sim667
All aboard the 303 bus.
Im actually in surrey, so I'd have to come up...
Im all about the heavy dnb, prspct recordings, black sun empire, killing sheep, all that jazz, but I do realise thats quite particular. Heavy/techy generally.
Tips for learning to beatmatch vinyl
- Thread starter sim667
- Start date
Im actually in surrey, so I'd have to come up...
Im all about the heavy dnb, prspct recordings, black sun empire, killing sheep, all that jazz, but I do realise thats quite particular. Heavy/techy generally.
Metal Malcolm
ODT resident emo
danski
Half moon dog
I must admit I've found mixing with just the pitch control to be smoother. This may be as a result of not smoking anymore and being better able to concentrate but it really has made a difference. Obviously an emergency push or pull can help but generally it's not necessary.
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tbtommyb
Well-Known Member
if you don't take up the offer above, just look on discogs and hoover up a load of 25p 12"s from the same seller.Well actually, I just need some records, doesn't have to be techno or house.... if anyone sees any dirt cheap job lots on ebay lemme know
sim667
All aboard the 303 bus.
Awesome...... Let me know when is good and Ill take a day trip to london.... theres an exhibition I want to see soon anyway.I reckon I can find you a few bits
Im confused danski you're saying mix with the pitch controller only? Surely that way you can get them going at the same speed, but the beats may be out of alignment.
One thing I am finding when I've tried before is that on the laptop I've taken a very mathematical approach to mixing, where as on vinyl its much more to do with your sense of hearing.
Fez909
toilet expert
He means when the record is a bit slower than it should be and starts to go out of time, instead of making a small adjustment to the pitch then pushing the record to catch up, you push the pitch way higher than it should be so the record catches up on its own. It reduces the audible speed-ups that you can sometimes get when pushing the record manually.
Then once it's caught it, you bring the pitch back down to slightly higher than it was before to stay in time.
danski
Half moon dog
danski
Half moon dog
A friend of a friend does the opposite (from the bottom) and I've heard a mix of his where I think he did something ridiculous like 50 or 100 tracks in an hour
Have only set my decks back up in the last week or so after 18 months of house moving shite so reckon I'll investigate this technique further.
sim667
All aboard the 303 bus.
Yeah I just need to get my own records and do it do it do it.
At the minute im just using my housemates vinyl when he's out and hoping he doesn't notice. (he's got a few very rare early croydon dubstep presses in there, and of course I don't have a clue what they are..... he's quite protective over them - ive identified two which clearly aren't which I've been using).
At the minute im just using my housemates vinyl when he's out and hoping he doesn't notice. (he's got a few very rare early croydon dubstep presses in there, and of course I don't have a clue what they are..... he's quite protective over them - ive identified two which clearly aren't which I've been using).
tbtommyb
Well-Known Member
I've tried that (learning too) and I really don't see how it helps. you have so many extra beats fitting in between the first tracks' that I lose track of where the one is and then before i know it the second track is hitting on the off eats etc. I find it easier to put the pitch slider in roughly the right place and take it from there. then once the second starts going out of time I see whether slowing it down makes it worse or better. that way you can tell which way it needs to go. not the fastest way i guess. i've been practising on and off for nine months and only now do i feel I'm beginning to get my head around even simple mixes.
tendril
Coming up blastin' like Yosemite Sam
Also, PRACTISE, PRACTISE, PRACTISE!!
And... Record all your practice sessions, just bung a tape (lol) on record, then you can listen back and see what works and what doesn't. It really helps. Don't try to make a mix tape, try to forget it's recording, just get in the mix, and however bad or good you may think it'll sound, don't worry about that, just listen back later on.
Good luck, and I look forward to your first vinyl mix on the DJ mixes thread
This.
Unless you are particularly gifted, learning a new skill to a decent degree of proficiency takes around 10,000 hours, roughly 10 years (bear in mind that 8 hours a day for a year is 2920 hours, so you are looking at around 2 1/2 - 3 hours every day!).
tendril
Coming up blastin' like Yosemite Sam
This also. I was advised to learn to DJ with one hand behind my back (to stop you touching the platter to trim the pitch)
Ted Striker
Foot's on the other hand
^the 10,000 hours thing is a bit overkill for beat matching.
Has anyone suggested 2 copies of the same record? To beatmatch is to spot which ones quicker/slower, and you'll be able to spot that with the platters and speed in front of you. Perhaps even better, try and find a lazy couplet of remixes by the same person where you can tell they've just done their 'remix formula' (admittedly more common in the 00's, and house...). Once you've got that, everything else will take it's own direction as to what sound you want to explore.
