Mar
19
It may surprise you but turntables and vinyl records are getting popular again. Many people don’t understand why this is and find it to be counter-intuitive. Why in this golden age of convenience and affordability with MP3s and iPods is such an old and outdated technology growing again? It turns out that there are several driving factors. A lot of people still think that vinyl sounds as good or better than CDs. For true audiophiles, MP3s are a huge step down from even CDs. Another reason for their popularity is that they are still the standard in DJing and dance music circles. DJing can be done from CDs or MP3s, but it’s not thought of as a pure approach to playing music.
Finally, there are people who are looking for more a physical connection to their music. Some people simply don’t like thousands of songs available a few clicks away and feel as thought it disconnects them from their music. While cleaning records and manually placing the needle can be thought of as annoying and outdated, they also can be thought of as experiencing a greater intimacy with the music than you can get through iTunes or by clicking play on an iPod. It also helps that many older but great albums are available for almost nothing on vinyl and can actually be cheaper than buying music in any other way! If you have an turntable and records stored somewhere, consider pulling them out to listen to them again, or at least introduce a younger member of your family to music history and also the future!
By: Jim Tonkins
Finally, there are people who are looking for more a physical connection to their music. Some people simply don’t like thousands of songs available a few clicks away and feel as thought it disconnects them from their music. While cleaning records and manually placing the needle can be thought of as annoying and outdated, they also can be thought of as experiencing a greater intimacy with the music than you can get through iTunes or by clicking play on an iPod. It also helps that many older but great albums are available for almost nothing on vinyl and can actually be cheaper than buying music in any other way! If you have an turntable and records stored somewhere, consider pulling them out to listen to them again, or at least introduce a younger member of your family to music history and also the future!
By: Jim Tonkins
Mar
19
Record players or turntables, whose sales wound down to a halt almost a decade ago, are coming around again. No one expects an exodus from the dominant compact disc to the nostalgic format. Sales of turntables and the vinyl LPs played on them are experiencing a resurgence as younger listeners are buying less of today’s music and rediscovering relatives’ archives.
“Records sound so much better than CDs, (which) are harsh and pristine. And the cover art is much better,” says Al Shaw of Manhattan Beach, Calif., who at 17 is too young to remember the LP’s heyday. But he found Rolling Stones and Beatles albums in his grandparents’ attic, and an uncle went on ebay to get him a player, which is front-and-center in his room.
Many electronic manufacturers are now coming up with replica turntable systems with designs of the past but the technology of today. Some of these manufacturers include Crosely, Teac, Memorex and jWin. You can find many useful features and functions in these systems including cd recording capability, ability to stack multiple records and computer usb connection.
Raman of Classic Buys says that Nostalgia turntables are among the best seller audio electronics during gift giving Christmas season. Nostalgia turntables from popular brands like Crosley, Teac, Memorex and Thomas Pacconi are the top picks.
When shopping for turntables consumers are looking for top brand and multiple features says president of The Magma Group. Consumers preffer 4 in one systems that will play records, cd, cassette and radio. They usually buy the top brands like Crosley and Teac. Consumer also look for other distinct features such as CD Recorder and Stack-O-Matic feature. Cd Recorder allows you to record from LP to CD and Stack-O-Matic allows you to stack multiple records and play them one by one just like a multiple cd changer.
“Music in its purest form is on vinyl,” says Bo LeMastus, president of Crosley Radio, which makes nostalgic reproductions of 1940s and 1950s record players, items that were promoted heavily in department stores this holiday season. “It captures everything the producer wanted to put in the record. On CD, you lose a certain something.”
Today the Crosley name lives on with superbly detailed replicas that truly transcend time. Reintroductions of original vintage radios and turntables feature the newest technologies graced by unforgettable Crosley stylings. The Crosley Collection includes AM/FM radios, portable suitcase – styled record players and turntables, record changers, multi-functional audio cassette/compact disc players, jukeboxes, music boxes, telephones and more. Rich lines, retro designs and authentic crafting have made Crosley today’s premier vintage electronics manufacturer. True to the Crosley tradition, these replicas are as fabulous as they are functional, providing a delightful dose of nostalgia.
Crosley sold 400,000 record players in 2005, and he predicts greater sales this year. Joe D’Angelo of Teac, which also sells reproductions, says sales tripled last year. He figures 10 billion albums are still sitting on home shelves. With the new units — Teac’s and Crosley’s players, with speakers, start at $100 — “here’s a way to play the music again.”
Even those sales are an asterisk compared with CD players, which sold more than 40 million units. Turntable sales are so small that the Consumer Electronics Association doesn’t track them. But turntables have always had a home among DJ and rap fans, who like the scratching sound created by manipulating the needle in the grooves.
Among new turntable buyers, “You’ve got two camps,” says Dave Glassman of Restoration Hardware, which has turntables and sampler 45s in heavy rotation at its 105 stores, as well as in its catalog and on its Web site. “Thirty-five years and older, who grew up on LPs and still have them, and their kids, who have found these records in the closet and want to hear them.” Teac and Crosley unveiled new models that meld old and new at the Consumer Electronics Show earlier this month, such as Crosley’s $229 4 in 1 Entertainment Center, with a CD player, cassette deck, radio and the ability to play vinyl at 33, 45 and 78 rpm.
By: Raman Kashyap
“Records sound so much better than CDs, (which) are harsh and pristine. And the cover art is much better,” says Al Shaw of Manhattan Beach, Calif., who at 17 is too young to remember the LP’s heyday. But he found Rolling Stones and Beatles albums in his grandparents’ attic, and an uncle went on ebay to get him a player, which is front-and-center in his room.
Many electronic manufacturers are now coming up with replica turntable systems with designs of the past but the technology of today. Some of these manufacturers include Crosely, Teac, Memorex and jWin. You can find many useful features and functions in these systems including cd recording capability, ability to stack multiple records and computer usb connection.
Raman of Classic Buys says that Nostalgia turntables are among the best seller audio electronics during gift giving Christmas season. Nostalgia turntables from popular brands like Crosley, Teac, Memorex and Thomas Pacconi are the top picks.
When shopping for turntables consumers are looking for top brand and multiple features says president of The Magma Group. Consumers preffer 4 in one systems that will play records, cd, cassette and radio. They usually buy the top brands like Crosley and Teac. Consumer also look for other distinct features such as CD Recorder and Stack-O-Matic feature. Cd Recorder allows you to record from LP to CD and Stack-O-Matic allows you to stack multiple records and play them one by one just like a multiple cd changer.
“Music in its purest form is on vinyl,” says Bo LeMastus, president of Crosley Radio, which makes nostalgic reproductions of 1940s and 1950s record players, items that were promoted heavily in department stores this holiday season. “It captures everything the producer wanted to put in the record. On CD, you lose a certain something.”
Today the Crosley name lives on with superbly detailed replicas that truly transcend time. Reintroductions of original vintage radios and turntables feature the newest technologies graced by unforgettable Crosley stylings. The Crosley Collection includes AM/FM radios, portable suitcase – styled record players and turntables, record changers, multi-functional audio cassette/compact disc players, jukeboxes, music boxes, telephones and more. Rich lines, retro designs and authentic crafting have made Crosley today’s premier vintage electronics manufacturer. True to the Crosley tradition, these replicas are as fabulous as they are functional, providing a delightful dose of nostalgia.
Crosley sold 400,000 record players in 2005, and he predicts greater sales this year. Joe D’Angelo of Teac, which also sells reproductions, says sales tripled last year. He figures 10 billion albums are still sitting on home shelves. With the new units — Teac’s and Crosley’s players, with speakers, start at $100 — “here’s a way to play the music again.”
Even those sales are an asterisk compared with CD players, which sold more than 40 million units. Turntable sales are so small that the Consumer Electronics Association doesn’t track them. But turntables have always had a home among DJ and rap fans, who like the scratching sound created by manipulating the needle in the grooves.
