DJ Vintage
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DJ Vintage
ModeratorNice job! I can hear the darkness you talk of.
One thing from a sound engineering perspective. It seems (especially in the first 30 seconds) that the “hi-hats” sound relatively sharp. I know my hearing is gone in the higher echelons, so I am used to hearing “duller” sounds. For me to find something actually sound sharp in the highs, usually means it is a tad too much for “good” ears. Nothing major, perhaps just a point of attention when mastering the mix.
Greetinx,
C.ModeratorWhat crap is that ?!? Pay to convert from one format to another ???? PFFFFFFFFFFFF
When you buy a record/CD you don’t buy the actual song of course, just the right to play it. To limit that right to be allowed to ONLY play it in the original format you bought it in is totally and utterly ridiculous!. I think that once I paid for the right to play a certain song (like all the stuff I bought on vinyl in the old days), I am entitled to now download the same song in WAV format and change it to whatever format I like. And I would, as a matter of principle, refuse to pay for conversion “rights”. T
Sue me.
Someone in government figured a way to make a few bucks?
My head is still reeling … unbelievable.
We have some comparable issues here. If you are a business, even a 1-person business, you have to pay a fee to play music (recorded or radio) in your “office space” even if that is your own attic. So, let’s say you are a writer and you sit in your “office” all day and write for a living, you have to pay to listen to the same music that you can listen to for free in the same space when you are not “working” anymore like at night and on weekends. How silly is that.
You have to state if you DO or DO NOT play music. And if it is DO, you get charged. Regardless if you play music you paid for, stuff on the radio, anything. If you say you DO NOT and they ring your doorbell, you open and they hear music in the background, you are toast. Big fine. Stupid.
If I walk in an office building where there is music playing in the foyer, or while on ‘hold’ on the phone and I hear a tune I like, I might go out and buy a copy. If I were an artist I’d want people all over the world to hear my music in (semi-)public and commercial environments. As long as it is not offered in a way that allows high-quality recording of it, I’d be fine with it.
This is the whole reason you hear bloody Muzak in elevators! You get cheezy orchestral remakes of already shitty music. Why? Because they can escape paying fees for music being played in a public space. Not because it is such nice music.
It never ceases to amaze me how short-sighted people in legislative positions can be when it comes to setting up rules and regulations. They are always ment to keep control and/or make you pay for what you are doing. Never geared towards creating a good working environment. They are always limiting, never enabling.
A miracle there is still growth despite all these silly rules and regulations. 🙂
Greetinx,
C.ModeratorDJ Homei, post: 41216, member: 5649 wrote: I’ll offer an anecdote that may help, and a question to expand the topic a bit:
1) People just want to hear their favorite song over and over again
… although I never played the same song every hour and (normally) don’t play any song twice in one night/set, when I was working as a resident DJ in 5-star hotels on 4- to 5-month contracts, I WOULD create “anchor points”. For example in Germany on the busy nights (fri/sat) where we’d have the (predominantly the same) local crowd, there were two songs I’d play every night at the same time. At 23:00 (place opened at 21:00 and I’d just be playing background music and making PR with the guests) I would turn off ALL the lights (including emergency lights) in the place and start two search lights while playing the helicopter intro from the album version of Pink Floyd’s ‘Just Another Brick In The Wall’. Noboby would dance til that moment, but the moment I did a light show during the rest of that track, the floor would be instantly packed. It was like a signal to the crowd “the party has started”.
At 00:00 I would do another elaborate light show during Frankie Goes To Hollywood’s ‘Two Tribes’ (some remix 12″ version or another) which signalled a picking up of the pace and got things really going. It was NEVER an issue in that regulars came and told me to change that, everyone loved it.2) What’s your DJ honor code about repeating songs (especially for internet mixes)?
I try to never repeat …… I am fully with you on this one. It kinda shows creative poverty, doesn’t it? Same place as I referenced earlier. ‘I just called to say I love you’ by Stevie Wonder was flavor of the year LOL. It got requested at least hourly all night every night. Played or not, totally irrelevant. When someone came up to me and requested it yet again, I told him I had already played it, perhaps before he came in? No, no, he had been there all night, but wanted to hear it AGAIN. I said I couldn’t play it anymore because it was broken. How did that happen he asked. I told him “like this”, laid the 7″ on the edge of my DJ booth and just slammed it in two. He left with his jaw between his knees. I then went on the mic, held up the pieces and said that by playing the song so much it had broken. I told the crowd I would get a new copy (I actually had one laying around) but I could not play it more than once a night for fear of it breaking again. So, please stop asking for it.
However, the ‘no repeat’ rule creates a dilemma …
… I can see that happening. Been a while since I made serious mixtapes (like since forever), but one of the things that worked for me back in the day was to use that immensely popular track as a kind of main thread, going in and out of it. It would be repeated several times in a mix, but just a verse here or a break there or whatever. Just 32 beats here, 8 there, acappela’s if I could find them. That way I could make a 10-minute mix that kept coming back to or was centered around the same theme, yet be able to stick in all the other songs I wanted to profit from the “fame” of the central track.
What do you guys think?
Just toy around with things, find other -less known- tracks and weave them in, having Bjork as an ‘anchor’ creating the a-ha experience while dropping in all the other stuff you want to introduce to your audience.
Greetinx,
C.ModeratorI don’t think the sound card processes the key pitch, this (my understanding) is done by the actual processor of the mediaplayer. Usually ASICs (application specific Integrated Circuits) in older equipment. In newer equipment you see more “general” processors running Linux adaptations for example. My old Numark D2 Director for example was running a Numark linux version.
