Hi all, in DJing sometimes you want to throw sounds, samples, and effects to your sets as maybe just for fun, or transitions (especially with transitions of drastic BPM, throwing samples and/or effects will help a lot), or to diversify your sets. For that, you need to see the www.findsounds.com. I found it across a forum, and it's not perfect but will help all of us. Enjoy:)
Hi all, some of you might wonder where could DJs got so many tracks everytime they play a set. Well, here are lists of online tracks store that you can visit. Enjoy:)
www.DancetracksDigital.com
www.masterbeat.com
www.audiojelly.com
www.beatport.com
www.digibag.com
www.djdownload.com
www.perfectbeat.com
www.playittonight.com
www.traxsource.com
www.stompy.com
Bolds are the famous sites. Go Check them out!
Hi all, yesterday i posted the in-depth of how to beatmatch. I did mention about "pitch Bending", beatmatching using the pitch slider. This post will give you more knowledge of how to beatmatch with the pitch slider only. This method involves and requires the ability to identify whether a track is too fast, or too slow, and then making fluid adjustments of the track. By that statement, i encourage you all to understand and able to do beatmatch in general, like what i posted before. It will be hard to understand this post before you understand the general beatmatching.
First thing you need is to have the records playing. I heard so many people that told me use simple and identical songs (or even same songs on both decks) to learn beatmatching, and it is true, i recommend this method, while gradually moving to more complex songs. Put one song on, set the pitch slider at 0%. when you are ready to play the other record, monitor the beats with your headphone. (if you are using the same record as the first one, just put the slider other than 0%, faster or slower does not matter.)
Next, use your ears, does the other record you about to drop is too fast or too slow. Track too fast, decrease the pitch settings (-1, -2, -3, -4, etc), and if the track is too slow, increase the pitch settings (+1, +2, +3, +4, etc).
After you adjust the pitch slider, identify if it begins to play on or moving the correct tempo. Now the part that you won't like, you have to wait until the beats play in the same time, rather than trying to correct it immediately. Now you zip that pitch-adjust 3/4 of the way back up towards where you started out. Generally speaking, this will be too fast, but not AS fast as it was before, and you’ll hear the beats go from being too slow to being matched to being too fast. Again, push the fader down 3/4 of the way from where you were at LAST time you adjusted, and listen to see if it’s too slow or too fast. If it’s too fast, just repeat the process as listed above. If it’s too slow, go ahead and slow it down further, but remember that there’s no need to go as slow as you did the previous time, since we know that’s too slow to be properly matched (Sweet! you will be happy at this point).
Now, just keep adjusting in small intervals until it really beatmached/harmonized/whatever the word is (you know what i mean), to maintain the beats, because sometimes, there is a very little gap like 0.04% between the BPM. You won't notice it at the first place, but later it will start to make this weird, disastrous beats, as it gradually unmatched (i dont know if it's a correct word). Just simply move the slider back and forth very - very tiny (imagine a ping-pong game, badminton game, tennis, just see the movement of the ball), to prevent the disaster.
This is the image of what i am talking above:
-8%……………………|……………………+8% FAST (forward +6)
-8%……|……………………………………+8% SLOW (Back -6)
-8%…………………|………………………+8% FAST (Keep reducing the gaps +4)
-8%………|…………………………………+8% SLOW (-4)
-8%………………|…………………………+8% FAST (And it keeps going on and on until it matched)
-8%…………|………………………………+8% SLOW
-8%……………..|………………………….+8% FAST
-8%…………..|…………………………….+8% SLOW
-8%…………….|…………………………..+8% FAST
-8%……………|……………………………+8% MATCHED
Notice how the adjustments being made get smaller and smaller as you approach the point of having it perfectly beatmatched. Now your tracks are beatmatched. Woo! Once you get the hang of this method, and what you need to be listening for to use it successfully, you’ll find that this process gets faster and faster until you get to where you can have a new track beatmatched in 32 beats (or less!) with very little effort. From this point on, it’s just a matter of KEEPING the tracks beatmatched, but you should have an accurate enough match to start out with, now, that you can do very minor (1mm) corrections and never really need to do them more than a couple of times during a nice, long mix. I hope this helps, any comment will be very appreciated, Enjoy:)
Hi all, this time i will talk about how to find a key of a song. You can use free piano software from djprince.no in its download page, or if you have a budget get the Mixed in Key software (this is the best and you won't need to read further of the post).
You’ll want to start playing the song loud enough so that you can hear both the piano and the song at relatively equal volumes. The goal is to find the “root” key (the single key that blends in the most with the song at all times). This can be harder than it initially appears since the root key can actually turn out to be just part of the chord for the key of the song, or just not the right one at all so be sure to double check. It also helps to play keys both higher up in the register as well as the lower.
After you have found what you think is the best candidate for the root key, your next goal is to find the chord that best fits with the song. This for me, was much much harder than finding the root key. If you are using the piano program from DJ Prince’s site, all you need to do is select either major or minor from the auto-chord button on the bottom right. If you’re using a normal piano or something similar, you’ll want to play the 4th and 7th keys up for a major chord (i.e. a C major chord would be C - E - G) and the 3rd and 7th keys up for a minor chord (i.e. a C minor chord would be C - D# / Eb - G). What you will need to do is play both the major and minor chords for the root key to see which best blends with the song. Now here’s the kicker… if you’re like me you may have screwed up when you found the root key… to make sure you get the right key of the song you’ll also need to play the major and minor chords for the notes 5 steps up and 7 steps up (the perfect fourth and perfect fifth keys). To find these you would count each key as 1 step moving up the scale.
For example if you were using G as your root key, the key five steps up would be C (the perfect fourth) and the key seven steps up would be D (the perfect fifth).
