DJ tips part 3, ALDs, ADA compliant systems
DJ equipment, assistive listening devices, global assistive devices
| Volume 2: Issue 4 |
April 2005 |
Dear Friends,
 It's finally Summer!!!
April Fool!
That's right, it's really spring - and we here at AudioLink Services have just finished our spring cleaning and are passing on some super buys (and giveaways) to you from our stock-on-hand. But more on that later.
Right now, let's deal with some Pro-Audio and related audio questions and answers to help you get your spring (and summer) off to a great start.
This month's newsletter includes articles, information and links pertaining to:
 DJ-Man's Helpful Hints for Aspiring DJs - Part III - Mixing
Greetings all. This month I will be dealing with the all important DJ skill of mixing.
By the way, AudioMan assures me he knows all about mixing. But then AudioMan is cool, and you will be too, once you master these few basic mixing techniques. (Also, my gig here is only guaranteed for three articles, so I thought I would butter up the man. Hey - it won't hurt if you write in and tell AudioMan if you have found my articles helpful.)
Ok here it is in one sentence: the basics of mixing allow you to seamlessly blend two songs together so that the sound - rhythm and music - sweeps like a continuous wave across the floor of your club.
First of all, you need two audio sources. Most of the time, DJs use a pair of turntables or a double deck CD Player. These players are designed especially for mixing. You should be able to modify the playing speed of the songs (known as pitch control) and pause the tracks at a precisely right moment (known as CUE points).
Next, you need an audio mixer. which is the central part of the system and where the songs really get blended together into tracks.
Lastly, you need an amplifier with speakers and a set of headphones.
Ok. If you have all your components in place, you are ready to hook up the system:
- connect the output of player A to input 1 or line 1 of the mixer;
- connect the output of player B to the input 2 or line 2 of the mixer;
- connect the output of the mixer to the input of the amplifier (usually called AUX or auxiliary)
- connect your head phones to the mixer.
Before you attempt your first mix, here's a little skinny about the anatomy of a song track. By the way if you ever want to write your own music you can take this as a jumping off place. (Looking pointedly at AudioMan who has been known to score his own.)
Most songs follow the same basic structure. They start with an intro and end with what I like to call an outro. These are the sections where only drum beats or music plays out without vocals - this is where the DJ mixing magic happens! In addition, songs have refrains (repeated sections) between verses, or musical solos which are original instrumental riffs.
A DJ measures the length of each musical section by the number of drum beats within it. Count the beats for each section and then divide by four. Good songs (for DJ mixing) follow a few simple rules:
- The length of the intro and outro are 32 beats each (that's 8 times the 1-2-3-4 beat counting)
- Verses are generally 64 beats each
- The refrains and solos are usually multiples of 32 - 2 x 32, 3 x 32 and even higher.
Of course, there are exceptions, such as having less than 16 beats between the refrain and the second verse. However, in the club world, most tracks follow a generic formula. The idea is to get people moving and a groove is the ideal way to do it.
Mixing Basics
The basic idea is to start track 2 before track 1 stops playing. The problem is synchronizing the start of track 2 with the end of track 1. This shows the importance of understanding the song's anatomy. Let's say the intro of track 2 and the outro of track 1 both last 32 beats. Ideally, we need to match beat 1 of the track 1 outro with beat 1 of the track 2 intro. How do you accomplish this?
Adjust track 2 so it starts exactly on beat 1 when you press the play button. This is called CUE positioning and is prepared in the head phones while track 1 is still playing.
Next, adjust the speed of track 2. Let's suppose that the first beat of the intro of track 2 was precisely started on beat 1 of track 1's outro. If the speed - or tempo - of track 1 is faster then track 2, track 1 will reach the end before track 2 finishes its intro. So you must match the tempo of both tracks. This is known as synching the BPM or beats per minute. (If you forget how to do this please review my discussion of beat mixing here)
CUE Points
In order to start track 2 at the desired time (beat 1 of track 1) and to match the first beat, track 2 should be placed on pause, so it's ready to start instantly.
On a turn table, listen to track 2 from the start and wait for the first beat. Then hold the vinyl disk by its edge. The turn table should keep turning underneath (use a slipmat between the turn table and the vinyl to reduce friction). You can also slightly spin the vinyl forward or rewind the vinyl to place the needle on the exact start of beat 1. When track 1 enters the outro, release track 2 and the beats should match. This requires some training at the beginning to develop your musical ear but it then becomes quite natural.
