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Meph751
Advanced Member
United States
1,488 posts
Joined: Dec, 2005
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 Posted - 2007/12/16 : 20:47:03
.................
the ignorance here is so incredible, i'm having a hard time believing some of you are serious
I think everyone knows you have to match bpms when mixing, NO ONE IS ARGUING THAT.
the simple fact is, due to the difference in rpm, the way in which the sound is manipulated when you touch the vinyl or platter is different between 33 and 45's. because of this, some people find it harder to use 33's. that is all i am saying. and you really cannot argue it, because it's a god damn fact.
if you cannot grasp that i am in no way talking about bpm, i feel really bad for you and you should probably consider finding a tutor so that you may better learn the english language.
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Vitalism
Advanced Member
Canada
1,707 posts
Joined: Oct, 2005
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Posted - 2007/12/16 : 21:23:59
meph, you are right.
clearly, if all the "stuff" on a piece of vinyl is closer together, then slowing the platter will have a greater effect on a 33 vs a 45. that's logical. it is a little harder to mix 33s in that sense.
btw, i wanted to know the track on a record ACTUALLY consist of. i was under the impression it was little... dots.
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__CMC__
Advanced Member
United Kingdom
593 posts
Joined: Aug, 2007
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Posted - 2007/12/17 : 08:46:50
quote:
Originally posted by Meph751:
the way in which the sound is manipulated when you touch the vinyl or platter is different between 33 and 45's. because of this, some people find it harder to use 33's. that is all i am saying. and you really cannot argue it, because it's a god damn fact.
I have always been of the opinon that when a tune is playing under no circumstances should you be touching the vinyl, if the record i was bring in was to fast i would ride the pitch to get it in time, if the record was to slow i woudl either ride the pitch or a trick on Tehnics when the tune is playing at 33 hold the 33 button down and tap the 45 buttin this will give the record the little nudge forward to bring it in time.
Since owning serato i have always had the records playing at 33, does that make me a better dj?
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raindance-rob
Average Member
United Kingdom
194 posts
Joined: Aug, 2007
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Posted - 2007/12/17 : 09:41:46
quote:
Originally posted by __CMC__:
quote:
Originally posted by Meph751:
the way in which the sound is manipulated when you touch the vinyl or platter is different between 33 and 45's. because of this, some people find it harder to use 33's. that is all i am saying. and you really cannot argue it, because it's a god damn fact.
I have always been of the opinon that when a tune is playing under no circumstances should you be touching the vinyl, if the record i was bring in was to fast i would ride the pitch to get it in time, if the record was to slow i woudl either ride the pitch or a trick on Tehnics when the tune is playing at 33 hold the 33 button down and tap the 45 buttin this will give the record the little nudge forward to bring it in time.
Since owning serato i have always had the records playing at 33, does that make me a better dj?
could be lol
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Dain-Ja
Advanced Member
Canada
1,983 posts
Joined: Oct, 2004
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Posted - 2007/12/17 : 13:52:03
quote:
Originally posted by __CMC__:
quote:
Originally posted by Meph751:
the way in which the sound is manipulated when you touch the vinyl or platter is different between 33 and 45's. because of this, some people find it harder to use 33's. that is all i am saying. and you really cannot argue it, because it's a god damn fact.
I have always been of the opinon that when a tune is playing under no circumstances should you be touching the vinyl, if the record i was bring in was to fast i would ride the pitch to get it in time, if the record was to slow i woudl either ride the pitch or a trick on Tehnics when the tune is playing at 33 hold the 33 button down and tap the 45 buttin this will give the record the little nudge forward to bring it in time.
Since owning serato i have always had the records playing at 33, does that make me a better dj?
I used to only ride the pitch but now I do a weird hybrid of touching the record/platter and riding the pitch (and depending on sensitivity of the records/rave setup situation I'll focus on one method or another)
if you only ride the pitch you can't get as accurate
I just do both at once, allows me to beatmatch really fast
__________________________________
Producer/DJ/Label owner
Rush Delivery Records
Visit makemeRUSH.com for music from the ONLY North American hardcore label pressing vinyl!
FREE track every Monday: http://www.rushdeliveryrecords.com/?p=229
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Future_Shock
Advanced Member
Australia
2,483 posts
Joined: Apr, 2007
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Posted - 2007/12/17 : 16:06:18
quote:
Originally posted by Dain-Ja:
quote:
Originally posted by __CMC__:
quote:
Originally posted by Meph751:
the way in which the sound is manipulated when you touch the vinyl or platter is different between 33 and 45's. because of this, some people find it harder to use 33's. that is all i am saying. and you really cannot argue it, because it's a god damn fact.
I have always been of the opinon that when a tune is playing under no circumstances should you be touching the vinyl, if the record i was bring in was to fast i would ride the pitch to get it in time, if the record was to slow i woudl either ride the pitch or a trick on Tehnics when the tune is playing at 33 hold the 33 button down and tap the 45 buttin this will give the record the little nudge forward to bring it in time.