At this stage you should be checking a total of 6 chords for the key of your song. The first 3 are your major chords. One is the major chord for you root key, one is the major chord for the key five steps up (the perfect fourth), and one is the major chord for the key seven steps up (the perfect fifth). The other 3 are your minor chords. One is the minor chord for you root key, one is the minor chord for the key five steps up (the perfect fourth), and one is the minor chord for the key seven steps up (the perfect fifth). The chords for the perfect fourth and fifths may or may not sound better than your initial idea of the root key. If they do sound better than go with it - it most likely means the root key was wrong. Once again, I find that it is extremely useful to play a variety of low and high chords for the same note when looking for the key of a song. For example the low G minor chord may not sound quite right to you, but a high G minor chord may fit perfectly. Play around on the keyboard to find out if it’s easier to hear higher or lowers chords.
After you have found the keys of your records you will want to label them to be able to mix harmonically. Fortunately there is quite a bit of info on how to mix harmonically at both the site above, and at harmonic-mixing.com which will tell you everything you need to know about mixing with keys. My last bits of advice are that you write the keys of your records in pencil, because you most likely will have screwed up on a few and it’s a pain to re label records. Second bit of advice is to double check the first records you key ‘d once you have gotten through a lot of them. This is because you most likely will have gotten better at it over time and thus much more accurate.
* This is another tips you need to remember, there is major, and minor keys right? The major usually gives you this "happy", "uplifting" feeling while you hear the song. The minor keys gives u this "sorrow", "chill", etc (i dont know what else to describe it, but i believe you know what i meant). I hope this post is helpful, enjoy:)
Beatmatching is a fundamental technique of DJing. Beatmatching is a must for every genres you play while DJing. Well, Beatmatching is simply taking two songs and matching their Beats Per Minute (BPM) so both songs can harmonize and play on the same time together.Is that good enough introduction for you? i hope so:)
Beatmatching is used to make transitions from song to song much smoother than just playing one song over the next and fading the volumes, that is the reason this is an important part of DJing. In other words, you can play two songs at the same time, only after it has been beatmatched (it needs some practices fellas). You all know that just playing one song after the other is not enough (are u a radio or a dj, right?) Actual beatmatching helps keep a constant flow of energy and as a result, makes the crowd happy (good for you:)). Things wouldn’t sound as nice if DJs didn’t beatmatch, songs would collide with each other and create a disastrous sound that will turn people away from the club and maybe they will see you another time:P.
In order to learn how to beatmatch, you must understand what exactly are beats and BPM’s. If you have played the drums, or have taken lessons on musical theory and the like, beatmatching will be a lot easier if not basic to you. For those of you who are less musically inclined, it might take a little longer for you to get the hang of beats and musical structure.
BPM is how people rate the speed of a song. It means how many beats occur within a minute time period in a song. For those of you who know a thing or two about music, BPM will dictate the speed or tempo of a song. The more BPMs in a song, the faster, and the less BPM’s in a song, the slower it is. For instance, a 135 BPM breakbeats track (song) is way faster than a 102 BPM hip hop track. So let's say the beat is like this: Bum - Bum - Bum (this is the kick) and keeps going, count to one minute and find how many beats are played within the one minute range, and you got the BPM, Still with me?
Counting beats is fairly simple once you figure out what beats are and how to train your mind to broaden its short attention span. Seriously, counting beats can be really confusing to those starting out because of all the overwhelming sounds and different elements of the song that are colliding in their ears. But, great news for you, CD Decks and softwares now can count the BPM for you, so nothing to worry about this counting anymore (Nice huh?)
Now i believe you know what beats are and why counting beats is important, you can begin counting them. The key to proper beat matching and phrase-matching is knowing your records. Learn the structure of the track (e.g. intro, breakdowns, build-ups, outro). Try to differentiate the parts of the track, like when a melody is started, or when the hi-hats enter the tune. Different styles of music will have different structures. Also, be sure to learn the different styles themselves. A hard techno track will have a significantly faster beat than a slower ambient track, and therefore would be hard to mix properly. This will help you pick tracks that will sound good together, as well as help you time your tracks perfectly. The more comfortable you are with your records, the more you will have that extra advantage!
Basic ‘techno’ or dance style tracks are made up of repetitive beats of a regular tempo. This makes it pretty easy to distinguish between phrases. Most of the time, tracks are made up of riffs containing four beats pr bars. You can listen to a track and count the beats, 1-2-3-4, 1-2-3-4. Phrases can be any multiple of 4 bars (4-8-12-16 etc.) in most typical techno, house and trance tracks. How can you distinguish a phrase? Simple, really! Phrases usually begin with the introduction of a new sound, such as a new or different melody, or the introduction of hi-hats to the track. Not all records are the same though, sometimes you may have to pass through up to 16 or 32 bars before a phrase begins (or ends), so, knowing your records is key in this department. Let's move on to how to change the speed of the beats/songs.
The pitch (or speed) of a track can be altered in one of two ways on a typical turntable. You can either adjust the pitch slider (up or down, +/-) or physically touch the record or platter. At first, it’s best to become familiar with the turntable and touching records.
The simplest way to practice manipulating vinyl is to go out and buy two copies of one track (that’s what I did). It’s best to find a track that you not only like, but is simpler in form (e.g. has a standard 4/4 beat, clear, sharp bass, is not super fast, and doesn’t have any complicated melodies). Slap on both records and fire up both decks. Put the pitch at 0% on both. Put the needle down on deck #2 and slide the x-fader over to that channel so deck #2 is playing… Make sure your cue or PFL settings on your mixer are set so that you can ONLY hear deck #1. Now, put the needle from deck #1 at the beginning of the track and rotate the record with your fingers (preferably near the label, or a blank spot on the record, as to not get the grooves dirty…hopefully, you have slipmats which will allow you to rotate the record back and forth without interference with the platter itself. Now, rotate the record slowly until you find the 1st beat or BOOM on the record. Now, practice rotating the record back and forth, getting the needle to pass over this first beat over and over. This is a form or scratching actually and is called ‘cueing’ the record. This is necessary to start the incoming record at the precise time, vital to proper beatmatching.
