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| choukri |
Autant essayer de traduire ce genre de texte.
Mixing techniques
Anyone can beat match - but mixing is difficult. It's like driving. Anyone can learn the mechanics of driving (i.e. the beat matching) but it takes a lot of experience to drive (mixing). All beginners favourite is the "hit the crossfader to the middle at intervals" technique - e. I did it last time I used decks, and I know it's crap. It sounds alright when your there in the heat of the moment but on tape it's shocking. The reason is because you can hear the extra beats jumping in at a louder volume. If you go to a club you don't hear it. So as a rule, steer clear of "slap mixing".
The best mixes I have done involve fading in at a quiet bit. Every dance tune has 1 - 3 quiet bits in it. You know, the hands up in the air bits. Fade in the record during the quiet bit. it's a great effect done correctly because it's smooooooth. There is a pay off though. Suppose the records aren't exactly correctly matched. You fade in the record...sounds good...the beats start and ARRGH! it's a bloody horse race!. Death in the world of DJ'ing.
Another good method is to mix it in at the start from the record. Most records start quiet and build up the beat for you. You'll need to match the beat first though and be confident that you'll push the record off just right.
A start/stop mix can have impressive effects but it is only advisable with very few tunes. It involves firstly beat matching and then you quickly move the cross fader over to the other tune at the right moment. I can't tell you the right moment because it differs in every good tune. An optional extra with this technique is to press the stop button on the record that is being faded out. You get a cool 'eeeuurop' noise. If you get it right then it's a marvellous effect where one tune turns into another seamlessly but not seamlessly. It's very difficult to describe but even harder to do. If you get it wrong then it sounds like you couldn't be arsed mixing and you just put on another record.
Finally, you could just simply fade the other record in slowly. With my old cross fader though, this was a bit crap due to the jumpiness of the cross fading. Instead, you can put the master volume of the channel to be mixed in down to 0. Put the cross fader to the centre and turn up the channel volume slowly. This is a smoother fade in that using the cross fader. Also, this way you can compensate for having beats combined that are too loud. Sometimes when you fade the record in the beats of the two records combined are too loud and it sounds like two records are being mixed (which is bad). So you can adjust the two records' master volumes accordingly. |
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| choukri |
Ou encore ce genre de texte, apprendre le mixing et l'anglais en meme temps. Je ferai mes propositions de traduction un peu plus tard.
Back Spinning
Along side scratching, back spinning is another very difficult move to pull off correctly. Four essentials are needed.
A suitable record (a 'deep' beat)
The right place (sometimes the beat on its own sounds good)
Needles that aren't too light (not too heavy to prevent wearing)
A steady and light hand (more of a natural gift than anything else)
Back Spinning is tricky because if you do it too lightly the record goes nowhere. Too strongly and the needle jumps right off (hence the need for slightly weighted needles). If you can back spin, fair enough but choosing the right moment in both records is a must. If you have a 'silent beat' (just hihats and a snare for example) the back spin won't have an effect. I suppose you'd be better off listening to what the back spin would sound like through the headphones first. You do need a definite beat though. The technique is a bit like scratching but ... different. Err, related in the way that cousins are. (You'll see what I mean when you can do it).
Take the record on the outer edge with the first two fingers but at a very acute (small) angle - this stops jumping. Rock the record with the beat and on the 4th count flick the record (1 - 2 - 3 - flick!). The flick is achieved by snapping the first two fingers backwards round the record whilst still maintaining the acute angle. When I say flick and snap, Keep the fingers straight (or should I say parallel) at all times. Even after raising the fingers off the record you should 'follow through'. Keep you hand moving in that same direction to avoid any abrupt movements.
Volume
Although rather unimaginatively titled this section is important. As a regular listener to DJ's in night-clubs I have to point one thing out. I know that is is fun to emphasise the beat but it sounds crap and it's VERY annoying. There's nothing worse than listening to someone mess up a good tune. However, there is always an exception to a rule. Sometimes (and only sometimes not every 3 seconds) it sounds good to cut off the last three counts of the beat a tune( i.e... 1234 1234 1234 1---1234... - try and see what it's like). Dont just the cut-out switches because they are too precise in a starty-stoppy type way. Please please please don't over do it - it's fun but not that fun. Some records sound better than others with this trick.
Glossary of my terms
Sounding it Make a crap rendition of the beat with your mouth. This does actually help in finding the counts.
Rocking the record Use your finger(s) to push the record gently back and forth with the beat to get yourself in-time.