The next step is to adjust the speed so the beats of track 1 and track 2 match all the way through the mix.
Pitch Control
A quick review here for those of you who are always late to class:
The BPM represents the tempo of a song, in other words its speed. In general for disco, dance or techno, the BPM is between 110 to 150. Once both tracks are playing, and the first beats are matched, the speed of track 2 should be adjusted to keep this synchronization. The idea is to have the same BPM for both songs before raising the volume of track 2. So, if the beats of track 2 are faster, you slow down track 2. If they are slower, you speed up track 2.
Slowing down or accelerating is done using the Pitch control slider. In general, you can adjust the pitch within a 12% range (+/- 6%). The pitch should be modified slowly and progressively - especially if the volume is up (don't try this at home).
Sometimes the beats are equal in speed, but there is a slight delay between the start of the outro of track 1 and the start of the intro of track 2. In this case, I advise you to use the pitch bend buttons (+ and -) to temporarily accelerate or decelerate the pitch without modifying the BPM synchronization. When you release the button, the pitch returns to its previous value and you're home free.
Adjusting the pitch is definitely the most difficult part of mixing. Don't get discouraged! Once you get better at this, you can start mixing almost any kind of music.
Conclusion:
In this article I have walked you through the basic mixing techniques that all DJs use. If you understood the principles, you should be able to seamlessly blend two songs that fit the rules for good DJ slams. Choose two songs that you know well and practice over and over. Make sure the two songs are closely matched for pitch and BPMs.
A DJing job demands a lot of work and practice (Amen says AudioMan). Spend a couple of hours each day for a few months to acquire the techniques and someday soon you'll give me a run for the money.
The next step is to turn your DJ hobby into a successful and profitable career.
Next time we get together (hint hint AudioMan), I'll share some of my secrets of self-promotion.
Until then, spin good!
Back to you AudioMan.
Thanks Deej - that was a great series. To show my appreciation, I'm launching a new feature of the newsletter:
The Monthly Giveaway Contest!
And the first prize is right up your alley...
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 AudioLink's New Monthly Giveaway Contest - Gemini DJ CD Mix 5.0
Click Here to enter AudioLink's April 2005 FREE Monthly Giveaway Contest and a chance to win a Gemini DJ CD Mix 5.0 Package!
Endorsed by DJ Chris Garcia (and by AudioLink's very own DJ-Man) the Gemini CD Mix 5.0 provides professional mixing capabilities. Included in the package are dual CDJ-15X Pro CD Players, MX-01 Mixer, DJX-03 headphones and a DJC-01 carrying case.
Start applying the lessons of DJ-Man now and get going toward your first gig (or just upgrade to a new system) Enter NOW - one per customer
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 What are ALDs? - Part II - Alerting Devices
Assistive Listening Devices have come a long way.
Modern technology has provided a multitude of alerting devices for people with impaired hearing. The most popular technologies now available for a wake up alarm, a knock at the door or a smoke detector are one of three types: vibration, flashing or strobe lights, and audible sound systems.
What works best for you is a highly personal choice. Some prefer the silent signal of vibrations. The more powerful vibrating wake-up devices are called bed shakers and the smaller types are known as pillow shakers. There are also vibrating wristwatches.
Flashing signalers also have a range of devices that work well. Flashing incandescent lamps are very popular. Others say only a strobe will work, because it produces a high degree of intense light. Again this is a matter of personal choice, though flashing lights can produce other problems - for example when people are epileptic.
Also in the running for most useful and popular wake-up alerting devices are those that produce loud audible signals. A good audible alerting device will have separate volume and tone controls. Of course, these products are for the hard of hearing, rather than the totally deaf. They also have the drawback of possibly disturbing others in the vicinity who are not hard of hearing.
Here's a helpful breakdown on the features of the three different types of alerting devices:
Vibration Alert: There are some bed shakers that alert you by a continuous single-phase vibration. This means it produces a steady vibration until you either shut it off or it turns itself off. Another type of vibrator alerts you by emitting a pulse-style vibration. This is an on/off, on/off type of alert. It releases a burst of vibration, stops, then vibrates again. It will continue to vibrate until it is deactivated.