With deck #2 spinning, listen closely for the phrases. Now scratch over the first beat on deck #1 on every beat while counting in your head, 1-2-3-4, 1-2-3-4, etc. When you feel ready (at the proper phrase) try to release (with a slight push) the record on deck #1 to match the 1st beat of a phrase on deck #2. If done correctly, both records should now be in sync, 1-2-3-4, 1-2-3-4, etc. Practice this until you feel ready to bring in a record in at the right time. You have learned about cueing, now let's really get into the beatmatching part.
Grab two different records, preferably of the same genre or style, so they’ll be in the same range of BPM’s (you don’t want to mixing fast hard techno with slower funky house). Fire up the decks and play deck #2. Cue up deck #1 and let it play. You’ll notice at first that the two tracks match for a few bars, but then quickly get out of whack. This is, obviously, because their pitches are different. Listen carefully to deck #1. Is it faster or slower than the live track? Let’s just say, in this case, that it is slower. Cue up deck #1 again. Use the pitch slider to add some pitch (+) or speed to the incoming record. Hopefully, both records will be roughly in sync. But you will still notice they’re a little off. Using your fingers, you can speed up the record or slow it down. To speed it up, you can either manually spin the record (closer to the edge will be more noticeable, closer to the spindle will be more subtle) or twist the spindle of the turntable. To slow down, you can press down on the label of the record, or drag your finger along the platter. You can also twist the spindle to slow down the platter. This is good for minor adjustments. Adjust the pitch again until you reach the right pitch. Hopefully, the beats will be in sync, or at least close. Keep adjusting the pitch and using the above methods until you reach a match.
Once a match is made, slide the crossfader over to the incoming record, and there you are! you made a mix! Congrats.
When i said in-depth, it is in-depth, so i'll give you more advance beatmatching, pitch-bending.
Now that you’ve somewhat mastered the basics of beatmatching (this might take you weeks, even months of practice!), you can move on to pitch-bending. If you’ve ever taken a good look at some of the top DJ’s doing their thing, you’ll notice that the only time the ever touch their records is when cueing them up! This is because they use the pitch bending technique, a technique that only requires the use of the pitch slider. This technique is not for everyone, and might be a little more complicated than the “hands on” version, but it results in a smoother mix.
Fire up the decks, and play deck #2. Cue up deck #1 and listen in your headphones to determine if it needs to be faster or slower. Adjust the pitch to where you think it should be. Now, you’ll notice its time for adjustments. Instead of touching the record, the platter or the spindle, use ONLY the pitch slider to speed up or slow down the platter. If deck #1 is lagging behind deck #2 (lets say, deck #1 needs to be at +5% pitch to be perfectly beat matched, but is now at + 4%), use the pitch slider to speed it up, by slamming it all the way up to + 8% for maybe a second, and bringing it back down to just above where it was before. You should hear in your headphones the beats coming in sync. If, again, the record is still lagging behind a bit, bring up the pitch to speed up the record (but not too much) and then set it ever so slightly above where it was before. OOPS! Now deck #1 is too fast! Well, slam the pitch slider down a couple %, and bring it back up just a touch below where it was originally. You should always keep an eye on where the pitch is before you pitch bend, so you’ll have an idea of where to bring it back. See, essentially what you’re doing is using the pitch slider to speed up or slow down the record, rather than make more noticeable adjustments by touching the record or platter itself. Once you’ve go these techniques down, you are ready to mix! BE CAREFUL: The key of the song might change if you use it (usually) more than -/+ 3%, this technique can make girl's voice into a dude voice, unless your Decks have the key-lock feature.
Keep practicing, everyday, at least one hour people, and keep open your ears and mind. Enjoy:)
Hi all, Here we go again with the beginner DJ Articles set Part 4. This time we'l talk about mixers. Mixers come in a great variety of shapes and styles, and the specific functionality (fancy features i can say) can vary widely. These fancy features can be confusing to a new DJ, as will, quite possibly, some of the more basic features. We'll that is the purpose of this post, let's eliminate those confusions:)
As you can see on mixers specifications, most of them range from either two to four channels. This means you can either attach two, three, or four sources (turntables, CD players, mp3 players, etc.). Many models also allow multiple (usually two) sources to be connected per channel, with a selector switch on the face (the top of the mixer, where the faders, switches, and knobs are located). On a four-channel mixer, this multiplies the four sources into eight. If it's still confusing, just hang on.
Mixers are usually set up around the different channels. If you look close, a majority of the features are divided up into the number channels the mixer has. Usually, all the controls of a channel are in a column spanning the vertical axis of the mixer. I hope that is an enough explanation on the "channels". Do you see all of those buttons, and knobs on the mixer? They really do play important roles for you.
I'm going to explain in a 2 channel mixer now, since it is the most basic type of mixers. If the features of your mixer are not listed here, check out the owners manual that came with it and it will probably give you a good idea of what it is there for once you have the very basics down. If all else fails, just post your put your questions in the chat box or comments.
1. Crossfader - When you see a DJ "scratching", you will notice that one of their hand will be placed on a slider, and the other on the turntable. That slider is what we called as a "Crossfader". It is usually located at the bottom of the face of the mixer. This slider allows the transition of sound from channel 1 to channel 2 (left deck to right deck), and vice versa. A lot of mixers have a crossfader slope selector of some kind. This simply changes the crossfader slope, altering how the channels come in and out when the crossfader is used. There are usually two settings, “Cut” and “Fade”. When set to cut, when the fader is moved, the channel will go from silent, to full volume very quickly. When set to “Fade”, the channel will go from silent, to full volume gradually.
2. Crossfader Assignment - With this function, you can assign how do you want the crossfader to work. Some mixers use knobs on each side of the crossfader, while others may have a switch on the face, or front panel. Other mixers may have what’s called a “hamster switch.” This simply reverses the channels. So if full left on the crossfader selects channel 1, with the hamster switch on, full left would instead select channel 2. Just as in all other features, specifics vary between brand and even in between models within brands.
