Battleground South Bay 2017

Опубликовано12.11.2018 в 13:32АвторFaera






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The art of DJing: Louie Vega is a house music hero. His work as a solo act and with Kenny Dope as Masters At Work lifted the sound to new heights in the '90s. But despite his success as a producer, Vega's always been a DJ first and foremost. He's been working professionally since , beginning his career at the short-lived New York club The Devil's Nest.

From there he quickly rose to become one of the world's most in-demand selectors. Today, he's as busy as ever, with gigs in 27 countries so far in During the past three decades, Vega has developed a singular approach to playing records.

Before each set he employs a sound technician to essentially construct a new DJ booth from scratch, complete with high-end audio equipment and four CDJs. He'll often play three or four remixes of the same record in one set, layering them with acapellas and effects to create something close to a live remix.

This style stems from Vega's experiences in the golden era of New York clubbing. He was schooled at legendary venues like Zanzibar, Better Days and Paradise Garage, first attending that legendary spot as a year-old accompanied by his older sisters. Those clubs left a powerful mark on Vega and still inspire him today. I was struck by Vega's extraordinary willingness to go the extra mile as a DJ.

Overall though, I got the sense that Vega was still totally in love with music.

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His enthusiasm makes it hard to argue otherwise. Talk me through your current DJ set-up. It was the first time I really used a fader mixer at multiple gigs. It had the sound that I look for. I loved all the filters and, you know, just getting in between those frequencies. It was just a different way of DJing for me. So they signed me up as an ambassador. I was like, "Wow, I'm going to get all my rotary purists upset now.

It's the best rotary mixer I've ever heard in my life. We used the UREI for a very long time, this is comparable to all those old school mixers that sounded great. I also use a ARS isolator, with a volume control so I have gain on the isolator which allows me not to have so much gain on the mixer.

Or I use a Dope Real isolator. These are custom-made isolators, they're not like the ones they give to everybody. I know the engineers and they are geniuses and they make things tailored to the way I want them. So I don't use a lot of gadgets. But what I have I use very well, and I use it to the max.

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What's the advantage of using a rotary mixer over a fader mixer? Is it personal preference or are there different things you can achieve? It definitely is preference. It's what you like and what you feel comfortable with. I happen to feel comfortable with both of these mixers.

When you're playing on a rotary mixer and you're turning two knobs, there's definitely a different sense within the flow, and the transition is very smooth. You can also do fast cuts if you know how to turn those two knobs at the same time. But with the Model 1 I'm actually turning filters at the same time that I'm pushing faders. So it gives a whole different feeling to it.

Why use an isolator? You have the EQ effects in the mixer, why do you need that additional step? By using the extra piece, the , I can really use it as an instrument. To talk to you with the songs. Give a lot of dynamics to a song.

I can definitely make a song sound totally different. You are able to isolate the entire frequency which is very cool. You could almost make it sound like you have an acapella live right when you're playing. When I'm mixing a record I may turn back the mid-range a little bit on the isolator, which will make it sound a little warmer, and give a window, a space for this next record to come in and feel smoother. Sometimes I can take out all of the mid-range and highs of a song.

You feel the bassline of the first song, and I have the bassline off of the second song, but the mid-range and highs on for that second song. It gives a whole different effect, and musically it sounds great if you are in the area of the keys where they're close to each other—it really sounds wonderful. So we're talking about precise manipulations of frequencies. How long did it take you to learn that? It's a feeling thing more than a technical thing. I can't explain exactly how much you need to do it, but I know by listening to it.

I record every single set that I've done for the past 25 or more years. Sometimes I listen to them when I'm on the road and it becomes like the background of my hotel music or whatever. You're listening back to see how things went? I think you need to listen to yourself. You can't expect everything to be right. Whatever the crowd is listening to, they're listening on a huge soundsystem.

When I'm listening to the recording I'm listening to every little thing. I'm just that type, I'm a professional. When I'm mixing I really like for it to sound clean and great.

I don't like it when I hear that next record and all of a sudden that kick is kind of weaker than the song before. I'll know that that record should have been a little higher in dB when I'm mixing it in.

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Then I'll definitely remember that. If that next record is weak, and I feel it, I'll use the isolator to beef it up as it's coming in and then it's just as strong. I'm using three or four different things at the same time that people do not notice at all. I'm tweaking things as they're coming in so it's not just like I'm mixing two records. There's peaks and valleys that a song takes. When a song breaks down it helps if you're getting too loud.

I'll wait till it gets to a point where it makes sense to bring it down. I'm not just going to go lower—you're going to feel the system go like that. I don't want to have a dip like that. I'll do it gradually. Little by little, or I wait till a drop or something, that's where people won't really recognize a big dip.

You favour the one-ear headphone.

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I like to have that left ear open. I like to hear what's going on. So it gives me that freedom. Plus I wear a hat. The answer was in front of us the whole time. You were on CDJs almost before anyone I can think of. I was on it pretty early, man. It's funny, in the beginning everybody was always like, "I'm not changing from vinyl to CDs.

We were traveling around the world with four crates of records and then we were traveling around the world with a bunch of books of CDs, and now we're traveling around the world with small hard drives. Tell me about the way you use CDJs. I have four CDJs. I know people are always saying, "Why does he have so many CDJs? Not everything is planned. I won't have a certain acapella looped all the time. You know what I mean? In the Pioneers you can store loops I won't really store things and have them planned.

I like it to be of the moment. I'm not using the hot cues a lot. I want to keep my mind moving and creative.

The art of DJing:


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Comments: 1

  1. 23.11.2018
    Vudogis

    For the life of me, I do not know.