Among new turntable buyers, “You’ve got two camps,” says Dave Glassman of Restoration Hardware, which has turntables and sampler 45s in heavy rotation at its 105 stores, as well as in its catalog and on its Web site. “Thirty-five years and older, who grew up on LPs and still have them, and their kids, who have found these records in the closet and want to hear them.” Teac and Crosley unveiled new models that meld old and new at the Consumer Electronics Show earlier this month, such as Crosley’s $229 4 in 1 Entertainment Center, with a CD player, cassette deck, radio and the ability to play vinyl at 33, 45 and 78 rpm.
By: Raman Kashyap
Mar
17
Digital Dj’ing – Using a Laptop or PC as part of your Mobile Disco
Filed Under USB Turntable | Leave a Comment
Many Mobile Discos have made the change from a conventional CD or Vinyl based system to a software based one, usually running on either a full sized pc or a laptop. The fundamentals of both systems are largely the same, and so you shouldn’t simply be taken in by reading other DJs horror stories about how their laptop overheated during the first dance at a Wedding or how their full sized PCs power supply exploded halfway through a gig. There are pros and cons of using both systems, but largely whether to use a full size pc or a laptop comes down to personal choice, practicality, budget and space, and you’ll often find that DJ’s criticising the opposite machine, have never actually used the system that they are criticising!. If possible visit a DJ who already uses a system to that which you intend to use yourself, nothing can sell an idea better than actually seeing it in use!, for the record, I have watched Mobile DJ’s use both PC’s and Laptops to DJ from, and neither, in my opinion, was more reliable or better than the other, so it should only be personal choice, rather than rumour or scaremongering which makes the decision on that score!.
Is running a Mobile Disco from a PC or Laptop reliable?
Anybody who has ever encountered the windows blue screen of death, or worn out the Ctrl+alt+del keys on their keyboard will possibly dread the thought of using such a system as a platform to their DJ’ing!. In essence, a decent dedicated pc or laptop with a clean install, good quality hard drive and a reasonable amount of memory will out preform most typical home pc set ups which may be running several applications at a time, be infiltrated with virus or spyware traces, and have a hard drive and registry full of corrupt enteries and partly uninstalled files.
The key to running a successful software based DJ system, is to buy a dedicated pc / laptop for the task, and to only run the operating system and DJ Software on there, and never allow it to run other applications or even connect to the internet. This way the installation runs and remains clean and largely error free, will rarely have a corrupt file, and won’t get infiltrated or bogged down with several other applications. This advice is given by DJ’s who have been using software and PC’s for many years, and have found this method of DJ’ing to be just as reliable as conventional DJ’ing from CD’s.
The advantages of using a Laptop or Pc to DJ
The advantages of converting your material to music files and using a Pc or Laptop to DJ from are many. The first is the most obvious, gone are the days where you are carrying several heavy boxes of CD’s around with you, most DJ’s CD collections can easily be converted to MP3 and will fit onto a 80gb – 200gb hard drive!. By converting to Software Dj’ing you also rid yourself of that long search through several hundred CD compilations in order to find that elusive requested track that you just know that you have got somewhere!. With most DJ Software, you can type in part or all of the artistes name or song title and find it within seconds!. It really is possible to find and cue up a request within 5 seconds – something which just can’t be done easily or quickly with a CD or vinyl collection.
Other advantages of a software based DJ system, include the possibility to create playlists from frequently used tracks, and you could create playlists from all genres, for example a playlist for background music, one for dance music, one for the 70s and one for the end of the night slowies. Of course you can also group the tracks together and catalog them according to Genre which also makes finding tracks from particular era’s easier too. Some DJ Software will also allow you to group tracks together which have a similar BPM – a boon for DJ’s who mix.
Which DJ Software should I choose?
There are many different brands and types of DJ Software about, again it comes down to personal preference which type you choose. It is always a very good idea to check out reviews and discussions on DJ Forums and if possible to find a DJ who uses a system based on the software which is of interest to you, so you can actually see it in action, in a disco environment.
Some DJ Software comes with a free trial, which enables you to download and install the software on your system and try it for for free for a time limited period (usually 10 – 30 days). Depending on the cost of the software, there can be differing features. Some Dj Software will simply allow you to cue up and play music using 2 “players”, others will have more comprehensive features, such as being able to fade between tracks, alter the pitch and tempo controls in a similar manner to conventional CD and Vinyl turntables, some of the more expensive software will even allow you to mix, or add a USB controller which looks and functions like a twin cd controller!, some Software will even mix the tracks for you!.
Remember that a feature is only worthwhile if you have a use for it!. Carefully consider what features you need, and which will be the ones that you will have any use for. It would be pointless buying a Dj Software package which allows you to mix, if you are a mobile dj who rarely has the requirement to beat mix. Most Software in its basic form, also comes with the option to add and install plug ins which give you additional updates and features, so its worth starting with the basic packages and then adding new features if and when you require them!.
My advice at this stage, if you are new to, or considering Software Dj’ing is to download the free trials of the various software which is available, try them for the time limited period, and then buy the one which suits you, and which is the most comfortable to use.
Some dj software titles which are currently popular and well reviewed by Mobile DJ’s include OTSDJ, DSSDJ and PCDJ
What type of PC do I need to run my DJ Software package
When you have decided on a software package, it is then time to consider what pc or laptop to use it on. Contrary to rumour, you don’t need the latest brand new pc or laptop to successfully run DJ Software from, and neither do you need a huge CPU processor. Most DJ Software will happily run on a pentium 3 processor with 600mhz speed or higher, many of the newer 1.2ghz+ celerons will also flawlessly run DJ software with no problems and without breaking into a sweat. Try and buy as much memory as you can afford, ideally 512mb of memory or a minimum of 256mb for most applications.
How big should I be
)
A decent sized hard drive is the next consideration. Remember the bigger the hard drive the more individual tracks that you can fit on there. An average music file ripped at 192kbps is around 5mb in size and so a 100gb hard drive should fit around 20,000 tracks on there. However if you increase the quality of the track in MP3 format, then the file size rises also, so a 320kpbs mp3 could be as large as 11mb in size and so the same 100gb capacity would be reduced to holding only around 9000 tracks. Don’t forget to factor in space for your operating software, drivers and DJ software when working out hard drive capacity!. You can of course expand your hard drive capacity by fitting external hard drives to USB ports, and these are also reliable. If possible try and use a system which runs USB2.0 or even firewire since these run at faster data speeds than conventional USB1.1 although many Dj’s report no issues with hard drives and soundcards run from older 1.1 systems.
Give me Sound!
Using a good quality soundcard is a must!, many laptops and motherboard based sound chips on full sized pc’s rarely do justice to sound quality or are designed with full time high quality audio playback in mind. Consider installing a pci sound card in your pc, or investing in a good quality USB external soundcard if you opt to use a laptop. Most 2 channel soundcards will suffice for DJ’ing in most mobile applications, where the audio is mixed between the players on the laptop and the single output is then fed through a pair of “L” and “R” connectors on the soundcard, and then into the mixer or amplifier.
However, if more creativity is required, or the software is to be used for mixing applications or the use of a crossfader between channels on a conventional mixer is likely to be utilised, then you need to buy a 5 channel soundcard. This allows the soundcard to be set up, in a manner which allows one pair of “L” and “R” outputs to be used for “Player 1″ on the soundcard and fed into an individual channel on the mixer, and the same for “Player 2″ – this allows each software player to have its own fader on the mixer – just like a conventional twin cd player.
What Quality?
Some Dj Software packages come complete with the means to “Rip” a cd. “Ripping” means placing the original Cd into the PC’s CDROM and the process of converting the original music on the CD to MP3 Data, which is then stored on the hard drive as an MP3 File. In the case of OTSDJ, the option is also there to convert to a file called OTS, this is a custom files regonised only by the OTSDJ software, however it sounds just as good as MP3 and is also a slightly smaller file size, meaning that more OTS files can be stored on a hard drive when compared to conventional MP3 files.
