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| quote: | Originally posted by Benjamin_D
Yes deciding what beat is in front of each other is one of the hardest things to do so hear is a little tip.
You can never beat match 2 songs perfectly, so what you do is when you beat matching is just listen and see witch one is playing slower, then get it as close as you can but still keeping it slower. this way when they start to get off you already know witch one you need to speed up.
If you start on actuall turn tables dont even worry about the beat matching the first 2 hours. Just learn to drop the track and how to speed it up and slow it down using your fingers LIGHTLY. you have to be able to drop the track on 1 so practice that sweetie |
I'm going to go ahead and disagree on this. It's very possible to beatmatch perfectly, it just takes a lot more practice, care, and attention to it.
My advice is this: cue the incoming record so that the first beat is correct with the live record (which does take a lot of practice in and of itself), then listen for which way it drifts. I find it's easiest to do this if you listen to the live sound with one ear, and the new track in headphones with the other ear. I personally don't like split cue (which puts the live mix in one side of the headphones and the cue channel in the other). However you do it, the really essential part is learning how to separate mentally the sound coming into each individual ear. This requires a bit of re-teaching yourself how to hear, so don't get frustrated if it takes a while, just keep practicing.
Once you can do that, it gets a LOT easier. When you're adjusting the pitch, the goal is to overshoot just a little (i.e. if it's too fast, make it just a little bit too slow), then as the beats drift back together you correct it in the other way (again, better to overshoot than under). As you do this, the corrections get smaller and smaller until eventually the error is indistinguishable even if you played the records together for several minutes. In the end, this is a better method than "creeping" one record slowly up or down to the correct pitch without ever overshooting, but it relies heavily on being able to separate sounds mentally.
Let me think harmonics: 5.7% pitch is exactly a half step, if I remember. It's purely a question of percentage, not bpm, because mathematically the difference between one pitch ant the next is defined by a set ratio. An easy rule of thumb is this: if you're within 2.8% of the original tempo, it will sound more or less in the original key. Higher or lower it goes to the next half step. Ideally you want to be either close to 0% or cloes to 5.7% (since it sounds more in tune). As far as seeing if two records are in key, you can either just listen to them together and find out, or you can determine the key of the record, write it on the label or sleeve, and then use a circle of 4ths and 5ths to determine what's in key with it.
As for master tempo: be careful with it. If you start adjusting pitch by more than a few percent (especially if you're getting slower) it can start utterly destroying the sound quality.
my $.02
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