Thanks 🥹❤️❤️

@@julianayamasaki LADY J. YOU'RE QUITE WELCOME MY SISTER! I'M LOOKING FORWARD IN SEEING YOU IN YOUR NEXT MIX!

danke ❤️

Wahre Worte

DJ = disc jokey . Alles andere sind nur mp3 Player 😜

Da muss ich dir recht geben ich halte nicht viel von den mp3 djs

Bin such überzeugter vinylist aber die dj controller sach schafft neue Möglichkeiten die man nicht unterschätzen sollte. Meine drei 1210er liebe ich und kann da nicht drauf verzichten...😊

yes i love it!!

Thanks 🙏🙏🙏

thanks ❤️

Thanks 🙏🙏🙏

❤❤❤❤thank you

thank you

thanks ❤️

❤️❤️ demais

Un grand merci !

It wasn't clean at all... It was filthy dirty!! 😆

❤️❤️

woww so nice to read this! Still remember that say !! What an energy you guys have!! 😍😍 Missing Poland

gracias 🙏

noiss obrigada

valleeuuu

valeeu ! 🥹❤️

thanks! hope too :)

gracias ❤️❤️❤️

yes timeless track 😍

Thanks 🔥

❤❤ Thanks 🙏

🙏🙏 danke

🙏🙏🙏

obrigada Leo ❤️❤️❤️

❤️❤️

danke ❤️❤️🙏🙏

@@julianayamasaki ich werd auf jeden fall an meinen Freunden weiter geben ^^

BR!! 🙌

💕❤️ thnx 🙏

❤️

❤️

thanks ❤️

thnx ❤️

No she's mega fake!! 😆

yes love it!

Hardly Techno/Hard Techno though is it!

Thanks a lot!

your welcome real dj bcs playing vinly)@@julianayamasaki

it’s similar but this one is “one night in Hackney@ 🙂

thank you ❤️

@@julianayamasaki The Pleasure is mine. I played in the 90s this type of techno in Germany and Croatia mainly, I have most of those records still. Nice to hear them again, definitelly you have become my fav Dj on youtube. I used to organise parties back in time I used book Djs from Japan too, Takaaki Itoh played here a lot in the early 2000s.. Have a nice day!

@@DjEliasL Oh really cool, I started going to techno parties around 2000 and I know what you mean :) I like the new techno stuff but also I love oldschool techno it brings me to awesome moments raving in the past in Brazil where I come from ❤️✨

❤️🖤❤️🖤

oh thanks ❤️❤️❤️🙏 nice to read from someone who does not listen often to techno

​@@julianayamasaki I don't have problem with most of the music - be it extreme metal, psychedelic rock, instrumental music, japanese jazz-fusion, ambient, uk garage, jungle, etc. But quite for long time I couldn't find something from techno that hooks up me and gets a hold. That what makes it really good, especially, because it really feels like you know how to treat vinyls with right attitude, no excess movement spotted 😊

thank you 🎉

💕❤️

❤️❤️

❤️❤️

🙏

Thanks 😄

@@julianayamasaki erst einmal Abonniert 😜.. ich hoffe es folgen weiter solch geniale Vinyl Set 💪

@@VinylManny Yes I glaube ich mache es noch mehr, es gab zu viele coole Musik die ich noch spielen wollte 1 Std reicht es nicht:)

@@julianayamasaki bin gespannt. ☺️ Bis dahin Dir ein schönes Osterfest. 🐣..

15 cans of stella ❤😂

❤✨🙏 thank you

❤️❤️❤️❤️ love this song

❤️❤️❤️

I will!

C'est ça que tu cherches ? m.kzfaq.info/get/bejne/oJlnn9eVnM2uiY0.html

mache ich ! :) was ist dein Musikgeschmack?

01:00 Underworld - Born Slippy [Trainspotting] It's a classic. 🤩

@@realhet thanks yes i know its underworld. But i mrnt the track at 1 hour in German language. My bad 😊👍

yess love one night in hackney. You mean the „wir tanzen“ it‘s an old bootleg

white label..