If you use a DJ software package which does use conventional MP3 files, then you will need to select the quality at which to “rip”. This figure is measured in “Kbps” and often ranges from 32kbps and 320kbps. Lower ranges are not recommended for professional use over a PA system since they can sound dull and even distorted. Ideally for professional use, the DJ should be looking at ripping their CD’s to Mp3 files at 192kbps or greater.
192kbps is considered reasonable quality, however 320kbps is near cd quality and may be prefered by some Dj’s – however on smaller audio systems the difference may be hard to detect. As the quality is increased, so does the file size, and a 320kbps file may be several mb larger than its 192kbps counterpart, it may also take longer to rip an entire CD at 320kbps than at lower rates.
For Dj Software which doesn’t have ripping capability, Musicmatch Jukebox may prove to be an alternative for this process,
Are there any disadvantages to being a Digital DJ?
Now the disadvantages!. Obviously the initial cost of buying a PC / Laptop, a good quality soundcard, large hard drive and the Dj Software itself is likely to total far more than buying a conventional CD Player or turntables. It also takes time to “rip” your cd collection to Mp3 and store them on your hard drive. In some jurisdictions it is also illegal to convert original material to MP3 format for digital use without a licence, and this can prove to be expensive, if the Dj is to work on the right side of the law. It is the possible licence requirement that we discuss next.
Do I need a licence to play music from a laptop?
At the time of writing this article, an annual licence is required in Canada and the UK in order to use a PC or laptop to DJ from. In the UK, a further licence and possible royalty payment is also required for the conversion process. Although no fees have yet been advertised (April 2006) these controversal laws are likely to make this form of DJ’ing unattractive when compared to more conventional, and “licence free” alternatives.
Finally, my tips for Software Djing
* Always buy and use a dedicated pc / laptop purely for Dj use, do not be tempted to use the family pc or run other applications on the machine you use to DJ from, and do not allow this machine to connect to the internet. On a pre-used machine, also start from scratch with a format and fresh install of the operating system.
* Use a good quality soundcard, even if you need to upgrade or buy an external USB one
* Always rip the music direct from an original CD at 192kbps quality or higher. 320kbps is advised for higher quality pa systems and is near cd quality. 192kbps is okay for smaller systems used by the Mobile DJ.
* Don’t be too concerned about buying the latest top of the range PC to run from. Most Dj Software will happily run from basic P3 600mhz machines, but do check out the minimum requirements on the software authors website.
* Read reviews on the various software packages available. Stick to the features that you will use, since you can always upgrade extras later. Take advantage of the free trials of DJ Software which are available and use the time to find the best software to suit you
* If you choose a full sized PC make sure that it is professionally flightcased – pc’s are not designed to be carried around.
* Select a high capacity 100gb – 200gb hard drive from a reputable manufacturer. Where practical and legal always back up your data
* Fit your machine with at least 256mb of memory, and ideally 512mb.
* Check out the legal aspect of converting original music to MP3 and whether a licence is required to operate such a system.
By: Chris Pointon
Is running a Mobile Disco from a PC or Laptop reliable?
Anybody who has ever encountered the windows blue screen of death, or worn out the Ctrl+alt+del keys on their keyboard will possibly dread the thought of using such a system as a platform to their DJ’ing!. In essence, a decent dedicated pc or laptop with a clean install, good quality hard drive and a reasonable amount of memory will out preform most typical home pc set ups which may be running several applications at a time, be infiltrated with virus or spyware traces, and have a hard drive and registry full of corrupt enteries and partly uninstalled files.
The key to running a successful software based DJ system, is to buy a dedicated pc / laptop for the task, and to only run the operating system and DJ Software on there, and never allow it to run other applications or even connect to the internet. This way the installation runs and remains clean and largely error free, will rarely have a corrupt file, and won’t get infiltrated or bogged down with several other applications. This advice is given by DJ’s who have been using software and PC’s for many years, and have found this method of DJ’ing to be just as reliable as conventional DJ’ing from CD’s.
The advantages of using a Laptop or Pc to DJ
The advantages of converting your material to music files and using a Pc or Laptop to DJ from are many. The first is the most obvious, gone are the days where you are carrying several heavy boxes of CD’s around with you, most DJ’s CD collections can easily be converted to MP3 and will fit onto a 80gb – 200gb hard drive!. By converting to Software Dj’ing you also rid yourself of that long search through several hundred CD compilations in order to find that elusive requested track that you just know that you have got somewhere!. With most DJ Software, you can type in part or all of the artistes name or song title and find it within seconds!. It really is possible to find and cue up a request within 5 seconds – something which just can’t be done easily or quickly with a CD or vinyl collection.
Other advantages of a software based DJ system, include the possibility to create playlists from frequently used tracks, and you could create playlists from all genres, for example a playlist for background music, one for dance music, one for the 70s and one for the end of the night slowies. Of course you can also group the tracks together and catalog them according to Genre which also makes finding tracks from particular era’s easier too. Some DJ Software will also allow you to group tracks together which have a similar BPM – a boon for DJ’s who mix.
Which DJ Software should I choose?
There are many different brands and types of DJ Software about, again it comes down to personal preference which type you choose. It is always a very good idea to check out reviews and discussions on DJ Forums and if possible to find a DJ who uses a system based on the software which is of interest to you, so you can actually see it in action, in a disco environment.
Some DJ Software comes with a free trial, which enables you to download and install the software on your system and try it for for free for a time limited period (usually 10 – 30 days). Depending on the cost of the software, there can be differing features. Some Dj Software will simply allow you to cue up and play music using 2 “players”, others will have more comprehensive features, such as being able to fade between tracks, alter the pitch and tempo controls in a similar manner to conventional CD and Vinyl turntables, some of the more expensive software will even allow you to mix, or add a USB controller which looks and functions like a twin cd controller!, some Software will even mix the tracks for you!.
Remember that a feature is only worthwhile if you have a use for it!. Carefully consider what features you need, and which will be the ones that you will have any use for. It would be pointless buying a Dj Software package which allows you to mix, if you are a mobile dj who rarely has the requirement to beat mix. Most Software in its basic form, also comes with the option to add and install plug ins which give you additional updates and features, so its worth starting with the basic packages and then adding new features if and when you require them!.
My advice at this stage, if you are new to, or considering Software Dj’ing is to download the free trials of the various software which is available, try them for the time limited period, and then buy the one which suits you, and which is the most comfortable to use.
Some dj software titles which are currently popular and well reviewed by Mobile DJ’s include OTSDJ, DSSDJ and PCDJ
What type of PC do I need to run my DJ Software package
When you have decided on a software package, it is then time to consider what pc or laptop to use it on. Contrary to rumour, you don’t need the latest brand new pc or laptop to successfully run DJ Software from, and neither do you need a huge CPU processor. Most DJ Software will happily run on a pentium 3 processor with 600mhz speed or higher, many of the newer 1.2ghz+ celerons will also flawlessly run DJ software with no problems and without breaking into a sweat. Try and buy as much memory as you can afford, ideally 512mb of memory or a minimum of 256mb for most applications.
How big should I be
)A decent sized hard drive is the next consideration. Remember the bigger the hard drive the more individual tracks that you can fit on there. An average music file ripped at 192kbps is around 5mb in size and so a 100gb hard drive should fit around 20,000 tracks on there. However if you increase the quality of the track in MP3 format, then the file size rises also, so a 320kpbs mp3 could be as large as 11mb in size and so the same 100gb capacity would be reduced to holding only around 9000 tracks. Don’t forget to factor in space for your operating software, drivers and DJ software when working out hard drive capacity!. You can of course expand your hard drive capacity by fitting external hard drives to USB ports, and these are also reliable. If possible try and use a system which runs USB2.0 or even firewire since these run at faster data speeds than conventional USB1.1 although many Dj’s report no issues with hard drives and soundcards run from older 1.1 systems.
Give me Sound!