3. Up/Channel Fader - These are the volume control of the each channel. You can see these faders are in vertical columns (it's very apparent, don't worry). All the way up is full blast, and all the way down is no sound at all.
4. EQs (Equalizers) - You got a radio, home theater or anything that is a sound output? they have the knobs written "high", "mids", and "low" (or treble, bass, etc) right? DJ mixers also have them. Some of the cheaper mixers just have two (High and Low), and some of the higher end mixers have four (High, Midhi, Mid lo, Low). EQs are used to cut, attenuate, or accentuate certain frequencies out of a track. They are sometimes accompanied by a “kill switch,” which, when activated, will completely remove the desired frequencies. The EQs are a very useful tool for mixing, and it's fun as you can change how a record may sound.
5. Gain/Trim - The Gain or Trim is like the “master” volume of the each channel. Usually located directly above the Eqs, above the channel fader. the gain/trim can be used to reduce, or increase the volume of a track that is louder or softer than the track currently playing.
6. Headphones - Headphones are used to monitor music that is not playing “live” but “queued”. in other words, one deck will be heard by the crowd, and the other one can only be heard by you through the headphones, which you will mixed later on. Usually, there will be some sort of method to select what channel you want to monitor in the headphones, usually buttons or a switch located on the face. Also worth mentioning is features on many mixers which allows you to monitor the live channel as well as the queued channel. This allows you to “premix” as I like to call it. You can listen to the live channel and any other channels at the same time, and fade between what is live and what is queued using a knob, or fader. Use this one for beatmatching, so when the crowd hear the next songs, they already matched.
This is what you need to know before choosing a mixer: Cheaper brands use cheaper, inferior parts. Other brands use quality parts, which drive up the price, yet gives the consumer a superior product. Also, the more expensive mixers, of course, will have more channels and more fancy features. If you are a starter bedroom DJ, there is absolutely nothing wrong with getting your hands on a mixer that costs no more than a hundred and fifty bucks. My personal feeling is it is actually better to do this, than go all out and buy a twelve hundred dollar mixer. A simplistic layout will be more conducive to learning, and usually a simple, cheap mixer will be all new DJ really needs. When it is time to move up to a bigger mixer, make sure what you are getting is really what you need. There may be some features you will never use and will simply be wasting money on.
Scratch mixers are more conducive to a scratch DJ. They are prepared to be abused. A good crossfader for a scratch DJ will also feel “loose,” and will easily slide from one side to the other. This makes it easier for the DJ to manipulate the crossfader quickly. Scratch mixers are usually simple two channel mixers, as a scratch DJ usually needs no more. There are, of course, many scratch mixers out there with multiple channels and more features. Once again, features vary a great deal between all the stuff out there.
Getting a good mixer is definitely a big part of your mixing. Just because a mixer is big, fancy, and expensive doesn’t necessarily mean you need it. Do some research, fine which is the most suitable with your condition and budget. i prefer personally to give more budget to the turntables or CD Decks, since they are the ones that will play the songs. I just don't want the songs suddenly skip to the other part of it while playing to the crowd, it is not good for business. Enjoy:)
http://www.bidvertiser.com/bidvertiser/images/blank.gif?bdv_ver_code=BDV-714392-BDV
Hi people, In part 2 of this article sets, we talked about how to begin DJing with turntables, and now it is the time for me, to introduce you to CD Decks (or i guess most of you know about it already).
a CD (short for Compact Disc) is a digital storage device, for you who somehow doesn't know what a cd is, or just get out from a cave for 20 years or so. A CD can store up to 700MB of data, or 80 minutes of high quality music, all in a package about 5″ in diameter.
CD decks will have a number of features that will allow you to treat the CD (in some shape or form) like a record. Here are the features:
1. Pitch Control- Just like on a turntable, the pitch control allows you to crank up or slow down the speed of the music. CD players usually have a much greater range of adjustment when compared to turntables.
2. Jog Dial/Wheel- This feature can be the tricky part of getting the hang of a CD deck. You can’t physically put your hands on the CD, or platter (because there usually isn’t one), so this is the feature that the “early” CD decks implement. Find any older CD deck, and take a look at the jog dial. It’s a big round dial, usually situated directly in the middle of the unit. As the music plays, you spin it clockwise to speed up, or counter-clockwise to slow down the music. This has the same effect as using your hand on a record to speed it up or slow it down. The pitch changes from using the Jog Dial are temporary, and the pitch will return to the setting of the pitch control when the wheel is stopped. So be sure to use the pitch control to finalize your adjustments.
3. Platters- This feature even newer, more “high end” CD players (like Pioneer CDJ series) now feature a physical platter on the deck itself. This platter is meant to give a more unique vinyl feel, one that was not as genuine on a deck equipped with a jog dial. Variations on the exact functions of the platters appear in brand to brand (for instance, the Denon S5000’s platter rotates, like a turntable, while the Pioneer SDJ-1000’s platter remains stationary). Just give the features a good read before you choose the one you are going to purchase.
4. Cue Point- Here is a feature you can’t find on a conventional turntable. Cue points (also known on some brands as “hot cue”) let you “save” a point, or multiple points, on any given CD into temporary memory on the deck itself, a compact flash card or removable media. Simply pick your cue point, hit play, and viola; your CD starts at the exact point you set in memory.
5. CD-Start- Yet another feature not available with most conventional turntables (there are remote start tables, and a modification is available for the Technic SL1200 tables). This feature is usually only available when you couple your CD deck to a mixer of the same brand. Either side of the cross fader on the mixer can be assigned to automatically start the CD deck. Have your CD cued up, hit the cross fader over, and the CD starts playing.
6. Standard CD features- Just like any other CD players (in your car, home theater, wherever)you can find these mighty features: Play, pause, stop, seek, and search. All these features you see on your car or home CD player show up on virtually any DJ specific CD deck.