I think that only the processed audio (i.e. after pitch) is offered as input for the sound card and the sound card does the same with any signal (pitched or non-pitched) which is translate digital pulses to analogue waveforms. And garbage in means garbage out. Hence my guess that it is not the sound card at fault. Every 16-bit 44K1 sound card should do just fine, really.
Ok. Will give it a try. 2% does not sound as enough of a pitch correction to cause problems on my SC2900s. Will look at it this weekend and let you know.
Greetinx,
C.ModeratorHumm, wonder what is the root cause of that. How big a difference in bpm (%-wise) do you mix apart?
The bigger the pitch shift the more work the player has to do. And it can come to the point where it becomes pretty ugly.
Another thing, since you are mentioning synths and pads, is that these instruments can produce pretty “unnatural” waveforms. But I am just venting a few thoughts here, nothing from experience.
I have two SC2900s and haven’t noticed such a thing. Can you give me two tracks that always do that on your 1200s and 1 or 2 tracks that definitely don’t do it and I’ll play them on my SC2900s and see what happens. Perhaps I can hook up a recorder and tape the sound coming out of the main or record out of the mixer and send it back to you? Would that be helpful?
I think the processing power in the 2900s is way beyond what was ever in the 1200s and the sound cards inside them are awesome, as are the ones in my X1600 mixer (Traktor Scratch certified).
Good to meet another long time Denon afficionado :). You don’t want to switch to Pioneer, LOL. If you are used to Denon quality at Denon prices, your are gonna feel so … mmm … what is the politically correct word … just fill in the blank … when you switch to the “big” Pioneer tickets at almost twice the price.
Greetinx,
C.June 6, 2013 at 10:10 pm in reply to: Tempo does not readjust after jogwheel scratches (MC 3000 and Traktor) #41049ModeratorYep, I think it should hold the sync when you nudge it. Not sureif it should if you use vinyl mode though. The bpm it jumps to is totally random? Not the original bpm of the track before sync?
I have the MC6000 which is effectively the 4-channel version of the MC3000 (or rather the other way around :)) and have never experienced this problem.
Can you remember if this happened after an upgrade (either firmware on your MC3000 or Traktor Pro)?
It is relatively easy to save your current settings and reload the default mapping from Denon. Might be worth giving that a try. Just to see if the problem occurs then as well. This would eliminate the mapping as the potential culprit.
Another thing to try is installing Traktor on a second PC (or laptop), borrow one if you must, and hooking the MC3000 up to that (with all the standard settings). If the problem re-occurs, you know for sure it is not your Traktor (software) installation. If you know someone else in your neighborhood with an MC3000, you could try borrowing that one. Again, if the problem recurs, that would eliminate your controller.
The only worrying factor in this process of trouble-shooting is that it has worked for a while, then started to malfunction. The worry part is in that if you try one of the suggested steps, it might SEEM to work properly but could go wrong a month from now again.
Hope this is of some help to you.
The audio could be a latency problem. Might wanna check into that. Let me know if you need help there.
Another possible cause might be your are running things a little too hot. Where analogue is forgiving in that things get progressively worse, digital is not. It sounds fine til you reach the treshold. Go over it and it sounds like … brrrrr. Several causes possible for running too hot, both settings inside Traktor as external track preparation tools (things like normalizers for example).Hopefully I can have a look at my MC6000 setup this weekend and see if I can replicate your problem.
Greetinx,
C.ModeratorJust looked at the official product video again. As I surmised … the Auto Loop Button is what activates and controls it with now iDevice attached. If you have an iPad hooked up you have a very nice panel with all the 1/16 1/8 /1/4 etx fields for quick loop length selection.
Although I am still wondering about the location on the back and how much “wobble” it has when you try to do touch stuff on the iPad, I figure I can get a pro iPad holder that I can fix on the edge of the flightcase it would go in and not worry about that. Since it connects wirelessly no need to worry about the cable length.
Definitely gonna have a look. Sell the MC6000, buy this one in it’s place … mmm.
Having said that, I am still playing around with the iDJ Pro, which is even smaller and more compact. I just do not like DJAY. It was the first DJ app I ever tried on my then iPhone, but it was never more than a gimmick. I would love to see a landscape Traktor DJ for it (with decent mappings) or DJ Player (Gabor needs a unit to make a mapping, contemplating about sending him mine lol).
I can see myself ending up with three setups hahahaaha.
Greetinx,
C.ModeratorThere is a turn knob that says Auto Beat Loop. I am guessing it is also pressable. Press it once = activate loop (the amber light comes on or turns green – who knows), press it again = deactivate loop. Turn knob while activated = change loop length. Something like that then. Perhaps when you activate loop you’ll get something in the display.
Oh well, still playing around with the best “secondary” setup. Relatively compact, no laptop needed, versatile. Even not being a big Pioneer fan, the fact that is also has CDs makes it suitable. Will go have a play with it when they are in a showroom somewhere near me.
Greetinx,
C.ModeratorTerry_42, post: 41186, member: 1843 wrote: I would still prefer the DDJ-SX by a huge margin for pro use.
But I can see this appealing to consumers who have lots of CDs or just want to show up with the unit and an iPod to a house party.And how does that answer my question?
ModeratorOh yes, Parliament … Bootsy!
ModeratorIs it just me or are the loop buttons missing?
ModeratorGo for it and good luck.
Greetinx,
C.ModeratorDirty Hippie, post: 41161, member: 4027 wrote: Chuck gave excellent advice there! …
Stop it! I am blushing … no seriously, keep going! LOL
ModeratorYeah, but the good part is they are easily configured from your iPad. If you buy something else, you’ll often need a laptop to do serious work on it. And a little (gigabit) switch, 5-ports is easily found and cheap.
But yes, if you want all in one, you might want to consider the Extreme I think it is called.
Greetinx,
C.ModeratorAt least you have a boat! I go everywhere on bicycle …
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