Using a good quality soundcard is a must!, many laptops and motherboard based sound chips on full sized pc’s rarely do justice to sound quality or are designed with full time high quality audio playback in mind. Consider installing a pci sound card in your pc, or investing in a good quality USB external soundcard if you opt to use a laptop. Most 2 channel soundcards will suffice for DJ’ing in most mobile applications, where the audio is mixed between the players on the laptop and the single output is then fed through a pair of “L” and “R” connectors on the soundcard, and then into the mixer or amplifier.
However, if more creativity is required, or the software is to be used for mixing applications or the use of a crossfader between channels on a conventional mixer is likely to be utilised, then you need to buy a 5 channel soundcard. This allows the soundcard to be set up, in a manner which allows one pair of “L” and “R” outputs to be used for “Player 1″ on the soundcard and fed into an individual channel on the mixer, and the same for “Player 2″ – this allows each software player to have its own fader on the mixer – just like a conventional twin cd player.
What Quality?
Some Dj Software packages come complete with the means to “Rip” a cd. “Ripping” means placing the original Cd into the PC’s CDROM and the process of converting the original music on the CD to MP3 Data, which is then stored on the hard drive as an MP3 File. In the case of OTSDJ, the option is also there to convert to a file called OTS, this is a custom files regonised only by the OTSDJ software, however it sounds just as good as MP3 and is also a slightly smaller file size, meaning that more OTS files can be stored on a hard drive when compared to conventional MP3 files.
If you use a DJ software package which does use conventional MP3 files, then you will need to select the quality at which to “rip”. This figure is measured in “Kbps” and often ranges from 32kbps and 320kbps. Lower ranges are not recommended for professional use over a PA system since they can sound dull and even distorted. Ideally for professional use, the DJ should be looking at ripping their CD’s to Mp3 files at 192kbps or greater.
192kbps is considered reasonable quality, however 320kbps is near cd quality and may be prefered by some Dj’s – however on smaller audio systems the difference may be hard to detect. As the quality is increased, so does the file size, and a 320kbps file may be several mb larger than its 192kbps counterpart, it may also take longer to rip an entire CD at 320kbps than at lower rates.
For Dj Software which doesn’t have ripping capability, Musicmatch Jukebox may prove to be an alternative for this process,
Are there any disadvantages to being a Digital DJ?
Now the disadvantages!. Obviously the initial cost of buying a PC / Laptop, a good quality soundcard, large hard drive and the Dj Software itself is likely to total far more than buying a conventional CD Player or turntables. It also takes time to “rip” your cd collection to Mp3 and store them on your hard drive. In some jurisdictions it is also illegal to convert original material to MP3 format for digital use without a licence, and this can prove to be expensive, if the Dj is to work on the right side of the law. It is the possible licence requirement that we discuss next.
Do I need a licence to play music from a laptop?
At the time of writing this article, an annual licence is required in Canada and the UK in order to use a PC or laptop to DJ from. In the UK, a further licence and possible royalty payment is also required for the conversion process. Although no fees have yet been advertised (April 2006) these controversal laws are likely to make this form of DJ’ing unattractive when compared to more conventional, and “licence free” alternatives.
Finally, my tips for Software Djing
* Always buy and use a dedicated pc / laptop purely for Dj use, do not be tempted to use the family pc or run other applications on the machine you use to DJ from, and do not allow this machine to connect to the internet. On a pre-used machine, also start from scratch with a format and fresh install of the operating system.
* Use a good quality soundcard, even if you need to upgrade or buy an external USB one
* Always rip the music direct from an original CD at 192kbps quality or higher. 320kbps is advised for higher quality pa systems and is near cd quality. 192kbps is okay for smaller systems used by the Mobile DJ.
* Don’t be too concerned about buying the latest top of the range PC to run from. Most Dj Software will happily run from basic P3 600mhz machines, but do check out the minimum requirements on the software authors website.
* Read reviews on the various software packages available. Stick to the features that you will use, since you can always upgrade extras later. Take advantage of the free trials of DJ Software which are available and use the time to find the best software to suit you
* If you choose a full sized PC make sure that it is professionally flightcased – pc’s are not designed to be carried around.
* Select a high capacity 100gb – 200gb hard drive from a reputable manufacturer. Where practical and legal always back up your data
* Fit your machine with at least 256mb of memory, and ideally 512mb.
* Check out the legal aspect of converting original music to MP3 and whether a licence is required to operate such a system.
By: Chris Pointon
Mar
16
I am interested in vinyl records, and have heard that they are starting to come back, any truth to this? Anyways I was just wondering what I would need to be able to play vinyl records, what are some good brands, and if they’re really worth investing in. Any advice would be great.
Mar
16
Are you trying to be a disk jockey or DJ, as it is popularly called? It is quite a lucrative job in the music industry as skilled DJs are paid handsomely. They usually get a lot of fame and respect from the crowd. Being a DJ means having the skill to switch on to the right music at the right time.
The DJs need to have mastery on many items of music gear. Highly proficient DJs, when using equipment like technics turntable, need to practice a lot before using it in the club environment. However, do not get disheartened if you are trying to be a DJ. There are other elements apart from skills, which you can master and be successful. Nevertheless, you need to have a thorough understanding of the DJ music gear.
What are the DJ music gear?
There are various items of music gear like USB turntables, USB tape to PC, deck packages, CD packages, automatic and manual computer DJ, record boxes, USB drums, slip mats, headphones, carts & styli, snow machines, partyl light sets, and sound systems.
player, 1 microphone, 1 mixer, and 1 headphone. The manufacturer might include some of their specialty gear also in the package.
There are a number of packs available for the DJs. These products are popular as a lot of DJ music gear are bundled into it. If you get into the offer of a popular party pack then we can see how much these packs are beneficial for the DJs. A party pack can include:
In the sound section
-1 x sundlab 600 amplifier
-2 x skytec 15″ 300W speakers
-1 x numark CD Mix 1
-1 x numark CD Mix 1 flight case
-1 x cable microphone
-2 x speaker stands
-1 x numark HF125 headphones
All connecting cables
In the lighting section:
-1 x T-bar lighting stand
-4 x Soundlab vasto’s
-1 x Soundlab smoke machine
-1 x rope light
-1 x 5ltrs smoke fluid
The pack might also contain free latest release CDs & a branded t-shirt.
All these come at less than 1000 dollars. The prices are kept quite nominal to attract DJ aspirants. In fact, if you get a good deal your total package might cost you far less than the sum total of the individual items.
How do you handle the DJ music gear? Apart from your music skills, you need to remember that you have to be capable of transiting from one track to the other. In addition, the transition needs to be smooth.If not, the whole rhythm element will be lost. Other things that you have to consider are:
-the proper and rhythmic energy level should be maintained,
-should have the talent to make all the people dance the whole night,
-hardcore crowd need not be cheered,
-the ladies often get annoyed by cranky and loud music, so no offence to them, and
-try to be casual in going from loud to soft or else the speakers and ears will get blown.
By: Victor Epand
The DJs need to have mastery on many items of music gear. Highly proficient DJs, when using equipment like technics turntable, need to practice a lot before using it in the club environment. However, do not get disheartened if you are trying to be a DJ. There are other elements apart from skills, which you can master and be successful. Nevertheless, you need to have a thorough understanding of the DJ music gear.
What are the DJ music gear?
There are various items of music gear like USB turntables, USB tape to PC, deck packages, CD packages, automatic and manual computer DJ, record boxes, USB drums, slip mats, headphones, carts & styli, snow machines, partyl light sets, and sound systems.
player, 1 microphone, 1 mixer, and 1 headphone. The manufacturer might include some of their specialty gear also in the package.
There are a number of packs available for the DJs. These products are popular as a lot of DJ music gear are bundled into it. If you get into the offer of a popular party pack then we can see how much these packs are beneficial for the DJs. A party pack can include:
In the sound section
-1 x sundlab 600 amplifier
-2 x skytec 15″ 300W speakers
-1 x numark CD Mix 1
-1 x numark CD Mix 1 flight case
-1 x cable microphone
-2 x speaker stands
-1 x numark HF125 headphones
All connecting cables
In the lighting section:
-1 x T-bar lighting stand
-4 x Soundlab vasto’s
-1 x Soundlab smoke machine
-1 x rope light
-1 x 5ltrs smoke fluid
The pack might also contain free latest release CDs & a branded t-shirt.