You play the CD Decks just like you would a record on a turntable. Cue up your track, start it at the appropriate time, keep it beat-matched, and then mix however your style allows you.
There are two basic “setups” when you’re looking at CD decks.
1. Tabletop- Tabletop decks do just what their name says, they sit flat. The newer, “vinyl emulating” decks are mostly all tabletop, yet some of the older decks that employ a jog dial may be considered tabletop as well. These units are all in one, meaning the entire system consists of only one piece.
2. Rack mount- Rack mount simply means they are built with a rack in mind. This in no way means they have to be rack mounted. These units usually employ a jog dial, but a few of the newer models employ some vinyl emulation with the jog dial. These systems may be setup to use one or two CDs at the same time. Systems that allow usage of two CDs simply look identical on the left as the right. Rack mount units also come in one and two-piece setups. On one-piece models, everything is in one large unit. Two-piece models have the slots for the CDs on one piece, and the controls are on a separate piece, joined together by a data cable.
That gives a basic look at the CD decks out on the market. CD v. Vinyl has been a big debate between DJs. Both have their advantages and disadvantages when compared to one another. This debate will be addressed in an upcoming article, Enjoy and keep updating:)
Hi all, you know that one thing about buying a DJ equipment package is that it generally includes essential components that all DJ’s must have to pull off a successful event. If you play vinyl, of course you will use turntables, right?
Well, In most packages online stores or what ever stores that sells DJ equipment, theturn tables are included, generally two of them. Maybe there are some packages that gives you useful accessories like "slipmats" and "Dust-cover", packages that include cartridges, or some packages that also includes a mixer(interesting huh?).
If you are a turntablist, you actually can found lots of packages, and some of them come from the "big names", like Stanton. they have a packages that even includes a headphone (other than the rest we discussed above), in an exciting price too. However, please clear out your mind from those "price and # of equipments listed", and just find one that suitable for you (practice, live, mixing, etc), and it will be worth it. Just one more information for you, get the direct - driven turntable rather than the belt - driven if you want to DJ with turntables, it has more torque, which means more power when you are scratching. Enjoy:)
Hi all, i found this helpful article and this is how to pick your mixer. Enjoy:)
The DJ mixer is a key piece of DJ equipment. Choosing a DJ mixer can be a little confusing at first.
I have aimed this buyers guide at the novice DJ who is doesn't have a strong grasp of what features are important in their DJ mixer.
There is a huge variety of DJ equipment out there so I have boiled it down to three mixers that I have used and rate highly. Use these DJ mixer tips to save your wallet!
I'll take you through the best features and I have also recommended what I think are the best DJ mixers at 3 different price ranges.
If you don't like the selection, there are more selections in our web store:)
DJ Mixer Tips #1 - Budget Mixer
I think for your first mixer you should spend around $100. At this price I recommend the Numark DM1050 which is on special at the moment only $79!.
This mixer is fine for practicing on and playing out at parties. But I found cheaper mixers often have a buzzing noize coming out of the mixer over really powerful sound systems. This is why you pay for a better mixer if you will be playing over big systems.
As you can see it is also compact for easy transportation. This is quite good value even though it is a 2 channel mixer. It has a mic input as well so you can mix two turntables/CD players and a MC on a mic together all at once and adjust all three levels so it sounds good.
If you've got a mate that fancies themselves as an MC then you can have some fun practicing your mixing while they practice their rhymes.
Another important feature is that this mixer has 3-band Eqs. This is a requirement for DJing. You must be able to cut the bass separately in the mix so that it sounds smooth.
This mixer also lets you listen to each channel in the headphones independently of the main output so that you can beat mix properly (get the next track in time).
The problem with this type of cheap mixer is that the crossfaders are of low quality. After a few months you may get some clicking noises from the crossfader and of course this mixer is not high enough quality to use with a big sound system.
DJ Mixer Tips #2 - Middle Price DJ Mixer
If you want to get a DJ mixer that will let you do a lot more live stuff in your sets then I recommend you get the Vestax VMC-180 3-Channel House / Techno Mixer. This mixer retails for less than $400. This is another compact 3 channel mixer. But also lets you adjust the level of 4 mics.
Having more features in one mixer is a good idea. You can always chain mixers together but you will quickly degrade the sound quality and increase the complexity of your setup.
This would be great if you wanted lives drums MC and vocals. The channels can also be sent to an effects unit for even more interesting sounds.
It has 3 channel Eqs and kill switches on each Eq. Kill switches let you kill the bass, middle or trebles instantly and are fun to play with and can create some interesting effects.
I have used one of these and they have amazingly quiet and smooth crossfaders. This mixer would be perfect for playing over a big sound system in a club.
DJ Mixer Tips #3 - Top of The Line
If you can afford a little over a grand, then get the Pioneer DJM-600 Pro. I have used this mixer a few times and love it. This is a four channel mixer plus 2 mic levels. One thing it has is the ability to mix the signal running into the headphones.
The fantastic thing is the built in effects and BPM counter. I have used some cheap mixers with beat counters and they were completely worthless. I have used this mixer and the DJM-500 beat counters are good enough to mix with.
So if you can't beat mix (don't know how or are too smashed) then this DJ mixer will calculate the BPM of each track to you can get them in time with no effort.
The other fantastic thing is that the built in effects can be synchronized with the BPM of your tracks so that you get delays in time. This is really effective for vocals.
This mixer has all the other required features for DJing. 3 band Eqs high quality faders and LED level indicators. It is also a great DJ mixer for using CD players.
You can also assign the crossfader to any of the 4 channels so that you can effortlessly change from mixing off CD or vinyl. It has a Fader Start Play function that overrides the pause control to start the music when the fader is increased.
Of course if you want what I think is the best mixer for reasonable money then take at look at the Pioneer DJM-800. This is a serious piece of DJ equipment.
