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I opened for The Ying Yang Twins last night in Nashville with just a couple hours notice--here's what I learned.

If you want a tl;dr, skip to the bullet points at the bottom. Kinda DJ specific, but I figure you guys might dig this as much as subs like /Beatmatch, /makinghiphop, etc.:

I had a trip coming up to visit family in Nashville and was psyched about my new DJ rig. I decided to throw the thing in the car and haul it all the way down from Chicago to show everybody--all of my family is working (or has worked) in music but I'm the only one who DJs in addition to the more standard, live concert musician stuff. This setup consists of two AT-LP1240-USB decks with control vinyl, a Pioneer DJM 900 nexus, an Ableton Push hacked to run the Trash mapping, a MacBook Pro running Traktor Scratch Pro, and a 1/8th inch in for the third channel of the mixer so I can pull stuff from my phone or other people's if necessary. I learned that last step from Q Bert, and it's ridiculously important--props there.
Week passes uneventfully, and during my afternoon run across the campus of Belmont University yesterday, it occurs to me that there is at least one sorority or fraternity out there planning to throw a party that would be a hell of a lot cooler with a DJ live mixing. After the run, I email all the officers of all of the chapters at both Vanderbilt and Belmont with an offer to DJ their party. Tonight. Three quarters of the way through the process, I get a call from Alpha Tau Omega, who had booked The Ying Yang Twins for midnight but had no opener. Just like that, I'm booked.
I physically get down to the space around 6pm, help the fraternity dudes figure out their sound system, and set up my stuff. Their sound system is a tiny mixer with a couple ins and outs for the two wireless mics in TYYT's rider, one JBL sub, three waist high JBL speakers, and two JBL monitors that have all been daisy chained together. In other words, there is no stage or house mixer out there other than mine, and the set up is error prone since one speaker going out blows the rest down the chain. The frat dudes and I talk about this and run scenarios.
I go eat dinner with the family and return to the frat house around 9:45p to run shit in case anything comes up. The fraternity dudes kinda want me to start around 11p because TYYT are supposed to set up their stuff around 10:30p prior to their midnight set. Their people plus the police are surveying the grounds since, evidently, last year when they threw this party, things went nuts. I double check the general ballpark of songs the fraternity dudes want, which consists of recent trap, assorted 90s, and some underground hip-hop spanning the two. People start showing up for the party at 10p; so, the dudes ask me to get things rolling at 10:30p. TYYT is chilling somewhere; there was no gear or soundcheck from their handlers.
By 11p, there are a lot of kids packed into this frat house. Predictably, people step on wires / accidentally unplug speakers and shit; so, I'm ducking back and forth from my decks to the trouble spots I saw earlier during my once over to fix shit and post fraternity guys there to guard the wiring as much as possible. By 11:30p, it's pretty much wall to wall; I snag a 10s clip for Instagram posterity, figuring the night is coming to a close for me soon: http://instagram.com/p/uj_CLmDAAw/
Midnight comes and goes. People are losing their shit. By this point, I've burnt through twice as much material as I threw together for that hour set that turned into two hours. Decks are basically stage props whenever I don't have to pull some physical beat matching so i can get the needles off the vinyl before than next kid bumps into the table and threatens to scratch up shit. I have mixed about half a dozen songs directly from people's phones, and I have bought, downloaded, and mixed in several other songs people requested that I actually wanted to keep; this is one of the key reasons I went the whole nine yards and got a mixer: redundancy. TYYT handlers start wandering around the stage alternatively hyping people up and trying to figure out how to route their stuff through that little mixer. Initially, the plan was to move my table to the back of the stage for a quick change over. I can tell there's no way this is going to work; so, I arbitrarily recruit four fraternity dudes to help me clear my table completely and get it off the stage.
The show is staged down in the basement; so, now I'm upstairs consolidating all the stuff that just got hustled off the stage. Turns out that TYYT cannot get that mixer to play nicely with their set up, which is basically a laptop plugged directly into one of the ins for the mixer plus those two wireless mics provided by the frat dudes. Again, the JBLs are self-powered and there's no house mixer; so, everything has now been cranked to the point that its clipping like a mofo. One of the mics fails. They ask me to come back down to figure out shit. I mess around with the mixer with TYYT and their whole entourage crammed on that frat's stage. The one way I find to pull things back together in the absence of a legit house board is to basically ride the master out of the little mixer plus the gain knob for the in of the laptop through the entire set. The wireless mic boxes sort of work most of the time, but when they cut out, the only thing you can do is screw around with the ins on that little mixer and hope it kicks everything back into line. Different songs in TYYT's set are mixed at different levels, and they all flow directly into each other. Plus, there's a radically different frequency spectrum from song to song that this little mixer was not built to handle. All the JBLs are self powered and cranked to the nines; so, it's a dance of how far beyond unity you can push things before they clip horribly since the little mixer doesn't have a decent limiter. So, now I'm on stage left, squatting under this ductwork, trying to hold together this PA "raft" for The Ying Yang Twins so they can drop their set. Kaine fist bumps me when I get the thing up and running; he is dope as fuck.
