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Look Out.... (pg. 4)
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| progressiveMOJO |
| 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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| djjonas |
| quote: | Originally posted by sharper
so how will I know if they are harmonically in the same key? does that just take playing them together in my headphones and seeing if they sound similar? |
Yep. And after you really get to know your music, you will start hearing other tracks you have in your head that go with the one currently playing. |
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| Progress Ent. |
| quote: | Originally posted by djjonas
Matt, when you play your Shakira and Beyonce tracks that might be true. We were talking about EDM here:stongue: |
Don't with my Shakira!!!!:whip: :whip: :whip: |
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| Benjamin_D |
| quote: | Originally posted by progressiveMOJO
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.
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OK Whatever. you MAY get luckey every once and a while and have 2 tracks locked for the duration of a mix. And patince you only have so long until you HAVE to drop the next track so you only have so much time to get done what you have to get done. And so since every track is different it makes it very hard to get them perfectly. maybe if your doing very short mixes.
If i am not mistaking Nicole has posted once before about digital pitch control and how long each track should stay on beat eith each other before coming off using all pitch ranges. being
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1.00
Keep thinking what you want to think but you will always have to make small adjustments while your mixing. that is just how it is and the faster u can hear them start to get off the faster you can correct it. |
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| Matthias |
| quote: | Originally posted by sharper
thanks sweety! I'm gonna get this for sure!
Is this book mainly about vinyls? I don't plan to use vinyls. |
The book is mainly about the art of DJing, not so much genres or format. It covers the very basics to some things I was unaware of at the time I read it (back in '04 or '05). This is my opinion, and I aint being paid by the authors to say like this, but its a book I feel every single DJ, regardless of experience, could benefit from reading. :)
There's a section on harmonic mixing you wouldn't want to miss. |
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| progressiveMOJO |
| quote: | Originally posted by Benjamin_D
OK Whatever. you MAY get luckey every once and a while and have 2 tracks locked for the duration of a mix. And patince you only have so long until you HAVE to drop the next track so you only have so much time to get done what you have to get done. And so since every track is different it makes it very hard to get them perfectly. maybe if your doing very short mixes.
If i am not mistaking Nicole has posted once before about digital pitch control and how long each track should stay on beat eith each other before coming off using all pitch ranges. being
.02
.05
.10
.100
Keep thinking what you want to think but you will always have to make small adjustments while your mixing. that is just how it is and the faster u can hear them start to get off the faster you can correct it. |
btw, turntables have analog pitch adjustment, it's not luck if you're using vinyl. |
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| Benjamin_D |
| quote: | Originally posted by progressiveMOJO
btw, turntables have analog pitch adjustment, it's not luck if you're using vinyl. |
BTW if you haven't noticed that when you are playing vinyl 90% of the records speed up very so slightly twards the end of the track. So once again you will always have to make small adjustments. |
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| Zild |
| Yeah its called riding the ing pitch. Keep that hand glued to the pitch fader. Don't touch the vinyl. |
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| Benjamin_D |
| quote: | Originally posted by Zild
Yeah its called riding the ing pitch. Keep that hand glued to the pitch fader. Don't touch the vinyl. |
See he knows. :D |
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| architect1803 |
| quote: | Originally posted by Benjamin_D
See he knows. :D |
That's the one thing Lizandro Campos taught me...and it farkin works!!!! |
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| Surfmorworkless |
| quote: | Originally posted by Benjamin_D
BTW if you haven't noticed that when you are playing vinyl 90% of the records speed up very so slightly twards the end of the track. So once again you will always have to make small adjustments. |
Vinyls speeds up towards the end of the track? |
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| diggerz |
| quote: | Originally posted by Matthias
The book is mainly about the art of DJing, not so much genres or format. It covers the very basics to some things I was unaware of at the time I read it (back in '04 or '05). This is my opinion, and I aint being paid by the authors to say like this, but its a book I feel every single DJ, regardless of experience, could benefit from reading. :)
There's a section on harmonic mixing you wouldn't want to miss. |
I have that book, i remember both their authors have now passed away... |
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