Well, there are some of my Mixer tips, so pick one suitable for your pocket, and what you want to play, Enjoy:)
Hi all, you are about to invest quite lots of money in DJing, so here is the post on what to get when choosing your decks if you are using turntables. Enjoy:)
here are several features that are a must, and several features that depend on what your style of mixing asks for.
Belt driven v. Direct drive what's the difference?
There are two basic designs for the operation of the platter; belt driven and direct drive.
Belt driven turntables have the actual motor that spins the platter (the part you put the record on) offset from the center of the platter, and a belt (often nothing more than a big rubber band) is looped around a shaft extending from the motor, and connects to the bottom of the platter.
Direct drive is a bit different setup. The motor is under the platter (usually the spindle, the "needle: on the center of the platter, is part of the motor), and directly rotates the spindle and platter. Some tables (like the Technic SL1200s, and Numark TTX1) have a hefty magnet under the platter, and another on the motor. This is designed to increase torque, and response when the motor starts spinning. Others (like the Stanton STR8 Series) rely on the weight of the platter resting on the spindle to turn the platter. Effective, but it makes the platter easy to stop.
What does this all mean to a DJ? Well, as a DJ, you're going to want the most accurate equipment you can buy. Belt driven table will not give you this accuracy, no matter how good the manufacturer boasts about it, and how much it costs. These decks are wonderful for a listening station, but please do not purchase a belt driven table, even if you are just starting out.
So, why do some tables cost so much?
Ahh… good question. When you're digging around on www.pssl.com, or any of the other millions of DJ reseller sites out there, you will find a plethora of brands, models, makes, and variants. This can be very overwhelming for the first time buyer. Some cost $99, some cost up to $799. What's the deal!?
Generally speaking, you get what you pay for. I am not going to try to push any specific brand or model in this tutorial, but I will give some facts that will be helpful in your purchases. The cheaper decks usually are belt driven, which we have decided we want to try to stay away from. These are the decks that are usually around 100-200 bucks a pop. Next on the price list, you have your mid-level decks. These usually are direct drive, but have a lower power motor (we will get into power specifics a bit later). These run around 200-300 per deck. Last, you have your higher end models. They consist of higher torque motors, more features, and are generally the better decks to purchase. These decks run in price from around 300 dollars and up. Remember though, you don't necessarily need to buy the most expensive deck on the market.
What about torque and a turntable?
Different turntables have different motors, and different torque outputs. The general idea in a turntable for a DJ is the more torque the better. If you plan on doing any scratching or fancy turntablism, high torque is a must. If you are interested in any deck in specific, go hit their website. Most of them list all the technical info regarding their products. On a side note, you may also hear the terms "wow" and "flutter" fly around from time to time. Wow and flutter is Instantaneous variations in the rotational speed of the turntable platter. In easier to understand terms, the higher the wow and flutter, the less accurate your turntable is going to be.
What does that big fader on the side of the turntable do?
That is the pitch control. All it really does is speed up and slow down the motor, thus speeding up and slowing down your record. This is used to match your records to the same speed so you can mix. Some turntables have different speeds available. Most all have the standard +/- 8%, and some have an optional +/- 16%.
So why do some turntables come with a straight arm, and some a curved one?
These different tonearms are designed for different applications.
The curved arm (or S-arm) is set up so the grooves in the record will "pull" the needle across the surface of the record, twords the center of the record. This is the more traditional style, so to say. S shaped arms wear records the least, and have the best sound quality.
The straight arm is used in scratching applications. The nature of the straight arm helps reduce skipping when scratching, but the tradeoff is increased record wear, and lower sound quality.
There are the basics of what you need to know for a turntable. Take all these specs and features into account when you're making your decision on what to get. A substandard setup can make you think you are not performing at the level you want, and thus you may quit all together.
Hi all, so you want to start spinning the records? here is the 1st part for you who wants to start DJing. Subscribe to this blog and find more updates for this category. Enjoy:)
General
So you want to be a DJ, but have no clue what you’re doing? Are you a complete noob? Well then, this article is for you. This is the first of a series or articles that will help explain some of the basic questions that seem to come up from time to time in the forums.
First. what does all that gear do?
It all depends on what it is exactly you want to do, but here are the basics that will point you in the proper direction.
You are going to need some sources of audio. The turntable (record/phonograph player) has been the standard for as long as DJing has been around. If you have turntables, you have to have a cartridge/needle to pick up what is on the record. As technology progresses, so do the opportunities, which is where CD decks and MP3 decks come into play. Some of these new decks will play strictly CDs that are in the format a store bought CD comes in, whereas others play MP3s solely, and some play both formats. Once again, it is all in what exactly you’re looking for.
You also have to be able to do something with the sound. Ever see those massive mixing boards for rock bands or music studios? DJs use a much smaller scale version of that, dubbed the DJ mixer. They usually come anywhere from two all the way up to six channels, meaning you can connect anywhere from one to six different sources. The main difference between the massive mixing boards and DJ mixers is the addition of some DJ specific features, like the cross fader, and a revised layout designed to be simple to use in low lighting situations.
Now that you have the sound source, and something to manipulate it, you need an output source; in other words, you need something to make the sounds come to life. An amp, stereo receiver, or all in one shelf system (for home applications) works just fine. At home, a decently powered system will be just fine, however, larger events will require high wattage amps and powerful speaker (such as at a rave or club). Of course, once you secure the power source, you need speakers to round out your system. Once everything’s hooked up, you’re ready to rock and roll.
There are a few DJs out there (and I emphasize the word few) that prefer to mix on a computer. There are several programs out there that allow you to “mix” mp3s or wavs on your home PC. My personal experience really has not been good with these programs as they can be somewhat hokey, and not accurate at all. If you have no money, and what to get into DJing, it’s a good place to start and get some theory going, but in my opinion, (and most others) it is quite beneficial to get some hardware going.
This should help you get started, and answer a few questions you may have about what’s needed to become a DJ. There will be several more articles going in depth and picking apart what all the equipment is, as well as some more interesting stuff that will be of interest to the newbie DJ.
