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-- BPM issues when mixing with USB's
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I'll bet 100 bucks, that the "no kick drum after the break" is a product of inproper phrasing.

your tracks might be drifting (naughty naughty illegal mp3), but this sounds like a case of lack of effort. practice is key. cdj is pathetically easy to mix with, keep at it. the less you rely on what the machine tells you, the better you will be.

imagine trying to play a classic record that is a bit warped because of age, and riding that pitch like a black man rides Kim kardashinan. mixing is easy if you use your ears and not counters.

/redundant

Guys, again, when theres a slight difference because of a wrong reading. Its OKAY with Trance tracks, because most of them don't have long kick-drum less breaks after a minute in or so. (This is when I kill the bass from the previous track and kill the volume slowly, thats how 140 BPM trance tunes are mixed most of the time, except tracks with a crecindo then kill the volume of the previous track as the crecindo reaches its end.)

Pitch bend with the platter when a train-wreck is about to happen by adjusting it clockwise or anti-clockwise (if needed even) and that should be fine for the transition period.

But its when harmonic mixing a track with a break then a kickdrum (Prog House tracks mostly) is when this issue is irritating. In anycase, I'd just have liked to have less time adjusting/pitch bending and what not and have more time to interact with the crowd or decide where I take the set.

I understand the point being made that I need to rely on my ears more, I take that into account of course and agree with it. But for the last two years or so, when mixing with CD's, the counter has been reliable in a sense both tracks will be rounded up a BPM higher/lower at the same percentage and I'll end up beatmatching two tracks under a minute, and to cue/prepare an incoming track takes seconds. See if they are beatmatched in my headphones and I just have loads of time as the track plays before I have to bring the second track in.

quote:

Originally posted by Zyklon_Jay I'll bet 100 bucks, that the "no kick drum after the break" is a product of inproper phrasing. your tracks might be drifting (naughty naughty illegal mp3), but this sounds like a case of lack of effort. practice is key. cdj is pathetically easy to mix with, keep at it. the less you rely on what the machine tells you, the better you will be. imagine trying to play a classic record that is a bit warped because of age, and riding that pitch like a black man rides Kim kardashinan. mixing is easy if you use your ears and not counters. /redundant

More than half my tracks are bought, and I admit the others aren't, still they are all 320 kbps mind you.

quote:

Originally posted by Amir_9 I know how to beatmatch two tunes, when they are both the same BPM it takes a matter of seconds for me to mix them. As I already said, even if its not accurate or there a slight difference as the situation is now, I can pitch bend the faster tunes and its all fine. But this is a huge issue with tunes that have no kickdrum after their break. When I have the technology there for me that I've paid for, I should expect no less.

lol you can still beatmatch without the kickdrum. there is always some kind of rhythmic pattern going on somewhere.
none of the current players with BPM counter will get it 100% right all the time.
in any type of live situation you'd be better off just learning it by ear 100%.

quote:

Originally posted by Amir_9 More than half my tracks are bought, and I admit the others aren't, still they are all 320 kbps mind you.

that doesn't have anything to do with drifting, it may be a vinyl rip. Just because a blog says that something is 320, it does not make it so.

I'm not your mom, but buy your music.

quote:

Originally posted by Zyklon_Jay I'm not your mom, but buy your music.

^this!

quote:

Originally posted by Amir_9 Guys, again, when theres a slight difference because of a wrong reading. Its OKAY with Trance tracks, because most of them don't have long kick-drum less breaks after a minute in or so. (This is when I kill the bass from the previous track and kill the volume slowly, thats how 140 BPM trance tunes are mixed most of the time, except tracks with a crecindo then kill the volume of the previous track as the crecindo reaches its end.)

Erm... can you post some examples of your mixing for us?

quote:

Originally posted by Zyklon_Jay I'm not your mom, but buy your music.

That was very very pointless.

I already told you, and I'm going to tell you once again, I've bought more than half my music. When I run the ones that have not been bought through Rekordbox, Mixed in Key and whatnot, the bitrate is 320 kbps. The size of the MP3 file determines that it is 320kbps as well AND EVEN IF that STLL means it may not be 320 kbps, I get inaccurate readings with some bought tracks as well, which leads to the drifting off issue, in anycase I'm not someone who faces this issue all the time, as I know how to mix, beatmatch and pitch bend. This is just a small nuisance, hell even the drifting off is not noticable live because its not a train-wreck, fixed within a matter of seconds by pitch bending.

Don't take what I said in any form of rude manner, please, im just stating my case.

You are heading a bit far now.

quote:

Originally posted by SYSTEM-J Erm... can you post some examples of your mixing for us?

http://soundcloud.com/amirhussain/d...-prog-house-mix

The last transition is what im talking about, kill the bass of the previous when the incoming track hits home.

quote:

Originally posted by DJ NyX lol you can still beatmatch without the kickdrum. there is always some kind of rhythmic pattern going on somewhere. none of the current players with BPM counter will get it 100% right all the time. in any type of live situation you'd be better off just learning it by ear 100%.