Push it on Use one finger in the centre or middle of the record to gently encourage the record to go faster momentarily(note the air of gentleness)
Dabbing Use one finger to slow the record down a bit. Too abrupt and you'll make the record jump.
Horse race The two records are just out of sync creating a thu-th-thud-thud-thud type beat. It sounds vaugley like a horse race because of the timing of the beats.
Emphasise the beat on each 1 and 3 beat you turn the volume up two make the beat in certain bits louder. The same effect cn be acheived by using the cutout switch. This has to be the most annoying effect :-(
Jumping The needle lifts itself from the record because of sharp movements. The result is that the needle lands in a different place in the song, cocking up any beat matching you were doing, and sounding awful. |
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| jdat |
| quote: | Originally posted by choukri
Autant essayer de traduire ce genre de texte.
Mixing techniques
Anyone can beat match - but mixing is difficult. It's like driving. Anyone can learn the mechanics of driving (i.e. the beat matching) but it takes a lot of experience to drive (mixing). All beginners favourite is the "hit the crossfader to the middle at intervals" technique - e. I did it last time I used decks, and I know it's crap. It sounds alright when your there in the heat of the moment but on tape it's shocking. The reason is because you can hear the extra beats jumping in at a louder volume. If you go to a club you don't hear it. So as a rule, steer clear of "slap mixing".
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Technique de mixage :
N'importe qui peux beat match : mais mixes est difficile. C'est comme la conduite. N'importe qui peux apprendre la mechanique de la conduite ( ex : l'alignement des rhythmes ( arf j'sais pas comment l'ecrire! ) mais ca prend beaucoup d'experience pour conduire ( mixer). La chose favorite de tous les debutants est la techique de merde d''tapes le crossfader au milieu avec des intervals'. Je l'ai fait la derniere fois que j'ai utilise des platines, et je sais que c'est pourrie. Ca sonnes ok dans la chaleur du moment mais sur K7 c'est choquant. La raison est car tu peux entendre les batements suplementaires s'intercales a un volume superieur.. Si tu vas dans un club tu ne vas pas l'entendre. Alors comme regle, eloignez vous de la peste du " mixage rentres dedans".
| quote: | Originally posted by choukri
Autant essayer de traduire ce genre de texte.
The best mixes I have done involve fading in at a quiet bit. Every dance tune has 1 - 3 quiet bits in it. You know, the hands up in the air bits. Fade in the record during the quiet bit. it's a great effect done correctly because it's smooooooth. There is a pay off though. Suppose the records aren't exactly correctly matched. You fade in the record...sounds good...the beats start and ARRGH! it's a bloody horse race!. Death in the world of DJ'ing.
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Les meilleurs mixs que j'ai fait consistes a faire le transfert dans des periodes plus calmes. Tous les morceaux electronique ont 1 a 3 periodes calmes dedans. Vous savez, les periodes ou on leves les bras bien haut. Faites la transition avec le nouveau disque durant une periode calme. C'est un des meilleurs effets quand c'est fait correctement car c'est tres smooth ( bon sang j'commences a oublies des mots en francais moi ! ). Il a un moment ou ca payes d'ailleurs. Imaginons que les disques ne sont pas correctement alignes. Vous faites la transition...ca sonne ok... le battement commence et HOULA! C'est une putain de course de chevaux! . la mort dans le monde du DJ-ing.
oh et puis merde... vous le savez tous que je parle couramment anglais .... rien besoin de vous prouvez ( sauf que ca me montre que mon francais, je commences a l'oublies :rolleyes: ) ( vas falloir que j'appeles Fastmp3 de nouveau pour qu'on tchatche en francais, et Razeryokes! tu m'as jamais dit quand j'pouvais t'appeles! et j'ai meme pas ton number! )
STANYMI !!! JE TE LAISSES LA SUITE!!!
bon courage :stongue: :stongue: :stongue:
( moi doigts dans le nez, j'arrives a faire de la traduction en simultanee depuis des annees ) |
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| fastmp3 |
| mais par contre pour jouer au billard , tu as le doigt dans le cul jdat , n'est ce pas ? :disbelief :stongue: |
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| stanymi |
AH AH? IL FAIT son malin le Jdat mais il est pas foutu de rentrer une ptite boule dans le trou...*???
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J' espère qu' on parle bien QUE du billard là ?
:haha: :haha: :haha: :haha: :haha: :haha: :haha: :haha: :haha: |
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tranceaddict Forums Archive > Local Scene Info / Discussion > Europe > Europe - France
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