Hi all, i just found this when i surfed across youtube. A guide of how to dj by James Zabiella. This is a great guide by a fantastic DJ. Hope this useful. Enjoy guys:)
Part 1/8
Part 2/8
Part 3/8
Part 4/8
Part 5/8
Part 6/8
Part 7/8
Part 8/8
Here is the Ziddu's download link:
http://www.ziddu.com/download/5741877/In-depthinformationonaudiospecifications.doc.html
Enjoy
Here's the Ziddu link:
http://www.ziddu.com/download/5741923/MixingGuideVol2.doc.html
Enjoy
Here is the Ziddu Link:
http://www.ziddu.com/download/5741924/BEATSTRUCTURES.doc.html
Enjoy
Here is the Ziddu Link:
http://www.ziddu.com/download/5741922/In-depthMixingGuideVol1.doc.html
Enjoy
Next: Mixing Guide 2
Digital DJ Media Controllers enable you to spin and mix off your personal computer, iPod, internal or portable hardrive or even a USB card. With the proliferation of Digital Media Controllers on the market today, many users are unsure as to what technology to go with. We always suggest learning to DJ using turntables as this is the most intuitive method of seamlessly mixing two tracks together (although many of these controllers allow you to you to control your digital files using regular turntables). If you have many digital files and not much accessability to record shops (we recommend buying records on-line at satelliterecords.com), using Digital Media Controllers is a viable option. One series of products employs time-coded records and/or cds played on standard turntables or DJ CD players so you dont lose the feel of spinning records or CD's. Popular products include Rane Serato, Stanton Final Scratch, Mixvibes, Numark Virtual Vinyl, PCDJ, etc.)
Another new set of products pairs a a Digital Media/MIDI Controllers with a DJ software program. The sound is then processed through a soundcard and pushed into your computer. Very recently, there has been a slew of these Controllers hitting the market, leaving you with options that best suit your needs. Many of these controllers now have soundcards and mixers built-in as well as jog-wheels which closely emulate the feel of spinning records or CDs. Popular products include M-Audio Conectiv and Torq Xponent, Numark Total Control and iCDX, Hercules, and Behringer BCD Series controllers). Additionally, many of these conrollers now include popular version of DJ software (often Lite versions) so there is often no need to purchase software. The software functions to assign most audio formats to each channel (or the same track for a juggle). The audio is then channeled back out through the soundcard to the mixer which hooks up to a home stereo, self-powered/active speakers or an amplifier/speaker combination. Many DJs like to choose best-of-breed hardware/software combinations - not necessarily all from the same company. Thanks to their low-cost factor, lightweight design, almost limitless song storage capacity and amazing functionalities combined with the proliferation and high accessability of digital music files, many say that this is the future of mixing and spinning. Others say there's nothing better sounding and dependable than analog records. We feel it really depends on individual preference, budget, and portability requirements. These new-age controllers are amongst our hottest selling products. In addition, there are now many mixers made by high-end and innovative companies such as ecler and Allen & Heath and the Rane TTM-57 SL that enable you to control these programs via Midi Control knobs built right into the mixer for quick control!
Unbalanced Lines
Unbalanced signal lines are characterized by the fact that the cable and connectors use only two conductors, a center conductor surrounded by a shield. Examples of unbalanced wiring are found in tip/sleeve ¼" cords or the cables used with many CD players and tape decks which terminate with RCA phono type connectors.
In an unbalanced configuration, the shield surrounds a single center conductor. The shield stays at a constant ground potential (as it is connected to ground when plugged into equipment) while the signal voltage in the center conductor varies in a positive and negative manner relative to it. Because the shield completely surrounds the center or "hot" conductor and is connected to ground, it intercepts most of the electrical interference encountered by the cable and passes it away harmlessly to ground. Because the shield is one of the two conductors required to complete the circuit, it must always be connected at both ends of the cable. This may set up a condition called a "ground loop" that sometimes produces hum when the grounds of different pieces of electrical equipment are connected to each other.
If outside electrical interference does manage to penetrate the shield, it will mix with the desired signal that is present in the center conductor and be amplified right along with it as noise, buzz, etc. This might not be a huge problem with cd players, tape decks and unbalanced microphones when the cable is only a few feet long. But in environments containing a lot of interference or when an unbalanced signal is sent long distances, such as down a snake, it will become more and more susceptible to unwanted interference. This problem can be alleviated with the use of balanced lines.
Balanced Lines
Balanced lines are characterized by the fact that there are two center conductors for the signal, usually surrounded by a shield. This shield is connected to ground like unbalanced lines but it is not required as one of the signal conductors. The sole purpose of the shield is to provide extra defense against unwanted interference. A benefit of this configuration is that the shield only needs to be connected to ground at one end of the cable in order for it to work. Having this ground disconnected or "lifted" at one end can eliminate the ground loop problem discussed in the previous section on unbalanced lines. The two center conductors of a balanced line act as the sole conduit for the signal. If any unwanted electrical interference enters these signal conductors, it will interact with both center conductors equally but with the same polarity. The effect in the receiving circuitry is that these same polarity voltages can be made to effectively cancel each other out and the noise disappears. This ability of balanced lines to reject noise and interference makes them popular when it is necessary to send signals over long distances.
Cable Types
The XLR cable (3 prong) This is a common microphone cable. May also be used as a line level cable for gear that has balanced ins and outs. These cables can go long distances, even to another room if required. their lock-in mechanism make them more secue than 1/4" cables.
Speakon cables are used predominantly in conjunction with PA equipment such as speakers and amplifiers and offers the most secure speaker connection.
The 1/4" TRS "Tip-ring-sleeve" cable (2-conductor plus ground) This is a cable for balanced signals just like the XLR above, it just has different connectors. Note that TRS cables are typically used for mono, not stereo, signals in most studio gear. The exception being the headphone jack.Like the XLR these cables can go long distances, even to another room if required.