Since owning serato i have always had the records playing at 33, does that make me a better dj?
I used to only ride the pitch but now I do a weird hybrid of touching the record/platter and riding the pitch (and depending on sensitivity of the records/rave setup situation I'll focus on one method or another)
if you only ride the pitch you can't get as accurate
I just do both at once, allows me to beatmatch really fast
I do the same. It really does make it faster to beatmatch that way.
__________________________________
New Future Shock Hardcore: https://soundcloud.com/futureshockgroup
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Dain-Ja
Advanced Member
Canada
1,983 posts
Joined: Oct, 2004
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Posted - 2007/12/17 : 16:55:56
quote:
Originally posted by Influx:
quote:
Originally posted by Dain-Ja:
quote:
Originally posted by __CMC__:
quote:
Originally posted by Meph751:
the way in which the sound is manipulated when you touch the vinyl or platter is different between 33 and 45's. because of this, some people find it harder to use 33's. that is all i am saying. and you really cannot argue it, because it's a god damn fact.
I have always been of the opinon that when a tune is playing under no circumstances should you be touching the vinyl, if the record i was bring in was to fast i would ride the pitch to get it in time, if the record was to slow i woudl either ride the pitch or a trick on Tehnics when the tune is playing at 33 hold the 33 button down and tap the 45 buttin this will give the record the little nudge forward to bring it in time.
Since owning serato i have always had the records playing at 33, does that make me a better dj?
I used to only ride the pitch but now I do a weird hybrid of touching the record/platter and riding the pitch (and depending on sensitivity of the records/rave setup situation I'll focus on one method or another)
if you only ride the pitch you can't get as accurate
I just do both at once, allows me to beatmatch really fast
I do the same. It really does make it faster to beatmatch that way.
if you're playing out alot it's important to know both, cause when the decks are skippy you sometimes HAVE to ride the pitch
Carl Cox corrects his mixes by touching both turntables gently in opposite directions to make the correction less obvious
...I guess that's why he's the master :P
__________________________________
Producer/DJ/Label owner
Rush Delivery Records
Visit makemeRUSH.com for music from the ONLY North American hardcore label pressing vinyl!
FREE track every Monday: http://www.rushdeliveryrecords.com/?p=229
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Vitalism
Advanced Member
Canada
1,707 posts
Joined: Oct, 2005
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Posted - 2007/12/17 : 19:31:59
personally, when it comes to mixing and slowing/speeding up tracks, once i've introduced the track i'm mixing into, i do not touch that record. i only slow/speed up the track i'm mixing out of to make it all sound less... sketchy.
cuz at that point, no one really cares too much for the outro of a song they've just heard for 4 minutes, and they also don't wanna hear you messing around too much with the track mixing in.
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Dain-Ja
Advanced Member
Canada
1,983 posts
Joined: Oct, 2004
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Posted - 2007/12/17 : 19:35:51
quote:
Originally posted by alex_e:
personally, when it comes to mixing and slowing/speeding up tracks, once i've introduced the track i'm mixing into, i do not touch that record. i only slow/speed up the track i'm mixing out of to make it all sound less... sketchy.
cuz at that point, no one really cares too much for the outro of a song they've just heard for 4 minutes, and they also don't wanna hear you messing around too much with the track mixing in.
yeah, my automatic reflex is to touch the track that is less audible
(depending where I am in the mix that can be either deck)
you don't really ever hear my corrections
__________________________________
Producer/DJ/Label owner
Rush Delivery Records
Visit makemeRUSH.com for music from the ONLY North American hardcore label pressing vinyl!
FREE track every Monday: http://www.rushdeliveryrecords.com/?p=229
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silver
Admin
Japan
12,579 posts
Joined: Feb, 2001
894 hardcore releases
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Posted - 2007/12/21 : 00:42:28
If you find it harder to mix at different speeds you need to learn how to mix on vinyl or buy better turntables. I never had a problem with mixing with different vinyl speeds and never knew there was an issue until this thread popped up.
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Meph751
Advanced Member
United States
1,488 posts
Joined: Dec, 2005
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Posted - 2007/12/21 : 00:53:34
quote:
Originally posted by silver:
If you find it harder to mix at different speeds you need to learn how to mix on vinyl or buy better turntables. I never had a problem with mixing with different vinyl speeds and never knew there was an issue until this thread popped up.
um what? think about it - if its spinning at different rpms its entirely expectable that touching the vinyl is going to affect if differently... i'm not talking bpm, i am talking rpm.
33 spins slower, obviously, and so when you touch the vinyl, the effect is greatly exaggerated as compared to a 45...
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Buy my records! :)
http://www.discogs.com/sell/list?seller=Meph
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Edited by - Meph751 on 2007/12/21 00:53:59 |
raindance-rob
Average Member
United Kingdom
194 posts
Joined: Aug, 2007
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Posted - 2007/12/21 : 03:12:04
quote:
Originally posted by silver:
If you find it harder to mix at different speeds you need to learn how to mix on vinyl or buy better turntables. I never had a problem with mixing with different vinyl speeds and never knew there was an issue until this thread popped up.
agreed & do uno something this post made me laugh i tried to explain to you earlier on in the post mixing is about bpm not rpm, but i gave up. iv had decks for years & rpm has nowt to do with it. if you can beat match then it dont make no difference.