That I am aware of, and will start practicing to do more.

quote:

Originally posted by Amir_9 That was very very pointless. I already told you, and I'm going to tell you once again, I've bought more than half my music. When I run the ones that have not been bought through Rekordbox, Mixed in Key and whatnot, the bitrate is 320 kbps. The size of the MP3 file determines that it is as well. Oh and for the record, I get inaccurate readings with some bought tracks as well, you are heading a bit far now.

You better watch your tone, young man.








Don't you dare speak to your mother that way!

quote:

Originally posted by Amir_9 That was very very pointless. I already told you, and I'm going to tell you once again, I've bought more than half my music. When I run the ones that have not been bought through Rekordbox, Mixed in Key and whatnot, the bitrate is 320 kbps. The size of the MP3 file determines that it is as well. Oh and for the record, I get inaccurate readings with some bought tracks as well, you are heading a bit far now.

that is a lot of telling for someone that doesnt know how to mix properly.

you are an idiot.

ps I can re encode a 128kbps file to 320 and the file size will be bigger, and your software will recognize it as 320 even if it isn't really.

jobber for life right here. good luck with that.

quote:

Originally posted by Zyklon_Jay that is a lot of telling for someone that doesnt know how to mix properly. you are an idiot. ps I can re encode a 128kbps file to 320 and the file size will be bigger, and your software will recognize it as 320 even if it isn't really. jobber for life right here. good luck with that.

Okay if you say so mate. I already told you that the inaccuracy readings occur with bought tracks too in the re-edited post. I appreciate your input. I can mix just fine. There was no need to take offense whatsoever, as I did not mean it in an offensive manner.

quote:

ps I can re encode a 128kbps file to 320 and the file size will be bigger, and your software will recognize it as 320 even if it isn't really.

Yeah this fact went completely over my head, I know this is possible, just forgot about it. So thanks.

I recorded this from a warm up set I had to do not so long ago and the issue has only happened once, Its not a nuisance completly. At 50:20

http://soundcloud.com/amirhussain/dj-amir-techno-prog-house-mix

quote:

Originally posted by Zyklon_Jay I'm not your mom, but buy your music.

Completely irrelevant to the thread.

Get off your high horse before I kneecap it.

quote:

Originally posted by Amir_9 I can mix just fine.

Maybe so, but at the risk of flogging this point to death, the more skills you've got and the less you rely on certain features, the better you'll be able to cope in live situations.

You might turn up to a gig and find the CDJs haven't got tempo readouts. You might turn up and find the CDJ platters are screwed so jogging to keep a track in time isn't possible. A CDJ might have a hissy fit and get the tempo completely wrong, or even worse - just slightly wrong.

Everything's more pressured in a DJ booth, so anything that can throw you out could result in things going tits up.



It's best not to actually rely on ANY feature of your equipment. This includes tempo readouts, cue mix, a crossfader, EQ, FX, jog wheels, monitors, pitch control, the CDJ display as a whole, or even a mixer(!) Any of it could be broken or just not present on the models you're faced with in a club. I've endured deficiencies in all of the above at some point.

Imagine taking any part or feature of your setup out at random and think about how you'd still make your set as good as possible. The show must go on n' all that.



Ok, so that's at the more severe end of the scale, but you could start by learning more transferable mixing skills which aren't hampered by an inaccurate CDJ400. You might even enjoy it.

quote:

Originally posted by Zyklon_Jay that doesn't have anything to do with drifting, it may be a vinyl rip. Just because a blog says that something is 320, it does not make it so.

or it could just be bad music

Just go out to a store, pick up some black tape, paper or something that you could place over the display. Only exposing the track number. Displays are never accurate.

Also don't rely solely on Rekordbox. I use it too. But only for cue points, and for the fact that if you don't use it before hand, a 2000 takes forever in a day to analyze a freaking song. Yes I exaggerated about the cdj but you get what I'm saying.

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Re: BPM issues when mixing with USB's

quote:

Originally posted by Amir_9 This problem is really starting to annoy me, I own a pair of CDJ-900 and a CDJ-400. First things first, I already put my tunes through rekordbox for the CDJ-900 USB, I had to, mainly because it gives me a retarded BPM reading when its not gone through rekordbox. Right, so this is the issue here, my bpm pitch is �10, that means it goes 1 BPM up when a tune reaches 0.40% increase. But the problem with some tunes regardless of BPM, some go up by 1 when it reaches 0.35% One thing I realized today was tunes that are below 130 BPM go up 2 BPM up at 1.20%, 130-136 go up 2 BPM up at 1.15% and 138+ go up 2 BPM at 1.10%. At least thats how it is on my CDJ-400. Does anyone ever have inaccurate BPM readings when using USB's? This never happens with CD's

Don't get a shit of what you just posted. I know tunes that changes tempo but it's not common. What did you mean by "my bpm pitch is �10, that means it goes 1 BPM up when a tune reaches 0.40% increase"?

Ok so your pitchcontrol is 10% either up or down but the rest i don't get.

quote:

Originally posted by idoru Solution:

Yes vinyl would save the day. *uck! CDJ's and shit!