All these come at less than 1000 dollars. The prices are kept quite nominal to attract DJ aspirants. In fact, if you get a good deal your total package might cost you far less than the sum total of the individual items.
How do you handle the DJ music gear? Apart from your music skills, you need to remember that you have to be capable of transiting from one track to the other. In addition, the transition needs to be smooth.If not, the whole rhythm element will be lost. Other things that you have to consider are:
-the proper and rhythmic energy level should be maintained,
-should have the talent to make all the people dance the whole night,
-hardcore crowd need not be cheered,
-the ladies often get annoyed by cranky and loud music, so no offence to them, and
-try to be casual in going from loud to soft or else the speakers and ears will get blown.
By: Victor Epand
Mar
9
Choosing a Durable Turntable
Filed Under USB Turntable | Leave a Comment
Turntables are rotating platforms that refer to either music or technology devices. In the music scene, a turntable is a type of gramophone or phonograph driven by a motor at a constant speed. They are also referred to as a musical instrument of the modern era used in “turntablism.” Turntablism is the art of playing the turntables.
There are also other references in the music scene such as the song from a popular girl group from the nineties called TLC and the so-called “turntable hit,” a hit vinyl single commonly triumphant in the airplay tables than in sales.
In terms of technology, the word turntable is the rail, motor vehicle, display, Lazy Susan, and a pottery wheel. A turntable rail is a device for railroad facilities in order to turn rolling stocks or automotives onto or around the radial arranged tracks. This type is also called a “rotary transfer table.” The motor is a manual or motorized device installed in a garage floor or a driveway. This device rotates motor vehicles to facilitate a safer or an easier outlet of the vehicle.
Those used for display are usually motorized tables solely for displaying various kinds of items. A pottery wheel or a potter’s wheel is also called a turntable for it uses a rotating table to shape the spinning clay. Lazy Susans are also a form of turntable placed at the top of tables so that items particularly food is easily reached even if the person is at a sitting position.
Selecting a Turntable (Musical Instrument)
A lot of people believe that traditional vinyl records give a richer and warmer sound for music. Numerous disc jockeys or DJs are experts in playing turntables for it allows them easy control and operation so as to what music is played. Although our technology is somehow out of date, you can still see turntables in various places.
You must first take note on the kinds and number of outputs you want or need to have in your turntable. There are some recently manufactured that come with USB connectors. This makes transferring of music from LP to the computer as easy as snapping your fingers. Make sure that the product you are going to buy properly connects with your mixing board, computer, and speakers.
Turntables not vibrating too much are more preferable. Look for those that appear to be durable. If possible, ask for warranties. Those made of plastic are not advisable for they are not durable. It also tends to vibrate more. Vibrations may disrupt the sound and adversely affect the audio quality.
Bend over to the belt-drive type of turntables meaning the motor inside that turns a belt and makes records spin. Direct-drives spin records automatically though they also disrupt the music because of vibrations. On the other hand, belt-drive turntables reduce the vibrations thus giving you a clearer sound. If you are into DJ scratching, select the direct-drive type to allow better control.
Make sure that your turntable has a very good seclusion from the stylus. Check this by playing a vinyl record and slightly tapping the turntable’s base. Thumps or clicks indicate that it is made of less solid construction and therefore less durable also.
Sometimes it is also advisable to look for a certain brand trusted to produce quality products. You could gather reviews from different media and personal testimonials from current users to get an idea.
By: David Urmann
There are also other references in the music scene such as the song from a popular girl group from the nineties called TLC and the so-called “turntable hit,” a hit vinyl single commonly triumphant in the airplay tables than in sales.
In terms of technology, the word turntable is the rail, motor vehicle, display, Lazy Susan, and a pottery wheel. A turntable rail is a device for railroad facilities in order to turn rolling stocks or automotives onto or around the radial arranged tracks. This type is also called a “rotary transfer table.” The motor is a manual or motorized device installed in a garage floor or a driveway. This device rotates motor vehicles to facilitate a safer or an easier outlet of the vehicle.
Those used for display are usually motorized tables solely for displaying various kinds of items. A pottery wheel or a potter’s wheel is also called a turntable for it uses a rotating table to shape the spinning clay. Lazy Susans are also a form of turntable placed at the top of tables so that items particularly food is easily reached even if the person is at a sitting position.
Selecting a Turntable (Musical Instrument)
A lot of people believe that traditional vinyl records give a richer and warmer sound for music. Numerous disc jockeys or DJs are experts in playing turntables for it allows them easy control and operation so as to what music is played. Although our technology is somehow out of date, you can still see turntables in various places.
You must first take note on the kinds and number of outputs you want or need to have in your turntable. There are some recently manufactured that come with USB connectors. This makes transferring of music from LP to the computer as easy as snapping your fingers. Make sure that the product you are going to buy properly connects with your mixing board, computer, and speakers.
Turntables not vibrating too much are more preferable. Look for those that appear to be durable. If possible, ask for warranties. Those made of plastic are not advisable for they are not durable. It also tends to vibrate more. Vibrations may disrupt the sound and adversely affect the audio quality.
Bend over to the belt-drive type of turntables meaning the motor inside that turns a belt and makes records spin. Direct-drives spin records automatically though they also disrupt the music because of vibrations. On the other hand, belt-drive turntables reduce the vibrations thus giving you a clearer sound. If you are into DJ scratching, select the direct-drive type to allow better control.
Make sure that your turntable has a very good seclusion from the stylus. Check this by playing a vinyl record and slightly tapping the turntable’s base. Thumps or clicks indicate that it is made of less solid construction and therefore less durable also.
Sometimes it is also advisable to look for a certain brand trusted to produce quality products. You could gather reviews from different media and personal testimonials from current users to get an idea.
By: David Urmann
Mar
7
Learn How to Be a DJ
Filed Under Record Turntable | Leave a Comment
Once you have your DJ consol set up ready and you have started the never-ending obsession of collecting music, the next step is to become familiar with the basic principles of mixing. The idea of mixing is to join records so that the music plays continuously rather than as separate tracks. To begin with, don’t worry too much about beat matching (unless you are feeling exceptionally confident). Instead try to get used to the main functions of the turntables and the mixer and with the idea of moving between the 2 selected tracks.
Cuing Up
Cuing up a record is simply finding the start point from where you can begin mixing. Often this is the first sound you hear, but not always so it would be wise to choose a simple House record that opens with a strong beat to start with.
Listening for the cue point (Fig.1)
-Push the fader up for the channel you are playing on, and the crossfader to the correct side.
-Start the record’s rotation with the start/stop button.
-Place the needle on the outer rim of the vinyl surface.
-Wait until the music starts then press start/stop to halt the record’s rotation.
(Fig.1)
Lining up the cue point (Fig.2)
-Slowly wind the record back until the first beat slips by in reverse.
-Place hand on the vinyl (usually half way between the outer rim and the label at 8 o’ clock)
-Without applying too much pressure to the holding hand, use the other to start the record’s rotation again. (The platter should still be spinning without resistance, but the record should be stationary).
-Manually push and pull the vinyl so that it passes back and forth over the first sound (cue point) and then in your own time release in place of one of the forward pushes.
(Fig.2)
Now repeat the same technique, but try to do it without stopping the record’s rotation between listening and lining up the cue point so that the platter is in constant motion.
Advanced Cueing
“I am the one because I know where the one is!” (Bernard Perdie- Drummer)
Some records do not start on the down beat or even with a beat at all! These are harder to use as the cue point is not as easy to define. It is important to listen to records before you try mixing it so you begin to hear the places where you should try dropping it in.