Pulsing and Strobe Light Alert: Basically flashing lamps can be adapted by plugging a device into a convenient existing light source. The more expensive flashing devices also allow you to use the lamp in a normal fashion. This means that the lamp will flash when the alert is activated, regardless if the lamp is on or off. By contrast, strobe alerts are special lights producing a quick sharp white flash, such as in a flash camera, but much brighter than a lamp.
Audible Alert: These emit a sound that also can be of a constant type, or on/off, on/off types. The better ones allow separate sound controls for volume and tone. Some have quite a good range of effects.
Combination Alerts: These alerts offer sound, vibration and/or flashing light all at once to alert you. They are usually adaptable to each other, so you can configure the best features according to personal preference.
Look for these and other ALDs on AudioLinks.com or Click Here to see the full list.
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 Introducing Global Assistive Devices
AudioLink Services is proud to announce the addition of Global Assistive Devices to our line of ADA Compliant Systems. Global Assistive Devices, Inc. was incorporated in 1989 to manufacture and distribute top quality Assistive Listening Devices for the Deaf and Hard of Hearing.
The stated mission of the company is to "continually provide improved technology that will enhance the lives of persons with special needs, and to provide the best products at the best prices, ensuring consumer satisfaction through product warranties and friendly customer service".
Click Here for Global Assistive Devices' best selling ALR130 Access 3 triple alarm system including alarm clock, telephone ringer and door signaler.
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 Do you have pro-audio questions? AudioMan's got answers!
Debra M. writes:
I am constantly traveling to meetings where I make a presentation to a small group of people (50-100) and I need a lightweight PA system that I can carry with me. Some of the systems I see on your site are too heavy for me to lug around and I already have a wireless microphone that I like a lot. Do you have something that fits my needs? Thanks.
Hi Debra,
The Anchor Audio AN-130 is a perfect solution for what you describe. It weighs 8 pounds, has standard audio inputs for your favorite microphone and 30 watts of power for reaching crowds of up to 100.
Hope this helps!
Danny L. writes:
I am working on the audio crew for our church choir and am having trouble with the microphone situation. Do you have any suggestions for avoiding the rustling sound caused when the lapel microphone brushes up against the folds of the singer's cloak?
Hi Danny,
Nady's CBM 40 condenser boundary microphone is ideal for a variety of sound reinforcement/recording applications, such as choirs, orchestras, theatrical performances, courtrooms, conference rooms - even inside bass drums!
It features a unidirectional pickup pattern to produce top quality audio at any distance from the source with excellent feedback rejection. Built into a rugged die-cast alloy housing on rubber padding, it minimizes mechanical coupling of surface vibrations to the microphone.
Please note however, this microphone must be used with mixers which provide phantom power.
I hope this is helpful!
Kamal J. had this inquiry:
I see this assistive listening device on your website, which says it is a bed shaker. Can this little thing really shake my bed? I need a lot of help waking up in the morning and I think this might do it. Can you help?
Hi Kamal,
On school mornings in my house as a child, a pan of cold water was always at the ready. That was the low-tech solution for getting me out of bed. A more modern (and drier) alternative is the item you refer to, the Global Assistive Devices' VAL105/MV12, which consists of the VIBRALARM clock and the VIBES bed shaker.
The VIBRALARM features a bed shaker jack, night light and three wake-up features: Audible, Vibrate or Both. It also has a flashing night light plus volume and high/low frequency controls for optimal personal results.
The Vibes bed shaker is simply placed under a pillow or mattress and connected to the alarm clock. The clock will activate the shaker at the pre-set wake up time.
As the manufacturer states: "While it should not disturb others in your household, this model's vibrations are quite strong." So keep in mind, that although this product is intended for the hard of hearing, in your case it is a perfect solution for the hard of waking. And you don't even have to get wet!
Hope this helps!
Keep those calls, cards and letters coming. Maybe we'll feature your question in an upcoming issue!
For more information about other audio topics Click Here to see Equipment Reviews, the Newsletter Archive and related Articles
AudioMan
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 Well, that's about it for this edition. In future issues we plan to offer reports and updates on different types of audio equipment, links to useful sites and to answer questions posed by you and other readers. We hope you will find this newsletter useful and we welcome your feedback.
Looking for something that's not on our web site? Contact Us and we'll respond as quickly as possible, or, visit AudioLink's product pages and see for yourself why we are known as: "The Home of Sound Solutions"
Until then,
That's sound advice...
Regards,
AudioMan
SiteManager@audiolinks.com
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