I'm going to break this down really methodical for all you proper definition hawks.

In conclusion so far:


Proponent View

Good DJ'ing is part selection, part beatmatching.
Ableton is OK, because it substitutes beatmatching with the ability to add an extra dimension.


Opponent View

Good DJ'ing is defined by BOTH selection and beatmatching.
Ableton is WRONG, because it eliminates beatmatching.

Looking at the two popular views, we can determine that the crux of the debate is whether or not the extra dimension/possibilities that Ableton brings to the table, adds enough to a performance to make lack of beatmatching acceptable.

Now let's make the assumption the main reason you would want to perform in the first place is to do so infront of an audience. So, instead of looking at the specific way a performance is constructed, let's look at the reasons you would go to a party:


Generic party-goer criteria

"I want to dance to music I like."
"I want to see dj x because he is incredibly skilled at beatmatching."
"I want to see dj x because he has track x."
"I want to see dj x because i like the music he makes."
"I don't want the dj to make mistakes, or ruin the flow of the set."

Now, there could of course be many more examples of party-goer criterias, but I have tried to keep it reasonable and relevant at the same time. Interestingly you will notice that 3 out of 5 of the arbitrarily chosen related criterias, have no relation whatsoever to whether or not the dj is skilled.

Now, let's assume the 2 skill-related criteria generally will belong to other DJ peers and not necessarily be the views of the majority of the audience. Also, let's make the assumption, that not all the criterias need to be fulfilled, for it to be an enjoyable performance to any given individual.


Example scenario: "I really hate what Andy C is playing, but watching him mix is a privilege."

The first assumption poses a couple of questions:


Do DJ's ONLY enjoy sets from people they know to be very skilled at beatmatching?


If this is the defining, and relatively quantifiable, quality meassure, it follows that DJ as a term in the future should just be replaced by "Beatmatcher". Also it eliminates the actual musical content from the equation, which I'm sure we can all agree is THE core element and should not be marginalized.


Should an Ableton performer care about his non-Ableton peers, as long as the majority of the crowd is happy?


We assumed the majority of the crowd would get most of their criterias met by an Ableton performer, and since parties work by people paying to show up, (DJs are relatively bad customers), they can quite happily use whatever they want as long as the crowd enjoys it.

To sum up; we have mainly looked at a generic party scenario and concluded DJ'ing using Ableton can meet the demands of the average party-goer. Finally, as a tip of the hat to opponents of Ableton DJ'ing, let's locate a sphere of application where the usage of Ableton would be totally unacceptable. If we try going with the DJ peer role we isolated earlier, it inspires us to think of DJ competitions where beatmatching is a part of the total score.

swompy:
Ofc alati saab nõela tõsta. CUE nupuga on ikkagi tunduvalt mugavam ja kiirem õige koha juurde "tagasi tulla" kui nõelaga seda kohta mööda plaati taga ajada.

Talking trash about controllerists (DJs who use midi controllers to modify the audio properties of the files they are playing) is a way of validating their own hard work. Controllerism is the way of the future.

DjClub.ee:

Andre:
Kui palju selliseid videosid peab vaatama, et ma oleks kõva DJ?

kain:
WOAH...HOLD THE PRESS, NYYDSEKS ON KA TUVASTATUD DJCLUB.EE/UNITEDRAVERS/SOUND T/RAINER KRAMMI SETT

Sound T. - tech funk by UnitedRavers

lo and behold, huhhuhhuu, ma bronnin kohe mingi aastase syvakoolituspaketi djclubist, lootuses, et yhel p2eval suudan ka mina sellisel tasemel mixida!

kain:
WOAH...HOLD THE PRESS, NYYDSEKS ON KA TUVASTATUD DJCLUB.EE/UNITEDRAVERS/SOUND T/RAINER KRAMMI SETT

Sound T. - tech funk by UnitedRavers

lo and behold, huhhuhhuu, ma bronnin kohe mingi aastase syvakoolituspaketi djclubist, lootuses, et yhel p2eval suudan ka mina sellisel tasemel mixida!

Side Note:
ja et vastupidiselt djclub`i süüdistavatest postidest veidi konkreetsem ja vbla konstruktiivsem olla, siis toon välja mõned kohad, kus midagi halvas mõttes vigane on.
Eksimine on muidugi inimlik ja päris masinat dj-st ei peagi saama, aga kuna djclub`i arvamusel ilmselt peab, siis minu tahumatu maaka kuulmine eristas kain`i miksis ikka oluliselt vähem möödaminekuid, kui antud miks.

Tajutavat paska toimub minutitel: 7.12 - 7.50; 14.00 - 14.40; 45.30 - 46.40; 47.20 - 52.00; 65.12 - 66.

UnitedRavers:

vigu ons eal kindlalt, kuna lood sai plaadile pandud ja kohe mängitud, seega ei osanud paljusid kohti ette arveta... vabandused selle pärast :(

Side Note:
aga siis tee stuudios uuesti, et inimestel, kes seda kuulavad oleks valutum ja jätaksid ka endast parema mulje dj-na. Miks panna üles miksi ja seda promoda, mis enda arust ka kõige paremini välja ei tulnud. Dj-d teevad mikse mitmeid kordi otsast peale uuesti, et tulem, mis kuulamiseks antakse oleks võimalikult hea või vähemalt endale meelejärgi. Janoh see, et ei teadnud mis lood on ja kiirelt plaadile jne ei ole küll vabandus - ikka nii palju peaks vaevuma, et lugusid teada, mida mängida kavatsed.

my 2cents

UnitedRavers:
võtan arvesse. tänud... kuid ei tee kunagi ettevalmistatud mixe. selline kunstlikult üles ehitatud varjant ei istu kahjuks.

Upo110:
miks mitte? n-ö kunstlikult üles ehitatud mixid nagu sa neid hellitavalt kutsud, pakuvad peaaegu alati märksa suuremat kuulamisnaudingut (nii tehnilisest poolest kui ka läbimõeldavuse näol), kui mingi suvaline kõige uuematest lugudest kokku klopsitud mix, kus iga kolmas üleminek on paras trainwreck omaette, selliseid on kogu net paksult täis, aga korralike studio sette tuleb üsna tihti tikutulega taga otsida.