Anacrusis (Up beats)
Anything that precedes the down beat is called an anacrusis (up beat). Imagine a record of the children’s rhyme “The Owl And The Pussy Cat”! If you recite this poem, the strong down beat is on ‘Owl’ not on the first sound which is ‘The’. This means that ‘The’ is an anacrusis. Your cue point on this hypothetical record would therefore have to ‘Owl’ in order for the rhythm to flow correctly.
Sometimes an anacrusis can have several sounds before the down beat, so listen carefully to where the emphasis falls. Generally in Dance music, this is accentuated by the kick drum.
Instrumental openings
Many records open with rhythmically unaccompanied pads, synth stabs, keyboards or basslines before the entrance of the beat. You can deal with this in two ways. Firstly, play through the intro until the beat comes in then cue it up to the downbeat. If you are feeling a bit more adventurous, try to listen through the record to see how the instrumental elements fit around the beat when it is present, then return to the start and cue up the record. Imagine the beat of the tune as you remember it and then release the record in its correct place so that the instrumental groove fits along to the drums that are accompanying it in your mind. (This is obviously much harder to do and will require a keenly developed sense of internal rhythm).
Fading
On a mixer, you have two main fader options. The channel faders (often called ‘up-faders’) and the crossfader (Fig.3). The up-faders control the volume of each separate channel, whereas the crossfader moves between the channels passing from one to another with a ‘mix’ in the middle.
It is probably best at this stage to use the up-faders with their gradual curve from silence to full volume as the ‘blending’ faders and the crossfader as more immediate ’switch’ between the two channels (assuming your mixer enables you to alter the crossfader curve). This is not a compulsory way of having the mixer set, but if you put a gradual fade on the crossfader, you will have the 2 kinds of fader doing the same job rather than fulfilling separate roles.
(Fig.3)
As well as setting your crossfader to a sharp curve, also ensure that the channels are assigned properly to the two sides. On mixers with more than 2 channels, you will need to designate each channel to a particular side of the fader. If you don’t do this, or leave the crossfader assigns off, you will not be able to use the crossfader to cut from deck to deck.
Before learning how to beatmatch, you should practice fading between two records in the way that the original DJs did before blending became prevalent. You are likely to encounter some rhythmic clashes (known affectionately as ‘train wrecks’) whilst perfecting this particular technique, but try not to worry too much about this for the time being.
Fading between two records
-Cue up two records (1 on each turntable) then start to play the first record with the crossfader over to the relevant side for that channel. (Step1)
-Bring the up-fader for the second channel down to zero.
-When the first record has played for a certain amount of time, move the crossfader into the middle and start playing the second record. (Step2)
-Gradually bring the up-fader for the second channel up whilst simultaneously bringing the up-fader for the first channel down until the second record is all that is left.
-Move the fader over to the relevant side for the second channel and stop the first record (Step3)
Step1
Step2
Step3
You have just completed your first mix! Now try to cue up a different record on the original turntable and repeat the progress from channel 2 back to channel 1.
It is advisable to choose, if possible, sections of a record where the track breaks down to its musical elements only (i.e. no drums, but strings/pads, keys etc.) for uncomplicated fades. Even without beatmatching, this will result in a more natural blending of the two records.
Beatmatching
Beatmatching was first introduced by the early Disco DJs such as Francis Grasso, Steve D’Aquisto and Nicky Siano. As the equipment improved, this technique, rough at first, became perfect. Another major step in the history of beatmatching was the introduction of music that used beats constructed on a drum machine rather than live breaks where drummers’ beats were subject to fluctuations in tempo.
On modern turntables (both vinyl and CD) and on software programs it is totally possible to beatmatch with 100% precision. This is one of the principal skills that needs real practice in order to perfect. There are very few people (even trained musicians) who succeed the first time, so don’t be discouraged by any initial failures. You won’t be the first or the last person to produce some real ‘train wrecks’! Some superb DJs have taken months or even a couple of years to perfect the technique of beatmatching. It is also fair to say that your progress will be greatly helped if you team up with a friendly and patient DJ who can already beatmatch. This DJ ‘buddy’ will be able to show you where you are going wrong, and how to correct the mistake!
Varispeed Controls On Turntables
Fig.1 shows you the basic varispeed functions of a typical turntable. DJ turntables enable you to alter the speed within the margin of +8/-8%. Some turntables extend this to +16/-16%, but a record played this far away from its original speed will not sound at all good! The varispeed slider controls the pitch in a smooth gradient between these two extremities.
You should start by experimenting with the effect this has on the sound of a record. The further into the minus speed you go, the slower the record will play. The key will drop (approximately by a whole tone e.g. G to F), vocals will sound deeper and more ponderous. In contrast, as you more into the plus speed area, the faster the record will spin. The key will move up (again by roughly a whole tone e.g. from G to A) and any vocals will sound higher and chirpier.
Fig.1
Records will either run at 331/3 r.p.m. (revolutions per minute) or at 45 r.p.m. This is usually dependent on the length of the track. 45 r.p.m. gives a louder and more detailed cut, but will only allow a maximum of 8 minutes of music per side. 331/3 r.p.m. is quieter and slightly less defined as the grooves are closer and shallower, but allows more running time.
The red strobe light located beneath the power switch has little use in practical mixing terms, but it is a good way of checking whether the motors of the deck are working properly. With the platter spinning at 0 speed, the largest set of dots will appear stationary. At -3.3, this will be the outer set of dots, at +3.3 the 2nd inner set and at +6, the innermost set. The target light shines across the path of the cartridge and allows you to see the progress of the needle as it moves through the track. All records play from the outer rim into the spindle with the exception of a bizarre early 90’s Techno record by Reece called Funky Funk Funk (Network Records 23) that plays from the inside out!
Beatmatching Two Records
There are numerous analogies for beatmatching two records together; one of the best being the idea of two cars driving along a motorway. One may be a VW Golf, and the other a Peugeot 306 (different makes and looks but similar vehicles). The aim is for both cars to drive side by side with their front bumpers in parallel. In order to do this, they will each need to concentrate on their speed in comparison to the other. If one starts to pull away, it will need to come back into line or the other will need to edge forwards to match it. Pre-planned acceleration and agreed speed will help, but ultimately it will come to the use of eyes and feel.
Now replace these two cars with two records of a similar style (House vs. D&B is like a VW Golf vs. a Ferrari!) with one on each turntable. The aim is now to align the beats and bars of the two records so that they are riding in parallel (Fig.2).
(Fig.2)
The two records above are beatmatched. Notice how the beat count and all the elements of the drums are falling in exactly the same place; kick for kick, snare for snare and hat for hat. Even allowing for variance in the tonal sound of these elements (i.e. Record 1 might have a snappier snare, more hollow kick or tinnier hi-hats) these two beats would mould into one.
Headphone Cueing (Fig.3)
-Take two records of a similar style (House is recommended as it will almost certainly be 4-to-the-floor) with a strong, simple beat at the start.
- With the crossfader over and the up-fader at full volume for the relevant channel, start to play the first record.
-Switch the headphone cue to the second deck and begin to play the second record.
-Find the cue point for the second record and manually hold the record ready for release.
(Fig.3)
You will be listening to Record 1 through the speakers and Record 2 in the headphones. To compare the two, have one headphone cup over one ear but take the other cup off.
Comparing Records Ready For The Mix (Fig.4)
-First listen to Record 1 whilst holding Record 2 in readiness (This is a little like a relay runner waiting for their partner to give them the baton before they take off on their own stint).
-Release Record 2 in time with the downbeat from Record 1.
-As the two Records spin together listen between ‘headphone ear’ and ’speaker ear’.
Fig.4
Starting To Beatmatch Two Records
Assuming you are not fortunate enough to have chosen two records with exactly the same bpm. (if this is the case reselect a different tune- this lucky mistake won’t help you to learn the art of beatmatching!), there are two possible scenarios.
The first scenario is that Record 2 will start to pull ahead of Record 1, which means that it is a faster track. The second scenario is that Record 2 will begin to fall behind Record 1, which means that it is a slower track.
