Frankly, I'm kinda dissapointed in myself. I've had absolutely shit Gemini tables for the last year or so and now that I finally have some Techs, I think I'm doing the same amount (if not more) pitch bending. I know how to ride the pitch and all that so my transitions are pretty smooth but its fucking annoying to do it every 30 seconds or so. I feel like the time I spend bending could better be spent on the faders and EQs and then I would get even nicer transitions. Listening to a mix I just made I realize that even after getting them matched in my headphones, they always end up drifting apart to some extend when I mix. So how often do u pro djs have to pitch bend?

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Latest Promo Mix - Tranceversals Volume 10

I guess it depends on your pitch accuracy. I'm still in the process of learning the ins and outs of riding the pitch, but even if i have to make a correction every 30 sec, it's so fast that usually doesn't disturb my mix. But i guess that with time i'll be able to lock the pitch as good as if i was using my hand, or even better.

I can also be the case that your older turntables were less accurate (.1%) than your new technics, so it will take time for you to get used to your new accurate pitch.

I don't understand pitch bend, but my current Stanton STR8-30 TTs have the tendency to change pitch through a mix, i mean its beatmatched but just on the last minute the pitch goes a bit up or down ruining the whole mix...

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Hmm... I think you are worrying about the wrong things.

I wouldn't be too worried about how often you have to touch the pitch but the level of correction you have to do. If it's minimal then it doesn't really mater, the main thing is that you get enough time to do what you need to and that nobody hears your correction.

Even the pros do it. It's actually quite often in fact that you will see them hit the pitch but you may not hear what they did which is what makes the difference.

PROGRESS AS A DJ CAN BE DESCRIBED LIKE THIS...

DJing is a funny thing. You wont notice it at first but as you do it more and reflect on how you used to do it you will notice a change in your time and space awareness.
We all remember in the beggining how there just doesn't seem to be enough time to complete a mix and there are a million and one things you need to do and CHRIST THE RECORD HAS FINISHED!!!!!

As time goes on and your skills improve you will find your mind reacts differently to the problems encountered. You will most certainly start to pick up on when a record is going out of time much quicker. You will take less time making the correction which will give you the time to get on with other things such as EQing. Keeping in mind that you really don't need to touch the high and the mid. Your best friends should be Gain and Low.

Enter the DeeJaytrix!
In time you will find that most mixes seem to last forever and you have all the time in the world to do whatever you need to (Even lean back and dodge bullets).

Repetition and development will get you there.
It's a question of knowing you can do it when you have to, rather than worrying about 'if' you can do it.

My own experience.
Sometimes I get mixes that I have to mess with the whole time, other times I can dance around and interact while I let them play for a bit then come back and finish the EQing. It all varies on how in the mood I am, how busy the club is, are there any really pretty ladies there and so on (Sad but true... Complete flirt to the extreme ).

Cheers
Nem

PS
I like the track that comes in at about 30 mins into your set(Tranceversals Volume 7 ). What is it? I tried to Shezam it but it didn't recognise it.

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If i use CD players, i usually use pitch bend constantly. Its the best way to position the tracks so they have the beats correct. Then it's easy to tune the pitch when you easily can hear which one is faster/slower. When i spin vinyl, after getting the beat exactly matched, i never touch the pitch fader (i do not have a separte "pitch bend" fader). Every correction i make is done by either braking or accelerating the platter with my hand. Even though some djs do not prefer this, i find it to be the only accurate method. You should never touch the pitch fader in order to temporarily change the speed. You just fuck it all up.

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quote:

Originally posted by Chris d(-_-)b Every correction i make is done by either braking or accelerating the platter with my hand. Even though some djs do not prefer this, i find it to be the only accurate method. You should never touch the pitch fader in order to temporarily change the speed. You just fuck it all up.

Not at all, just depends on how good at it you are. Touching the platter will give 'reactive compensation' so it can mess you up just as much.
What is reactive compensation I hear you ask?
Basically the deck compensates for the resistance put on it to return it to it's orignal placement if you touch it. What happens as a result of this is that the platter actually speeds up more than the speed it's running at once you let go of it for a second or two. (To describe it in non technical terms).


Cheers
Nem

PS
love the signature

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quote:

Originally posted by Nemesis44 I wouldn't be too worried about how often you have to touch the pitch but the level of correction you have to do. If it's minimal then it doesn't really mater, the main thing is that you get enough time to do what you need to and that nobody hears your correction.

Its quite minimal to the average listener I guess, but I've developed a good enough ear to notice when things are going slightly off. I guess thats why I pitch bend so much, I want the mix to be absolutely dead on (I'm a perfectionist and can't help it).

quote:

Originally posted by Nemesis44 As time goes on and your skills improve you will find your mind reacts differently to the problems encountered. You will most certainly start to pick up on when a record is going out of time much quicker. You will take less time making the correction which will give you the time to get on with other things such as EQing. Keeping in mind that you really don't need to touch the high and the mid. Your best friends should be Gain and Low.

I agree with that, I can see how I've come a long way. However, the high and mid I find can often make my mixes smoother in terms of adding/removing certain elements in my transition (a hi-hat for instance)

quote:

Originally posted by Nemesis44 I like the track that comes in at about 30 mins into your set(Tranceversals Volume 7 ). What is it? I tried to Shezam it but it didn't recognise it.

Its Azior - Deep and Inside (Subsphere Remix). I'm glad I can make a mix that keeps at least 1 TA guessing Thanks for the advice nem!

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quote:

[b]Originally posted by conk Its Azior - Deep and Inside (Subsphere Remix). I'm glad I can make a mix that keeps at least 1 TA guessing Thanks for the advice nem!

Thans for that

I usually play a little harder than that so am not so familiar with some of the more proggy tracks. I also tend to use more funky stuff when I build up my set. It's quite good for getting people on the dancefloor ready for when you open up your real stuff.

Cheers
Nem

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quote:

Originally posted by Nemesis44 Not at all, just depends on how good at it you are. Touching the platter will give 'reactive compensation' so it can mess you up just as much. What is reactive compensation I hear you ask? Basically the deck compensates for the resistance put on it to return it to it's orignal placement if you touch it. What happens as a result of this is that the platter actually speeds up more than the speed it's running at once you let go of it for a second or two. (To describe it in non technical terms). Cheers Nem PS love the signature

GOD DAMN.. I hate this.. I experience this alot.. and I am sure Prodigy Child can agree with me... It can be a huge pain in that ass.. My style of pitching is right hand on the pitch fader, left hand on the platter.. I slow the platter then compensate on the pitch fader.. seems to work... (most of the time)... but i have the odd time when it fucks right up...