@@jim041276 1:00:00 Remy-X - Konzentriert 3 years ago I heard that "wir tanzen" thing in this version. I think it has a dedicated place in my mind, lol.

What does that mean?

It's really not pointless

@@artofficialmusic5257 Explain? Why is moving the 3 EQs in fast succession not the same as moving the volume fader down or EQ gain? It's essentially the exact same thing. Turning down the gain or the volume fader will accomplish the exact same audio feat but with only one smooth motion. Most EQ fiddles are pointless. Most of this mix is touching EQs. I can't even see them move half the time, and a lot of the time they go down, a second later go up, then go back down like it was a mistake, and none of it is audible. Does the mid-EQ really need to flick from 7.2 to 7.3, 2 and a half bars into a phrase, then down to 5.3 only 3 beats later, then back up to 6.2, 2 beats later? It's all random nonsense. Pointless, reasonless, random. And most importantly, inaudible. Tops barely need to be touched, and micromanaging tops to such a degree is just showboating. I can never hear an audible difference when they do it, and if you ask a DJ why they fiddled the top's EQ 10 times within the same phrase, they would never be able to tell you. If you repeat the same section again and asked them to do it again, they would never be able to replicate it. So it's not instinct, it's not intuition, it's not hearing something others can't, it's not fixing something, it's pure showboating. Even the producers themselves don't master the Eq sliders that often within the same song, let alone the same PHRASE. And these tunes are mastered pretty well, so it's just not needed. And if you know anything about producing, you would know that TOPS can sit in the same space without much EQing. You ever heard of producers side chaining the tops? Not needed. Now the bass EQ which is very important. Doesn't need to be constantly fiddled, once you have figured out a decent level for the two songs to sit together without bass distortion and one song can take over the primary bassline, you don't need to micromanage it every second, you can just leave it. Remember, these songs are already mastered. Remember these are blends, mixes. And good DJs work around the bass, timing the mixes where one bass kicks in, and the other drops out, but that's more about knowing your songs and when the changes within the song happen, and having a good idea of how the songs are built and which phrase the changes will happen. Most newer DJs seem to lack these key skills. Another thing is killing the bass entirely, which most DJs have a tendency to do when mixing. It kills the song, makes it sound tinny, sucks the bass out of all the instruments, making them sound like crap. Going from one song being the primary bass driver, to randomly, 13 beats into a phrase sucking the whole bass out of the song is just jarring. What ever happened to blending? At least hit it and switch on an even phrase start, when the other song's bass kicks in. Now please explain on a technical level what the you are talking about?

@@artofficialmusic5257 Just simping then?

@@mework1871 no sorry never noticed your reply. The reason for mixing with EQs and not just pulling the fader down is that you can mix in and out the 3 or 4 (depending on the mixer) frequency bands independently helping to create a smoother mix. You’ll notice most dj’s do it.

@@artofficialmusic5257 DUde, thats some high level bull. Mental gynmastics. Never once seen Carl Cox do that or any of the other greats. Even your video mix you don't do it. Maybe you could provide examples of the greats doing this consistently in one mix? " helping to create a smoother mix." AS smooth as smoothly pulling down the large fader? I didn't hear an audible difference when 3 EQs. Sounds like pretentious nonsense talk to me. Besides, you should be working to having the mix end on either the breakdown of the new song or at a large change in the new song so you're not having to pull 3 EQs and the fader to make it sound "smooth". Know your songs, mix smart, know when the changes happen, know if you're mixing a song out with an 8 phrase outro, and mixing in with a 7 phrase outro and the bass kicks in on 3 phrases. You should know the layout of your tracks. Placement is key. Not fiddling with EQs 100 times at random spots. Check out: Carl Cox Boiler Room Ibiza Villa Takeovers DJ Set Barely touches EQs. Only BASS for either effect, or to switch which song is giving the primary bass. Tops are always in the middle. You know why? Because songs are already mastered. They don't need a DJ to master them again every couple of seconds randomly Never once fiddles 3 EQs before fading up or down. You're talking trash and you know it.