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beatmatching techniques... which is better ?
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| PVD fanatic |
So we've all heard a lot about beatmatching, and the technique to master it. I personally just run finger against the platter, and adjust accordingly with the pitch fader. I've also heard a lot about beatmatching, using ONLY the pitch fader. How exactly do you do this ? I've got somewhat an idea, but I just wanna input... and is this technique .. better ? More accurate? Quicker when you master it ???
Thanks. |
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| djsphere |
| In stead of speeding up (slowing down) the record you just push the pitch fader down (up) until the beats are aligned. Then you quickly move the pitch fader back where it was. |
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| PVD fanatic |
| so your moving the pitch up and down... you hear them match at some point, and so that will be your returning spot??? and than you just correct by speeding or slowing down ??? |
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| Ygrene |
| I use the label to slow or speed while making large adjustments and then I move to the spindle to fine tune. |
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| djsphere |
| quote: | Originally posted by PVD fanatic
so your moving the pitch up and down... you hear them match at some point, and so that will be your returning spot??? and than you just correct by speeding or slowing down ??? |
U'll need to do that several times depending on the tempo difference betwen the tracks. Even if you hear them match at some point the records won't stay in sync for long, so u'll need to repeat the action.
In this beatmatching technique the pitch fader moves like an oscilator, up and down and so on until you find the right position, some where in the middle.
I hope this helps!;) |
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| KiNeTiC ENeRgY |
| To me, beat matching using the pitch fader only is slower than pushing/pulling the rekkid, and making the slider adjustment to hold it. If it goes out adjust the right direction by hand and make the slider adjustment to keep them in sync. This method to me is really quick, and I like manipulating the vinyl, than not touching it at all using only sliders. Both techniques will require practice whichever method you do, but I find it quicker this way. |
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| SUNWmsf |
When I used to DJ hip hop, I would use my finger on that platter(to slow it down slightly) . I would only used my finger on the platter if I am mixing music with short transitions.
When I mix trance, or music with long, layered transitioning blends, I use only the pitch slider.
- I match up the speed of the incoming record in my headphones (...to a pretty close speed... not perfect but close).
- I then mentally remember in which position the pitch slider is. (I will use this as a reference point when I perfect the pitch of my incoming record.)
- If the incoming record is too slow, I will increase the pitch of the incoming record up about +0.5% till I hear the beats align. I will not leave the pitch in this position. I am only speeding up the record a little bit so that I can get my beats to a 'matched position'.
- After the beats are aligned, I then will return my pitch slider to *almost* the original position. Since the original position that my pitch slider was set at was too slow(compared to the current track playing), I have to make sure that I make a change and correct the speed of the incoming record by its pitch slider position. I will leave the pitch slider in a position that leaves the record spinning faster than I had *originally* pitched my record at when I cued it. So my return point will probably be at a +.02% more than the original position(my reference point) my pitch was at. The goal of this is to find a pitch slider position that I can leave my incoming record at so that I will not have to mess with it to keep it on beat. I want to be able to use both hands on my EQ's for the blending transition.
I will do the opposite to my pitch slider positioning if my incoming record is too fast.
One benefit of using *only* the pitch slider to control your record during transitions is you can use your other hand to increase the volume of your incoming track to control the sound of your mix (or tweak EQ's). I belive this to be a good skill to learn.
If you had to, you can pitch the incoming record on the fly and bring the track in. Sometimes you need to drop your incoming record in before you have time to fullly match the beats up.
Hope that makes sense... It sounds convoluted after re-reading it... |
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| PVD fanatic |
| quote: | When I used to DJ hip hop, I would use my finger on that platter(to slow it down slightly) . I would only used my finger on the platter if I am mixing music with short transitions.
When I mix trance, or music with long, layered transitioning blends, I use only the pitch slider.
- I match up the speed of the incoming record in my headphones (...to a pretty close speed... not perfect but close).
- I then mentally remember in which position the pitch slider is. (I will use this as a reference point when I perfect the pitch of my incoming record.)
- If the incoming record is too slow, I will increase the pitch of the incoming record up about +0.5% till I hear the beats align. I will not leave the pitch in this position. I am only speeding up the record a little bit so that I can get my beats to a 'matched position'.
- After the beats are aligned, I then will return my pitch slider to *almost* the original position. Since the original position that my pitch slider was set at was too slow(compared to the current track playing), I have to make sure that I make a change and correct the speed of the incoming record by its pitch slider position. I will leave the pitch slider in a position that leaves the record spinning faster than I had *originally* pitched my record at when I cued it. So my return point will probably be at a +.02% more than the original position(my reference point) my pitch was at. The goal of this is to find a pitch slider position that I can leave my incoming record at so that I will not have to mess with it to keep it on beat. I want to be able to use both hands on my EQ's for the blending transition.
I will do the opposite to my pitch slider positioning if my incoming record is too fast.
One benefit of using *only* the pitch slider to control your record during transitions is you can use your other hand to increase the volume of your incoming track to control the sound of your mix (or tweak EQ's). I belive this to be a good skill to learn.
If you had to, you can pitch the incoming record on the fly and bring the track in. Sometimes you need to drop your incoming record in before you have time to fullly match the beats up.
Hope that makes sense... It sounds convoluted after re-reading it... |
Wow ... thanks SUNWmsf, that was an EXCELLENT explanation, and for somebody who didn't know much about this technique, i fully understand now what i'm trying to do. :tongue3 |
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| sebjr |
It's a great skill to have and most of the pros do it.
Of course its best if you can do everything (most start by touching then move onto pitch fader only - however I always see big DJs touching the platter every so often :) |
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| KiNeTiC ENeRgY |
| one method is not any better than the other, its just whatever you prefer to do, and as long as it sounds good, thats all that matters;) |
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| Luke Terry |
dont beatmatch, just quickly fade accross when the beats are aligned, or even when they are not, less effort :cool:
for a sensible answer on this topic that has been covered many a time before, search
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