The TS "Tip-sleeve" cable (2 conductor "phone jack") This cable is for unbalanced signals. These cables should be kept as short as possible. Keep them under 12 feet and away from power transformers (wall warts) or they may pick up dreaded hum and ruin your audio signal.
The RCA Cable ("home stereo" cable) Because each cable in the RCA pair ) only has 1 conductor plus ground, it is for unbalanced signals, just like the TS cable above. Keep them as short as possible. Mostly used to connect input devices such as cd players,cd decks, effect machines, etc that are located in the DJ booth.
A variation on this is the Soundcard 1/8" stereo plug to dual RCA. Its very helpful with consumer grade soundcards and some laptops. Keep them as short as possible.
Most experts say that it's a good idea to spend as much as you can on the turntables, then whatever you have left on the rest of your gear. You can use a decent mixer with good decks without too many problems, but not even the best of mixers is going to compensate for bad decks. Plus, it's a lot cheaper to upgrade a mixer when you get to that point than it is to upgrade your turntables.
Turntables
The first thing you really have to make sure of is that there is a control on the turntable which allows you to adjust the pitch (the pace at which the record will be played at) of the record. Just a 33 or 45 RPM setting is not enough. You're looking for something that will allow the pitch to be adjusted by AT LEAST + or - 8%. The larger the pitch control, the better. One that runs most of the right hand side of the turntable is preferred and is the industry standard for pitch control. The length allows more fine adjustments than just a small control on the front of the unit.
The next, and biggest choice you have to make when you are on a shoestring budget is whether to buy DIRECT DRIVE or BELT DRIVE decks ('decks' are another word for Turntable or CD unit). Direct drive decks are by far the preferred means of powering the unit. Belt Driven decks use a rubber belt and an intermediate mechanism to drive the deck, a lot of the power and accuracy is lost through the transfer of power. This means that the pitch settings that you choose might not be held long enough, meaning the tempo or speed of the song you are playing will change while in use, causing havoc when trying to beat match. It also means that the deck does not have the power (or TORQUE) to withstand the vigors of scratching, and has a slower start-up time.
Slip Mats
The purpose of the slip mat is to reduce the friction between the record and the turntable to the point where you can hold the record still, and the turntable will still turn underneath it.
At the very bottom, is the deck plate or platter. Make sure to take off the removable rubber mat that comes with the deck (NOT the rubber coating, the rubber mat). On top of that goes the slipmat, and on top of that goes your record.
Mixers
The purpose of the mixer is to change the sound you hear from one devices output to the other ones - without having a break in sound. Typically, this means that deck 1 is in Channel 1 and deck 2 is in Channel 2. To change from one channel to another, a cross fader is normally included on the mixer, which, as you move it, moves the sound from one deck to the other.
The problems that you'll encounter with a very basic mixer should only add up to sound quality issues.
Most mixers have a headphone cue feature. With a headphone cue, you can listen to (monitor) the "Cue" turntable or deck that ISN'T currently playing out of the speakers. A cue dial may allow you to listen to the unheard turntable deck and the "Master" (playing through the speakers) deck at the same time. Some will have a slider or a rotary knob which lets you adjust the volume at which you hear either of them. This allows you to be more precise when it comes to matching the beats.
Headphones
Do not underestimate the need for a really good set of headphones. When you're in the middle of a noisy booth, they're your only way of monitoring and making sure the mix goes well.
Things to Look for when buying Headphones:
Lightweight - So they don't hurt your head and ears after they've been on for a couple of hours
Closed back - So that they cut out a lot of background noise
Low impedance
Wide frequency response
High Sound Pressure Level measured in dB.
The top of the line Sony, Pioneer and Technics DJ headphones have swivelling ear pieces to make single ear monitoring more comfortable. You may desire models with a cable on only one side so they don't end up twisting around your neck.
Amplifiers
The signal that comes out of the mixer is barely strong enough to power your headphones, so you need something which will amplify this signal, enabling it to drive a pair of speakers.
There are three choices on how to do this:
1) Buy a separate amplifier and speakers. This can be a bit costly, but it is a great way of doing it.
2) Plug the output cable into either the CD or AUX port in the back of your stereo (if you have one).
3) Using POWERED speakers. These are speakers with a built in amplifier, so you plug them into a power socket.
Q - I've connected everything, but I can't hear anything out of the mixer through the heaphones.
A - 1) Do you have your headphones plugged in, turned up, and switched to monitor the right channel?
A - 2) Is the switch between LINE and PHONO set to the right one?
A - 3) Is the mixer on?
A - 4) Have you plugged the input device (CD/Turntable) into the channel you expect to hear it from? Check all the other channels to see if you can hear it in one of them, if it's in the wrong one, then plug it into the right one!
Q - Everything is playing fine through the mixer, but I can't hear it through the amp.
A - 1) Is the amp turned on, volume up, and switched to the correct mode?
A - 2) Are the speakers connected to the AMP? (stick a pair of headphones into the amp, see if you can hear it then).
A - 3) Have you used the correct inputs of the AMP, and the correct outputs of the mixer?
A - 4) Is the MASTER control on the mixer turned up?
Q - Why is everything distorting badly when using my CD players?
A - 1) Check the inputs of your CD players into the mixer. Make sure you've put it into the LINE input. It will distort badly if you accidentally put it into the PHONO inputs.
Q - Why is everything really quiet when using my turntables, even when everything is turned up to maximum?
A - 1) Check to make sure you've plugged your turntables into the PHONO input. If you've put them into the LINE input, they'll be very very quiet.
Q - Everything sounds nice through the mixer, but distorts through the amp.
A - 1) Have you turned up the input level on the AMP too high? Turn it down a bit, see if that helps.
A - 2) How strong a level are you pumping out of the mixer? (Try not to put it above +5dB)
A - 3) Check to see if you've plugged into the PHONO inputs by accident (Change it to the LINE IN inputs)
There's probably a hundred other things that could go wrong, send us an email if you're still having problems.
