When the sound system design fails to address that, DJs have no choice but to turn up the monitors and headphones too loud to mask the main system, or to wear earplugs. Wearing earplugs while DJing should be the last resort and is just a Band-Aid solution.
Gain - a control which can be used to boost or cut volume levels. This is different to the fader as it has much more power and is normally set using headphones and warning lights before you play any sound through your speakers. Or A control which increases or reduces the output level of your tracks giving extra movement in volume.
Throwing - Giving a record a little push when it starts up so you don't have any lag time while it gets up to speed. CD players do this by featuring instant start. (normal CD players may take a few tenths of a second before a song starts) Throwing a record nulls the lag time while it accelerates from zero to 33ish RPM. It sounds silly at first but it is actually very critical for Beatmixing.
Note that if a sample has a saved set of Warp Markers (see 5.2.2), Auto-Warp will have no effect. When this is the case, you can use any of the right-click(Win) / CTRL-click(Mac) context menu commands described in this section to initiate auto-warping.
The Transient Envelope slider applies a volume fade to each segment of audio. At 100, there is no fade. At 0, each segment decays very quickly. Long envelope times can help to smooth clicks at the end of segments, while short times can be used to apply rhythmic gating effects.
Texture Mode works well for sound textures with an ambiguous pitch contour (e.g., polyphonic orchestral music, noise, atmospheric pads, etc.). It also offers rich potential for manipulating all kinds of sounds in a creative way.
The Envelope slider also influences the spectral characteristics of the material. The default setting of 128 should work well for most audio. For very high-pitched samples, you may have better results with lower Envelope values. Likewise, low-pitched material may sound better with higher values.
Mastering is the process of creating a master copy of a song from which all other duplicates of the recording are made. For vinyl distribution, this means creating a vinyl lacquer master, and back in the day of CDs, this meant making a glass CD master. With streaming services now dominating the music industry, the digital file that you upload to said services is referred to as the "master file."
Although, in my personal experience, I find that I see greater results when I nail down a mix without master bus processing applied, and then apply master bus processing afterward. This allows me to set my levels tighter and make more well-informed mixing decisions.
Boosting the frequency range in which vocals are present while mastering, around 1-5 kHz will make vocals more present, but it will also boost everything else in that range as well, such as synths and guitars.
When sending your mix to a mastering engineer, always export your song at the sample rate you've recorded at. Most people tend to record and produce music at a sample rate of 44.1 kHz, but if you've recorded your audio at a higher sample rate, export your project at the higher sample rate.
When sending your mix to a mastering engineer, export your mix, without dither applied, at the bit depth that your DAW processes audio at. Most DAWs process audio internally at a bit depth of 32 (floating point).
Use presets to match mastering settings across multiple songs, to quickly test different sounds on the same song, or just to keep track of your favorite settings between sessions. However you use them, presets are a great tool to speed up your workflow.
Upload a reference file alongside your own track, and let eMastered figure out why it sounds the way it does. eMastered will analyze the file's sonic identity, and apply that learning to your own master. It instantly matches loudness, balance, compression, and more to recreate the overall sound.
The eMastered engine uses machine learning to improve with every song it masters. Just like a human engineer, it builds a custom master tailored to the unique features of each song, from hip hop to EDM.eMastered applies the same professional studio processes like EQ, Compression, Saturation, and many more, giving you professional sound for a fraction of the cost of studio mastering.
Upload a reference file alongside your own track, and let eMastered figure out why it sounds the way it does. eMastered will analyze the file's sonic identity, and apply that learning to your own master. It instantly matches loudness, balance, compression, and more.Get closer than ever to the sound of your favorite music.
Included with all of our paid plans - Now get more control over your sound with Mastering Options. Manually adjust parameters like compression, EQ, stereo width, volume, and more. Quickly retrieve your preferred mastering options by saving them as presets.Carve out your own unique sound for perfectly polished tracks, ready for playback and distribution.
