conforming to standard(ish) phrasing. Enjoying all the nerdy responses on this thread :-) Cheers again everyone Quote Link to comment Share on other sites More sharing options...
Mr. Wonderful Posted November 8, 2014 Share Posted November 8, 2014 (edited) http://www.studioscratches.com/the-scratch-djs-guide-to-deliberate-practice/ I totally overlooked this article, bloody early mornings working so was not fully awake. Malcolm Gladwell's hugely popular book, Outliers, was largely responsible for introducing "the 10,000-hour rule" to a mass audience - it's the name of one of the chapters. His theory is something I do agree with and have adopted over the years within a couple of my passions (scratching being one of them). With 10,000 hours of practice you should be able achieve mastery, but ones direction of inspiration and ideals is another question. I think that this theory adapted into a scratching context really relates to being able to scratch freely without boundaries. Cheers for the link it was an interesting read. Tags Edited November 8, 2014 by djtags 1 Quote Link to comment Share on other sites More sharing options...
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