> DMC is an entirely difference scene where "turntablism" is more of a thing so I can see why you might argue the case for learning to beat mix but those argume

> DMC is an entirely difference scene where "turntablism" is more of a thing so I can see why you might argue the case for learning to beat mix but those arguments don't apply to techno. I started mixing and continue to do it to this day. It's important for anyone who is djing. > You cannot get creative with beat matching. The process of beat matching is literally just quantising two tracks together. Everything else beyond that is "mixing" - which is where the creative process happens. But that is not "beat matching". Sure, I'll give you that > All DJing is just playing other peoples records. You're not up there with a guitar ffs. So it doesn't matter if it's an vinyl or an MP3 - that's just a technical detail. What actually matters is how you mix those records, not beat match them. Technical detail is what this discussion is about. I never use the term "beat matching" because it's kind of been all in one for me. However, "beat matching" does matter. You're telling me that train wrecking is okay as long as it's mixed good. > You do realise you just argued that "The audience will physically touch your vinyl if you're a good DJ" - a statement which suggests you throw sharp plastic objects into the crowd. Clearly you wouldn't do this - which means you should probably go back and re-read what I'd written ;) I was referring to what you said: "I've never gotten the same emotional connection with CDJs nor Ableton." I feel like you're jabbing at me now. I wasn't trying to be disrespectful. If you want to play that game, well, we could do that all day. Not helping anyone out though.