Even if you are playing the best set of your life, if your volume is not set correctly it will not sound good to your audience. With all the time that DJs put into practising their craft, it is worth it to learn how to set the gain structure properly to ensure the audience hears your set the way you intended.
Whilst Schaffer's story is one for another article, his ideas as embodied in the music of early Hip Hop and House DJs, from simple editing to pitch transposition, reversing audio and more, brought about nothing short of a revolution in sound and today I want to take a good, long look at the work of one such pioneer, DJ Premier.
Deceptively simple in structure, barring the layering of some vocal samples and vinyl scratching the track consists solely of a short sample of jazz guitarist Vic Juris' 'Horizon Drive' and a cut-up drum loop. Add some lyrics over the top from Guru, Gang Starr's MC, and you've got yourself a solid-gold classic - for me, this is the ultimate antidote to the over-complicated, squashed and squeezed sound we hear in some of today's new music!
A quick comparison between the original and sampled versions tells us that Premier pitched things down to lengthen his snippet of audio. The original groove is played at about 100 BPM, meaning Premo knocked off about 16 BPM from his sample, again also resulting in the sound dropping noticeably in pitch.
Regardless, we can still take Premo's wonderfully simple techniques and apply them to our own sounds - we're pretty confident that there's something for everyone in our own catalogue of royalty-free samples and loops for example, including our brand new set of live Hip Hop drums, Punch, which I'm going to use in a quick demo below.
To quickly demonstrate how you can achieve a lazy, pitched down Hip Hop drum sound approximating golden era production, I've chosen the 'Quest_90_Swing' drum loop from Punch. Throwing both the 'dry' and 'room' versions into Logic Pro X, which have been recorded and produced to go together, I've sent them both to a stereo bus channel to be processed as one.
As the loops included in Punch are Acid WAVs, which all ModeAudio WAV loops are, the first thing to do is deselect the 'Follow Tempo' box in the inspector window - often, we want to take advantage of the awesome, tempo-synching power of Acid WAVs but for our purposes here, we actually want the side-effect of dropping the pitch when we also drop the tempo.
Next, turn on Flex Time and select the 'Speed (FX)' algorithm from the dropdown next to each loop - this ensures Flex Time will act as a simple speed control, so dropping the tempo will also drop the pitch. These loops were recorded at 90 BPM, so to achieve that lazier, heavier feel let's drop Logic's master tempo to 84.
I hope I've demonstrated in both the above discussion and brief tutorial that revisiting the music and techniques of the masters of sampling can provide incredibly useful tools and ideas for modern music production. Sometimes, taking things back to basics such as DJ Premier did can provide the perfect answer to all the bells and whistles today's production software throws at us - in any case, it's always a good idea to learn from the best and Premo is most certainly that!
This section gives you the option to create a 320kbps MP3 file. Lossy files are perfectly fine for listening but they lack the quality required for a digital distributor upload or a mastering engineer.
The GIF above demonstrates how even though the waveform initially looks to be peak-limited/clipped like the previous image, the fact that it was saved as 32-bit floating point by the mix engineer means that the peak levels are preserved when the level is reduced. This allows for useful mastering work to still be done without compromise.
One thing that has become common these days, at least for me, is to receive two versions of the mixes for a new mastering project. One version of the mixes has all the mix bus processing applied that was there during mixing and mix approvals. This helps me know what everybody is used to hearing in terms of loudness, dynamics, tonal balance, and other sonic aspects. Then I will also receive a version that has little to no processing on the stereo mix bus so I have a better starting point to work from. Almost 100% of the time this is what I use to master from.
Mastering engineers understand that sometimes a mix needs some extra juice from a limiter or maximizer to get approved by certain clients, but often that type of processing is usually best applied at the end of the mastering process, and not before mastering starts. This is why the sending of two versions can be an effective and easy way to go. The limited version provides the vision, and the non-limited version with headroom/dynamics provides the mastering engineer room to do his or her job without compromise which ultimately will produce the best result. If not, you have yet to find the right mastering engineer. 2b1af7f3a8