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Viewing 15 posts - 76 through 90 (of 106 total)
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  • in reply to: Now that's a gig! #2010572
    Eliah Holiday
    Participant

    Betcha the promoters is all like “Oh yeah it’s safe, we do it all the time.”

    in reply to: DJing in Mono on large sound systems #2009616
    Eliah Holiday
    Participant

    I assume clubs run mono systems because it’s cheaper than rigging everything up for proper stereo. It’s really rather ridiculous. Like they say for production “Make sure you check your mix in mono.” but I’m like…Why should I diminish my music and creativity just so someone can listen to my tunes out of one speaker? These days you can call Japan from a wristwatch and yet people still listen to stereo recordings in mono? If you can’t afford a stereo listening device chances are you aint buying my tunes anyways.

    Now, a long time ago I was in a small club that installed…I think it was a quadrophonic sound system, that was pretty cool as most rooms are well..Square boxes. At any rate, perhaps what needs to happen is a “club mix” of music that works with a kind of surround system in a club. Imagine sounds that go beyond just L + R but 360 degrees.

    in reply to: Sample Rate Confusion #2009131
    Eliah Holiday
    Participant

    Yeah marketing and the odd chance you might play something at a higher rez. Like CD quality may be the standard but that’s like the floor, well…God help us there are people who DJ with youtube videos and 128K MP3s but I digress…

    When you get into samples and loops the quality can shoot up. I think I’ve herd of producers releasing sample or loop packs at 96K 24bit. Too if you make your own tracks you might want to bring them in at better than CD quality. You think about it though, what clubs actually have an audiophile level sound system? Add to that your audience who are semi-deaf and drunk…Well, I never heard anyone come to the DJ booth and say “Wow, the clarity in the upper frequency range is amazing.” or “Wow, the subs sound amazing below 80hz without sounding boomy at all.” etc. etc.

    in reply to: Sample Rate Confusion #2008990
    Eliah Holiday
    Participant

    If the sample is 44.1K then that is the upmost quality you get. If you re-render with your audio interface at 48K then you get the original quality of 44.1K but now it’s at 48K. Like if you made a WAV of a MP3 you’d get almost 10x the file size for what still sounds like a crappy MP3. Interesting note here is that you can run a DAW at 44.1K and compose at lower buffer, because you save on CPU, and then render out at a higher sample rate for quality and mixdown the stems where buffering is not so important.

    in reply to: Sample Rate Confusion #2008906
    Eliah Holiday
    Participant

    Actually for your own stuff, if your computer can handle it, go 88.2K 24Bit. When you do final render to 44.1K 16 Bit, because it’s a division of two, the anti-aliasing filtering is better. Otherwise 44.1K is fine. I think the 48K for digital movies came about because the film companies like to push Dolby, THX, surround sound, et al. and so the higher rez for film sound on digital (home theater systems became the dominant hi-fi once music listeners started predominantly listening to music via pirated crappy MP3s on computer speakers or portable MP3 players). 96K I think is for master film scores and anything higher is mostly B.S. Never understood audio interfaces that only do 48K.

    in reply to: 1st EVER pair of djing headphones #2008900
    Eliah Holiday
    Participant

    Sony 7506 on budget, Sennheiser HD 25 II if you got the extra cash.

    Eliah Holiday
    Participant

    Not to hijack but do headliners ever say “OK don’t play any of these tracks.”?

    in reply to: Two tracks at the same time #2008677
    Eliah Holiday
    Participant

    Really depends on the kind of EQ. For the most part twisting the EQ bass knob all the way down kills most if not all the energy of bass frequencies. However kick drums and bass can also have resonance higher up the EQ band (hence why I think the Xone mixers have a 4-band EQ). At the end of the day just watch the meter levels and listen for any increase in volume. The issue is if the music gets louder with the mix then it can excite the crowd a little bit but then you fade out your initial track and the volume drops and so does that energy. I’ve noticed a lot of big name DJs will actually go a little quieter during the mix from one song to the next.

    in reply to: Trap? #2008655
    Eliah Holiday
    Participant

    Trap kinda reminds me of Miami Bass or whatever that genre was during the auto sound system craze. I think nowadays it’s Hip-Hop that borrows from Dubstep. Checkout online music stores like Beatport for their top 100.

    in reply to: How are you EQing ? #2007922
    Eliah Holiday
    Participant

    Not really understanding your question but…

    Here’s how I’ve been currently doing it (note you should be well familiar with the tracks you are working with):

    Start listening to track you want to bring in on your headphones. Does it start with a heavy kick or low end bass? Mids and highs only? All of the above? How does the track you want to bring in compare to the one you are playing frequency wise? If for example they both have a solid kick drum well if you add one low frequency sound + another similar one at the same fader level you get something like +3db volume increase (sound theory here), which is undesirable. So one of them should be reduced to accommodate the other. So, you are already beatmatched up, you lower or kill the Low EQ on your incoming track (as example but you could do it the other way round), pull your headphones off, begin fading up the new track to about same level as playing track, then slowly (or abruptly) lower the Low EQ on track 1 whilst raising the Low EQ on track 2. If you time it right the frequency range of one track replaces the other without an increase in volume level.

    You can do the same with mids and highs as well. Swap out one for the other. Sometimes I got two tracks playing and I just swap out elements top to bottom. Trade one HH pattern for another (Hi EQ), one snare for another (Mid EQ), one kick drum or bass for another (Low EQ). Well, it’s a little more complex than that if you want it all to sound super sweet but you get the general idea. Nina Kraviz does this extensively which you can see/hear here: http://youtu.be/xogJgUteDAs

    Eliah Holiday
    Participant

    http://www.sonicfaction.com/Home/Home.html

    Here’s the link I tried to post above. Seems the link button no worky for posts.

    Eliah Holiday
    Participant

    If you got the money Ableton Live Suite, if not then Logic Pro X. Then get a midi keyboard. If you get Ableton then check out:

    Aira is pretty cool, if you want to record all that into a song though you still need a DAW.

    in reply to: Cool little fader/controller #2007489
    Eliah Holiday
    Participant
    in reply to: Questions About Digital Downloads #2007235
    Eliah Holiday
    Participant

    Logically from the label or distributor the digital track should be off the master (tape or more likely digital) not the dubplate. But mystifyingly I still find new releases that were ripped from the dubplate as when you beatgrid you can see the drift back and forth. For best quality on tracks that don’t have normal wav, flac or aiff releases see if you can hunt down the CD.

    in reply to: Legal Advice with a DJ Name #2006130
    Eliah Holiday
    Participant

    You could just put “DJ” before it. Like…I’m pretty sure there is at least one DJ Jesus and God’s letting it pass.

Viewing 15 posts - 76 through 90 (of 106 total)