Cheers for suggestions/help guys. Its not a big issue, will just continue as I am. Such a small change in BPM is not a problem to deal with.

Just initially thought someone has encountered this problem before.
The CDJ-400 has been more reliable for me than anything else so far.

quote:

Originally posted by Stu Cox Completely irrelevant to the thread. Get off your high horse before I kneecap it.

you must be Russian. go ahead you twat.

Re: Re: BPM issues when mixing with USB's

quote:

Originally posted by EddieZilker Clearly, you're through the looking glass, so there's no point in keeping this problem relating to shoddy craftsmanship much of a secret, any more. For years, songs written in one tempo have been subject to this clearly arbitrary "pitch" adjustment "scheme". Using the pitch fader, in order to increase or decrease the speed of music playing, has relied on relatively little, if any, correlation to the actual tempo of the music. Now that you've blown the lid off of this scandal, maybe these insinuations that the fader is related to the BPM of the song instead of how fast the platter is spinning will finally come to a rest. The reason they've fooled you into thinking that the pitch relates directly to the tempo is because it affects how quickly the song plays! This is something all the major manufacturers have tried to keep covered up! WHY?!?! Because, if Pioneer made a product where pitch was a static value proportionally related to the tempo of the music their products were playing, no one would ever buy it. Therefore, what Pioneer and numerous other manufacturers have done is to make a product where pitch is a variable proportionally related to the BPM of the music their products are playing! WHAT ALLOWS THEM TO GET AWAY WITH SUCH PATENTLY FALSE ADVERTISING? They claim that changing the Revolutions Per Minute (RPM) changes the Beats Per Minute (BPM) of the music playing on their faulty, bad, evil, vile, dangerous products! It comes down to this disingenuous equation: CAUTION: Discontinue trying to figure this out if you feel dizzy, light- headed, nauseous, or if you develop a head-ache, and call your doctor or poison control center, immediately. Tell them you have been exposed to beginner's algebra. You SEE?!? It would have been impossible for them to have made a product where the pitch was a static value because it would never, in a million years, sell! Therefore, they made the BPM a static value while making RPM variable. In so doing, they could use this mathematical mumbo-jumbo to formulate an entirely theoretical new value for the BPM in the readout of these supposedly "accurate" machines. THE MP3/FLAC SCANDAL! Back in the old days, DJ's were relegated to how quickly a platter spun in order to change the speed of a record. Tempo was arbitrarily decided by musicians and producers. In order for a DJ to change the speed of the record, he'd have to change the speed of the record player spinning, normally, at 33.5 or 45 revolutions per minute. One would have thought that the advent of portable digital media formats would have released DJ's from using this draconian system of tempo control. Unfortunately, musicians and producers, to this day are allowed to make completely arbitrary decisions about how quickly their musical events occur in relation to one another. While the platter, spinning at up to 10,350 RPM, on the cd player has been replaced with complex algorithms which track a frame-rate synchronized with a "word-clock" - whatever that means - the DJ is still relegated to controlling a pitch value, intrinsically related to the original tempo of the song. The worst part about frame rate and word-clock is that THEY ARE COMPLETELY UNRELATED TO THE ORIGINAL TEMPO THE MUSIC WAS RECORDED IN! SELL THE HOUSE, SELL THE CAR, SELL THE CDJ's, FIND SOMEONE ELSE. FORGET IT. I'M NEVER COMING BACK. FORGET IT. The end result is that there's no possible way to be sure, unless you play music which is either sixty or even one-hundred twenty beats per minute. With so much music being written in tempos well outside those two values, you'd have to have successfully completed the seventh grade with honors classes or have a tremendously good sense of rhythm to be able to consistently beat-match. It's practically impossible!

quoted for archival, posterity, and funnies

I learned the "always be prepared" rule first-hand this past weekend.

My 2nd ever club gig, I was the closing DJ. I got to the club early to set up my laptop/midi controller to make sure everything was working. Everything seemed fine.

When it came time for me to go on, my laptop crashed (thankfully before I started playing music), so I was forced to use the CDJs (something I have zero experience with), and I had no choice but to manually beatmatch every track (something I haven't done since I spun vinyl as a hobby like 8-9 years ago before I gave it up for quite some time).

Granted, I have practiced beatmatching from time to time with the midi controller, but rarely. And CDJs are different machines with different displays, etc. I had to learn the kit on the fly.

I'm glad I had those backup CDs with tons of mp3s on them, or I would have been screwed. Only 2 of my transitions were wonky, the rest went pretty smoothly. Of course that's 2 too many.

But one of the first things I thought when this was happening was "The DJ Booth forum is so fucking right about all of this".

quote:

Originally posted by Quazar I'm glad I had those backup CDs with tons of mp3s on them, or I would have been screwed. Only 2 of my transitions were wonky, the rest went pretty smoothly. Of course that's 2 too many.

Sounds like a solid result to me, good work. Good job the CDJs were new enough to play MP3s

A couple of wonky mixes in any set is acceptable tbh if you don't make too big a deal of it, a slight slip will go under most people's radars.

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