In this installment, we look briefly because of mixing and uniformity of its bases such as BPM, beat synchronization of music and what happens if these constraints are not respected
What follows is a transcript of the episode.
We continue our journey into the Hercules DJ MP3 e2 watching a moment to quel'è the purpose of the DJ. The purpose of the DJ is to mix two songs correctly to avoid embarrassing moments of silence for example at a party or a dance. What does mix? In a simplistic means moving from one song to another with as little trauma as possible that is typically done in a way that makes the listener does not even notice that we have moved from one song to another.
Let's see what does all this with an example. We usually a piece of music is going. At one point, a second piece creeps above the first. This union, as said to be the least traumatic as possible. After a few seconds, you pass the second song.
What are the constraints that allow a mix done in a workmanlike manner. There are obviously different and depend on piece by piece but two are almost always present.
First, the number of beats per minute (BPM) of the two tracks is identical. The second constraint is that there is an initial synchronization between the rhythm parts of songs that is, just to be clear that the two tracks make "bang" at the same time.
Why these two constraints are almost always present in a proper mix? What happens if in fact one of these two constraints is eliminated.
Take for example the case where the two tracks will have the same number of BPM but there is an erroneous initial sync? In this case we would have an overlap of desynchronized rhythm parts which is annoying to the ear, dancing and of course prevents the realization that there are two tracks overlapped.
If you have the initial sync, but the two tracks even have a slight difference in the number of BPM then the overlay will start by having a single rhythm part here is that when more or less slowly, the two parties separari producing first a slight desync that will But widening until you have a complete separation of the two parties and a rhythmic cacophony.
Obviously what needs to be precise correspondence between the number of BPM of the two songs you want depends on how long the overlap of the two tracks. For example, there are times when you switch instantly from listening to a song and another. In this case a slight discrepancy in the number of BPM between the two tracks is acceptable and is not noticeable by the audience unless it is not too broad. In fact, even with changes of this kind is not advisable to mix such as a song with a BPM from 80 to 150. The same applies to overlapping of short duration.
Is not whether, to the other extreme, we make a superposition of several seconds or even minutes. In this case the number of BPM must be exactly identical.
These two constraints are virtually indispensable for a proper mix to which of course will be added, say for example the secondary bond melodic. The two melodies at the time of the overlap should be similar or should blend harmoniously.
E 'help to achieve this constraint using versions of the songs called remix namely variations of original songs that contain large parts where the rhythm section is predominant quini and are used when entering and leaving the track .
But surely one of the things to avoid is the superposition of the vocal in two pieces. It 'almost impossible to mix properly in a section of track where the artist is singing the song with a section B in which the other artist is singing.
Then there make a distinction between planned mix or not. The planned mix mixes are those previously prepared, studied at the table and then run in a DJ Set. But the mix are those unplanned mix created on the spot so maybe a participant at the party asks for a particular song that is not in your lineup of In that case you should mix planned improvise and then insert the piece by hand.
We will discuss in this course only and usually only planned mix prepared table.
To make a mix between a full listen and another is necessary to have the opportunity to hear both at once. Unplanned gets in the mix this by sending the second piece in the headphones and supporting the headset to one ear while listening to another song from the installation of the first amplification.
This implies that if our system is formed by E2 and Hercules DJ Control MP3 from a computer, your computer must have two sound cards, one dedicated to audio and one in the main cue.
While there are professional solutions including the Hercules itself, although quite expensive, you can resolve it all by buying, for less than ten euros, a USB audio coupon that usually has only two holes, one for line-in and one for the headphones.
Obviously this mode is supported by the software VirtualDJ, in its configurations, allows you to set the dual outputs for cueing and lineout and the two sound cards.
In the case of such a configuration, the cue is done using the two buttons found on the vertical fade, one for the deck A and one for the cue of the deck B.
Although it is a good idea to always have two sound cards have the possibility of cueing us, thanks to the fact that we will work always and only mix with planned, we will do without the second exit and the cue.
In the next installment, we'll see how to realize the mixes before computers and how computer and VirtualDJ help us to run but now mixes perfect.
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