(Apologies not seen the whole thread, apologies if this has been said)
Has anyone suggested 2 copies of the same record? To beatmatch is to spot which ones quicker/slower, and you'll be able to spot that with the platters and speed in front of you. Perhaps even better, try and find a lazy couplet of remixes by the same person where you can tell they've just done their 'remix formula' (admittedly more common in the 00's, and house...). Once you've got that, everything else will take it's own direction as to what sound you want to explore.
(Apologies not seen the whole thread, apologies if this has been said)
Ted Striker
Foot's on the other hand
I (and everyone tbf!) should preface their advice with "what worked for me was...", so my advice isn't universal.
I learnt on CDJ's and am naturally a pretty numbersy person, so I knew roughly how to speed up (and ow muc hI had speeded up/slowed down) by look at the numbers on the digitised pitch% (though never a beat counter ). When I've tried on vinyl, I had to plant a finger on the pitch (whilst pitch-nudging) to replicate that memory of where I was exactly.
Also, rest assured, one you've learnt on vinyl, to use cdj's will be like driving an automatic
I learnt on CDJ's and am naturally a pretty numbersy person, so I knew roughly how to speed up (and ow muc hI had speeded up/slowed down) by look at the numbers on the digitised pitch% (though never a beat counter
). When I've tried on vinyl, I had to plant a finger on the pitch (whilst pitch-nudging) to replicate that memory of where I was exactly.Also, rest assured, one you've learnt on vinyl, to use cdj's will be like driving an automatic
ska invita
back on the other side
yeah the start slow/fast thing makes no sense to me either = start on the same number i reckonI've tried that (learning too) and I really don't see how it helps. you have so many extra beats fitting in between the first tracks' that I lose track of where the one is and then before i know it the second track is hitting on the off eats etc. I find it easier to put the pitch slider in roughly the right place and take it from there. then once the second starts going out of time I see whether slowing it down makes it worse or better. that way you can tell which way it needs to go. not the fastest way i guess. i've been practising on and off for nine months and only now do i feel I'm beginning to get my head around even simple mixes.
and it is hard, i wouldnt feel bad about that, no matter what anyone says who reckons it only takes an afternoon, it definitely took years before it become second nature, and still then under certain club conditions (shitty monitors, delay from the main sound etc etc) its still a serious challenge
ska invita
back on the other side
this is where knowing your tunes is all important - theres all kinds of unexpected quirks out there - tunes that drop where you dont expect, dont start on the one, no drums to mix in, might have little dramatic pause bars that mess up the synchronicity etc etc etc
Metal Malcolm
ODT resident emo
Entirely up to you. This weekend?
hiccup
King of the Vagabonds
It's almost like the artists don't want you to do a good mix
ska invita
back on the other side
yeah ive wondered about thatIt's almost like the artists don't want you to do a good mix
this one comes to mind
fades in making it impossible to mix in from the top leaving most people to bring the track in on its own (unmixed) - the start of the VIP mix doesnt fade in
VIPs...got it too easy....
ska invita
back on the other side
also these tricky spots can come towards the end of tunes - there are some records you can only mix after a certain moment
like on this tune you have to wait till the vocal bit at 4.26 comes in as its an extra couple of bars worth
Know Thy Tunes as Thy Know Thyself - DJ Socrates
like on this tune you have to wait till the vocal bit at 4.26 comes in as its an extra couple of bars worth
Know Thy Tunes as Thy Know Thyself - DJ Socrates
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tendril
Coming up blastin' like Yosemite Sam
I guess I would include other aspects of mixing in the 10,000 hours. For instance choosing the right record and making sure the pitch (not the speed, but the muscial pitch) is correct tonally, the style of music, how to mix from one style to another etc etc.
tendril
Coming up blastin' like Yosemite Sam
God yes. A 4 or 8 bar insert is the bane of many a DJ
ska invita
back on the other side
investigating tunes, picking the right ones and really getting to know the music is a lifetime task for sure....djings for life not just for christmas
and when it comes to creating a sequence of tunes any one can jsut put some tunes they think are good on in any old order, do a 5 second crossfade mix, but proper set building is a fine art, especially if you are beat matching and making the two tracks build on each other
tendril
Coming up blastin' like Yosemite Sam
I used to use the term 'jigsaw mixing' when playing tunes that had very very specific mix points, i.e. the mix would fail or be lame if you were a phrase out. Getting two tracks to break or drop together or one break to top out just as a different track dropped was sometimes head-scrathingly difficult but very worthy when it worked. I used to spend hours searching for perfect mixes and them jigsaw them all together.
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