The bpm difference of the two records will decide how quickly this happens. If Record 2 is only 1 bpm faster or slower than Record 1, it will gradually glide out of sync. If the difference is greater, they will fall out even within half a bar. Several seconds later they will be fighting like Tom & Jerry armed with pots and pans!)
Scenario A- Record 2 Is Faster (Begins To Pull Ahead Of Record 1)
Fig.5 shows you what happens when Record 2 is faster than record 1. Notice how, despite starting together, Record 2 is moving through the beat count and (consequently its hit-points) faster. By the end of the bar, Record 2 is out of sync with Record 1.
Fig.5
In order to correct this situation, you need to do two things.
Correcting The Pitch Of A Faster Record (Fig.6)
-First manually restrain Record 2 so it comes back into line with Record 1. This only requires you to stroke the record against the flow, not actually pull it back. You may wish to apply light pressure to the side of the platter where the strobe dots are.
-Secondly, move the varispeed slider back so that the record is now also spinning a little slower than before. (You have to estimate the amount required. Sometimes you will change the speed too much or not enough requiring you to repeat the process).
Fig.6
Scenario B- Record 2 Is Slower (Begins To Fall Behind Record 1)
Either because it starts out slower, or because you have overstepped the mark in correcting a faster record, Record 2 way start to fall behind (Fig.7). Notice how, despite starting together, Record 2 is moving through the beat count (and consequently its hit-points) slower. By the end of the bar, Record 2 is again out of sync with Record 1.
Fig.7
Again, in order to correct this situation, you need to do two things.
Correcting The Pitch Of A Slower Record (Fig.8)
-First manually push Record 2 forwards so it catches up with Record 1. This only requires you to gently encourage the Record with the flow, not actually shove it forwards. Too much push and it will lurch ahead.
-Secondly, move the varispeed slider forwards so that the record is now also spinning a little faster than before. (Again, you need to estimate the amount required. Sometimes you will change the speed too much or not enough requiring you to repeat the process).
Fig.8
You may well need to perform the above steps numerous times; each time becoming more and more accurate until you hit the correct speed. Correcting the speed to match the beats of two records is a process of elimination; trial and error until you have it.
Sometimes you will end up with the two turntables spinning 10% away from each other; other times the difference may only be ½%
Even when you think you have the two records running in sync, you will need to keep concentrating on the beat alignment incase one starts to drag behind or pull ahead of the other.
Performing A Mix (Fig.9)
When you are happy with the result, bring Record 2 in using the fading technique. If you have got it right, the two records will be mixed as one. If you have got it wrong, they will clash in an alarming way! Every DJ has done this many times, so don’t worry. Simply re-cue the records and have another go! Often it is sensible to re-cue anyway so that you can choose a good place to drop your mix.
Fig.9
It is advisable at all stages to keep the headphones on your head so you can reference the second record as you mix it in. Many DJs lose a mix because they take their headphones off just as they bring it in. Unless you are very experienced at ‘ambient mixing’, this is a foolish thing to do. You may well correct the speed of the wrong record if the mix starts to slide out, therefore making the clash worse!
Remember, beatmatching is a challenge, so don’t be disappointed if you struggle to mix two records at first. It takes time, and when you finally get it, you will have every reason to feel that you have achieved something!
By: Daniel Rampling
Cuing Up
Cuing up a record is simply finding the start point from where you can begin mixing. Often this is the first sound you hear, but not always so it would be wise to choose a simple House record that opens with a strong beat to start with.
Listening for the cue point (Fig.1)
-Push the fader up for the channel you are playing on, and the crossfader to the correct side.
-Start the record’s rotation with the start/stop button.
-Place the needle on the outer rim of the vinyl surface.
-Wait until the music starts then press start/stop to halt the record’s rotation.
(Fig.1)
Lining up the cue point (Fig.2)
-Slowly wind the record back until the first beat slips by in reverse.
-Place hand on the vinyl (usually half way between the outer rim and the label at 8 o’ clock)
-Without applying too much pressure to the holding hand, use the other to start the record’s rotation again. (The platter should still be spinning without resistance, but the record should be stationary).
-Manually push and pull the vinyl so that it passes back and forth over the first sound (cue point) and then in your own time release in place of one of the forward pushes.
(Fig.2)
Now repeat the same technique, but try to do it without stopping the record’s rotation between listening and lining up the cue point so that the platter is in constant motion.
Advanced Cueing
“I am the one because I know where the one is!” (Bernard Perdie- Drummer)
Some records do not start on the down beat or even with a beat at all! These are harder to use as the cue point is not as easy to define. It is important to listen to records before you try mixing it so you begin to hear the places where you should try dropping it in.
Anacrusis (Up beats)
Anything that precedes the down beat is called an anacrusis (up beat). Imagine a record of the children’s rhyme “The Owl And The Pussy Cat”! If you recite this poem, the strong down beat is on ‘Owl’ not on the first sound which is ‘The’. This means that ‘The’ is an anacrusis. Your cue point on this hypothetical record would therefore have to ‘Owl’ in order for the rhythm to flow correctly.
Sometimes an anacrusis can have several sounds before the down beat, so listen carefully to where the emphasis falls. Generally in Dance music, this is accentuated by the kick drum.
Instrumental openings
Many records open with rhythmically unaccompanied pads, synth stabs, keyboards or basslines before the entrance of the beat. You can deal with this in two ways. Firstly, play through the intro until the beat comes in then cue it up to the downbeat. If you are feeling a bit more adventurous, try to listen through the record to see how the instrumental elements fit around the beat when it is present, then return to the start and cue up the record. Imagine the beat of the tune as you remember it and then release the record in its correct place so that the instrumental groove fits along to the drums that are accompanying it in your mind. (This is obviously much harder to do and will require a keenly developed sense of internal rhythm).
Fading
On a mixer, you have two main fader options. The channel faders (often called ‘up-faders’) and the crossfader (Fig.3). The up-faders control the volume of each separate channel, whereas the crossfader moves between the channels passing from one to another with a ‘mix’ in the middle.
It is probably best at this stage to use the up-faders with their gradual curve from silence to full volume as the ‘blending’ faders and the crossfader as more immediate ’switch’ between the two channels (assuming your mixer enables you to alter the crossfader curve). This is not a compulsory way of having the mixer set, but if you put a gradual fade on the crossfader, you will have the 2 kinds of fader doing the same job rather than fulfilling separate roles.
(Fig.3)
As well as setting your crossfader to a sharp curve, also ensure that the channels are assigned properly to the two sides. On mixers with more than 2 channels, you will need to designate each channel to a particular side of the fader. If you don’t do this, or leave the crossfader assigns off, you will not be able to use the crossfader to cut from deck to deck.
Before learning how to beatmatch, you should practice fading between two records in the way that the original DJs did before blending became prevalent. You are likely to encounter some rhythmic clashes (known affectionately as ‘train wrecks’) whilst perfecting this particular technique, but try not to worry too much about this for the time being.
Fading between two records
-Cue up two records (1 on each turntable) then start to play the first record with the crossfader over to the relevant side for that channel. (Step1)
-Bring the up-fader for the second channel down to zero.
-When the first record has played for a certain amount of time, move the crossfader into the middle and start playing the second record. (Step2)
-Gradually bring the up-fader for the second channel up whilst simultaneously bringing the up-fader for the first channel down until the second record is all that is left.
-Move the fader over to the relevant side for the second channel and stop the first record (Step3)
Step1
Step2
Step3
You have just completed your first mix! Now try to cue up a different record on the original turntable and repeat the progress from channel 2 back to channel 1.
It is advisable to choose, if possible, sections of a record where the track breaks down to its musical elements only (i.e. no drums, but strings/pads, keys etc.) for uncomplicated fades. Even without beatmatching, this will result in a more natural blending of the two records.