There is one low and one high knob that I can adjust for the laptop's in channel that can sort of alter the EQ of the tracks alone. There's no way for me to EQ anything else. Progressively more drunk kids keep stepping on wires; at one point, the sub fails. Thank God, there's this one woman and this one dude in TYYT's entourage with whom I can communicate about the situation such that they set the frat dudes back to task at those aforementioned fail points. TYYT or one of their handlers will come over midway through their set from time to time, asking me to fuck with the bass or to get the mic to work again after it has failed. They're killing their set, kids are eating it up left and right, but it's clearly frustrating for them to perform, too. Again, the little mixer has to be pushed way up past unity to get enough volume for the joint, and there's this painfully un-musical train wreck any time it clips since there's evidently not much of an internal limiter in play. I snag one more clip for Instagram posterity: http://instagram.com/p/ukHtnNDAI_/
Three quarters of the way through TYYT's set, D-Roc concludes that it must be my fault that the wireless mic keeps cutting out on him, and he asks me to step off the stage. I roll back up to the top of the house to continue consolidating my gear and wind up spending half an hour talking to (I think) the social chair and treasurer of the fraternity about how they could take things up a notch from an engineering perspective next time around. A lot of Greek life gets a bad rap (and rightly so), but the ATO guys are some of the most helpful, legit people I rolled with this time in town. TYYT cuts out around 1:30a while I'm loading my car. The frat dudes are thanking me profusely, offering me enough beer to drown all of Nashville, and promising to come visit me in Chicago. College girls want to get with me, but I have an early morning and a new born nephew waiting for me at my home away from home lol. The cool girl handler for the The Ying Yang Twins thanks me for helping to get their PA shit together. Everybody else from their crew has hauled out. I'm pretty sure D-Roc still thinks I'm a dick despite all the shit I just pulled for him; I'm pretty sure Kaine is simply happy to be done. Here's a run down of what I learned:
  • Practice up, present yourself professionally, and hustle. That's how you get these opportunities. The universe owes you nothing, but it will reward you from time to time when you work for it and can deliver solidly.
  • Listen to everything so you can whip together a set fast even if it's not the stuff you typically play AND can course-correct midstream to find what moves people if you want to explore those outside-the-box gigs on occasion.
  • You must (eventually) own a mixer. More to the point, you need multiple fail-safes. My set was possible because I had redundancy and flexibility so everything kept rolling along smoothly any time any single part of the rig quit working, e.g. when the four college girls start twerking against my table and knocked the needles out of their grooves, when the dude requests that shitty Taylor Swift song that I reluctantly play off his phone such that everybody goes absolutely nuts, etc.
  • You may be the most knowledgable guy in the room when it comes to PA. Have as much of your own PA gear as possible; in my case, I used all my own wiring not only between devices but also out to that little house mixer. In the future, I'll probably bring along a power amp and house mixer.
  • Help keep shit running, and even if D-Roc misunderstands, Kaine may still fist bump you, and all the kids who gave you the chance to play their kick ass party will recognize you for the boss that you are with a call back next time anyway. (Plus, they will give you lots of beer and maybe come visit you several hundred miles away lol)
  • Whatever the talent buyer requests in terms of tracks, semi-drunken college kids are dying to shake their butts to the songs that they love--the ones they sing in the shower and in the car and with their friends. Last night, those songs were Taylor Swift, Meghan Traynor, Nelly, Lil John, Cindy Lauper, etc. I was lucky to get a reaction to Jay-Z, Mos Def, and Common--let alone anybody underground despite my instructions. For a gig like this, your job is to get (and keep) the party rolling while all hell breaks loose. Check your privilege if you think you're too good for this or just turn down these sorts of gigs if you're not into it. A great strategy to keep yourself sane is to find remixes of the songs you don't particularly like. For example, I'm pretty sick and tired of "All About That Bass," but there's a dope TwinOD Jersey Club remix of the track that I actually dig. So, start with the studio version and mix in the remix you enjoy, like I mentioned in that one other post a while back about Daft Punk.
  • Stay cool. Shit happens. But that also includes dope shit like opening up for The Ying Yang Twins in a couple hours' notice.
Peace out, folks! Keep being awesome.
submitted by justjacobmusic to hiphopheads

Advice sought for best value price Traktor Pro 2 DJ (not scratch) (Mac)

Understanding is that the software retails circa £85?
Cheers
submitted by speathed to NativeInstruments

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