Beatmatching
Beatmatching was first introduced by the early Disco DJs such as Francis Grasso, Steve D’Aquisto and Nicky Siano. As the equipment improved, this technique, rough at first, became perfect. Another major step in the history of beatmatching was the introduction of music that used beats constructed on a drum machine rather than live breaks where drummers’ beats were subject to fluctuations in tempo.
On modern turntables (both vinyl and CD) and on software programs it is totally possible to beatmatch with 100% precision. This is one of the principal skills that needs real practice in order to perfect. There are very few people (even trained musicians) who succeed the first time, so don’t be discouraged by any initial failures. You won’t be the first or the last person to produce some real ‘train wrecks’! Some superb DJs have taken months or even a couple of years to perfect the technique of beatmatching. It is also fair to say that your progress will be greatly helped if you team up with a friendly and patient DJ who can already beatmatch. This DJ ‘buddy’ will be able to show you where you are going wrong, and how to correct the mistake!
Varispeed Controls On Turntables
Fig.1 shows you the basic varispeed functions of a typical turntable. DJ turntables enable you to alter the speed within the margin of +8/-8%. Some turntables extend this to +16/-16%, but a record played this far away from its original speed will not sound at all good! The varispeed slider controls the pitch in a smooth gradient between these two extremities.
You should start by experimenting with the effect this has on the sound of a record. The further into the minus speed you go, the slower the record will play. The key will drop (approximately by a whole tone e.g. G to F), vocals will sound deeper and more ponderous. In contrast, as you more into the plus speed area, the faster the record will spin. The key will move up (again by roughly a whole tone e.g. from G to A) and any vocals will sound higher and chirpier.
Fig.1
Records will either run at 331/3 r.p.m. (revolutions per minute) or at 45 r.p.m. This is usually dependent on the length of the track. 45 r.p.m. gives a louder and more detailed cut, but will only allow a maximum of 8 minutes of music per side. 331/3 r.p.m. is quieter and slightly less defined as the grooves are closer and shallower, but allows more running time.
The red strobe light located beneath the power switch has little use in practical mixing terms, but it is a good way of checking whether the motors of the deck are working properly. With the platter spinning at 0 speed, the largest set of dots will appear stationary. At -3.3, this will be the outer set of dots, at +3.3 the 2nd inner set and at +6, the innermost set. The target light shines across the path of the cartridge and allows you to see the progress of the needle as it moves through the track. All records play from the outer rim into the spindle with the exception of a bizarre early 90’s Techno record by Reece called Funky Funk Funk (Network Records 23) that plays from the inside out!
Beatmatching Two Records
There are numerous analogies for beatmatching two records together; one of the best being the idea of two cars driving along a motorway. One may be a VW Golf, and the other a Peugeot 306 (different makes and looks but similar vehicles). The aim is for both cars to drive side by side with their front bumpers in parallel. In order to do this, they will each need to concentrate on their speed in comparison to the other. If one starts to pull away, it will need to come back into line or the other will need to edge forwards to match it. Pre-planned acceleration and agreed speed will help, but ultimately it will come to the use of eyes and feel.
Now replace these two cars with two records of a similar style (House vs. D&B is like a VW Golf vs. a Ferrari!) with one on each turntable. The aim is now to align the beats and bars of the two records so that they are riding in parallel (Fig.2).
(Fig.2)
The two records above are beatmatched. Notice how the beat count and all the elements of the drums are falling in exactly the same place; kick for kick, snare for snare and hat for hat. Even allowing for variance in the tonal sound of these elements (i.e. Record 1 might have a snappier snare, more hollow kick or tinnier hi-hats) these two beats would mould into one.
Headphone Cueing (Fig.3)
-Take two records of a similar style (House is recommended as it will almost certainly be 4-to-the-floor) with a strong, simple beat at the start.
- With the crossfader over and the up-fader at full volume for the relevant channel, start to play the first record.
-Switch the headphone cue to the second deck and begin to play the second record.
-Find the cue point for the second record and manually hold the record ready for release.
(Fig.3)
You will be listening to Record 1 through the speakers and Record 2 in the headphones. To compare the two, have one headphone cup over one ear but take the other cup off.
Comparing Records Ready For The Mix (Fig.4)
-First listen to Record 1 whilst holding Record 2 in readiness (This is a little like a relay runner waiting for their partner to give them the baton before they take off on their own stint).
-Release Record 2 in time with the downbeat from Record 1.
-As the two Records spin together listen between ‘headphone ear’ and ’speaker ear’.
Fig.4
Starting To Beatmatch Two Records
Assuming you are not fortunate enough to have chosen two records with exactly the same bpm. (if this is the case reselect a different tune- this lucky mistake won’t help you to learn the art of beatmatching!), there are two possible scenarios.
The first scenario is that Record 2 will start to pull ahead of Record 1, which means that it is a faster track. The second scenario is that Record 2 will begin to fall behind Record 1, which means that it is a slower track.
The bpm difference of the two records will decide how quickly this happens. If Record 2 is only 1 bpm faster or slower than Record 1, it will gradually glide out of sync. If the difference is greater, they will fall out even within half a bar. Several seconds later they will be fighting like Tom & Jerry armed with pots and pans!)
Scenario A- Record 2 Is Faster (Begins To Pull Ahead Of Record 1)
Fig.5 shows you what happens when Record 2 is faster than record 1. Notice how, despite starting together, Record 2 is moving through the beat count and (consequently its hit-points) faster. By the end of the bar, Record 2 is out of sync with Record 1.
Fig.5
In order to correct this situation, you need to do two things.
Correcting The Pitch Of A Faster Record (Fig.6)
-First manually restrain Record 2 so it comes back into line with Record 1. This only requires you to stroke the record against the flow, not actually pull it back. You may wish to apply light pressure to the side of the platter where the strobe dots are.
-Secondly, move the varispeed slider back so that the record is now also spinning a little slower than before. (You have to estimate the amount required. Sometimes you will change the speed too much or not enough requiring you to repeat the process).
Fig.6
Scenario B- Record 2 Is Slower (Begins To Fall Behind Record 1)
Either because it starts out slower, or because you have overstepped the mark in correcting a faster record, Record 2 way start to fall behind (Fig.7). Notice how, despite starting together, Record 2 is moving through the beat count (and consequently its hit-points) slower. By the end of the bar, Record 2 is again out of sync with Record 1.
Fig.7
Again, in order to correct this situation, you need to do two things.
Correcting The Pitch Of A Slower Record (Fig.8)
-First manually push Record 2 forwards so it catches up with Record 1. This only requires you to gently encourage the Record with the flow, not actually shove it forwards. Too much push and it will lurch ahead.
-Secondly, move the varispeed slider forwards so that the record is now also spinning a little faster than before. (Again, you need to estimate the amount required. Sometimes you will change the speed too much or not enough requiring you to repeat the process).
Fig.8
You may well need to perform the above steps numerous times; each time becoming more and more accurate until you hit the correct speed. Correcting the speed to match the beats of two records is a process of elimination; trial and error until you have it.
Sometimes you will end up with the two turntables spinning 10% away from each other; other times the difference may only be ½%
Even when you think you have the two records running in sync, you will need to keep concentrating on the beat alignment incase one starts to drag behind or pull ahead of the other.
Performing A Mix (Fig.9)
When you are happy with the result, bring Record 2 in using the fading technique. If you have got it right, the two records will be mixed as one. If you have got it wrong, they will clash in an alarming way! Every DJ has done this many times, so don’t worry. Simply re-cue the records and have another go! Often it is sensible to re-cue anyway so that you can choose a good place to drop your mix.
Fig.9
It is advisable at all stages to keep the headphones on your head so you can reference the second record as you mix it in. Many DJs lose a mix because they take their headphones off just as they bring it in. Unless you are very experienced at ‘ambient mixing’, this is a foolish thing to do. You may well correct the speed of the wrong record if the mix starts to slide out, therefore making the clash worse!
Remember, beatmatching is a challenge, so don’t be disappointed if you struggle to mix two records at first. It takes time, and when you finally get it, you will have every reason to feel that you have achieved something!
By: Daniel Rampling