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Edited by - raindance-rob on 2007/12/21 03:14:36 |
raindance-rob
Average Member
United Kingdom
194 posts
Joined: Aug, 2007
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Posted - 2007/12/21 : 03:18:13
tell you what do a search on yahoo or google for BPM & then RPM, which further proves what we're trying to say to you.
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Edited by - raindance-rob on 2007/12/21 03:22:07 |
raindance-rob
Average Member
United Kingdom
194 posts
Joined: Aug, 2007
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Posted - 2007/12/21 : 03:24:01
here read this:
http://en.wikipedia.org/wiki/Beats_per_minute
Beats per minute
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Merge arrows
It has been suggested that this article or section be merged with Tempo. (Discuss)
Beats per minute (BPM) is a unit typically used as either a measure of tempo in music, or a measure of one's heart rate. A rate of 60 bpm means that one beat will occur every second. One bpm is equal to 1/60 Hz.
The BPM tempo of a piece of music is conventionally shown in its score as a metronome mark:
This indicates that there should be 120 crochet beats (quarter notes) per minute. In simple time signatures it is conventional to show the tempo in terms of the note duration on the bottom. So a 4/4 would show a crochet (or quarter note), as above, while a 2/2 would show a minim (or half note).
In compound time signatures the beat consists of three note durations (so there are 3 quavers (eighth notes) per beat in a 6/8 time signature), so a dotted form of the next note duration up is used. The most common compound signatures: 6/8, 9/8, and 12/8, therefore use a dotted crochet (dotted quarter note) to indicate their BPM.
Exotic time and particularly slow time signatures may indicate their BPM tempo using other note durations.
Contents
* 1 Dance Music
o 1.1 Extreme BPM
o 1.2 Beatmatching
* 2 External links
[edit] Dance Music
Beats per minute became common terminology in popular music during the disco era because of its usefulness to DJs, and remain important in dance music.
In this context the beats measured are either crochets (quarter notes) in the time signature (sometimes called down-beats, although the term is ambiguous), or drum beats (typically bass-drum or another functionally similar synthesized sound), whichever is more frequent. Higher BPM values are therefore achievable by increasing the number of drum beats, without increasing the tempo of the music.
Hip hop typically uses a BPM tempo of 70-110, while house music is faster: 110-140BPM. Jungle music goes even faster: 140-190. gabber and Speedcore music exceeds 200 BPM with an underlying crochet tempo of around 100-120.
[edit] Extreme BPM
More extreme BPMs are achievable at the same underlying tempo with a very fast drum patterns, or a drum roll. Again, these have a much slower underlying tempo, but increase the BPM by adding additional percussive beats. The Speedcore subgenre claims to top 1000 BPM[citation needed] using this method.
The human ear can distinguish separate pulses up to a frequency of around 15Hz (900 BPM)[citation needed], thereafter the pulses are perceived as a single sound, and beyond around 1200 BPM (20Hz) as a bass frequency and harmonics. This places a natural perceptual limit on the actual BPM of a track, although the PR value of claiming a high BPM is unaffected by whether it can actually be discerned by a human listener.
[edit] Beatmatching
Beatmatching, an art amongst DJs, concerns the speeding up or down of a record in order to match the BPM of a previous track so both can be flawlessly mixed.
DJs often beatmatch the underlying tempos of recordings, rather than their strict BPM, particularly when dealing with high BPM tracks. A 240 BPM track, for example, will normally match the beat of a 120 BPM track without slowing down or speeding up, because both are likely to have an underlying tempo of 120 crochets (quarter notes) per minute.
Normally, the pitch and BPM of a track are linked: spin a disc 10% faster and both pitch and tempo will be 10% higher. Software processing to change the pitch without changing the tempo, or vice-versa, is called time-stretching or pitch-shifting. While it works fairly well for small adjustments (± 20%), the result can be noisy and unmusical for larger changes.
BPM can be calculated by hand (count the number of bass drums per 60 seconds, or - to be fast - per 15 seconds and multiply by 4), but some software programs such as MixMeister, Traktor-DJ and Tangerine can do it automatically by listening for regular volume peaks at low frequencies.
http://en.wikipedia.org/wiki/Rpm
Revolutions per minute
From Wikipedia, the free encyclopedia
(Redirected from Rpm)
Jump to: navigation, search
"RPM" redirects here. For other uses, see Rpm (disambiguation).
For other uses, see Revolutions per minute (disambiguation).
Revolutions per minute (abbreviated rpm, RPM, r/min, or r·min−1) is a unit of frequency: the number of full rotations completed in one minute around a fixed axis. It is most commonly used as a measure of rotational speed or angular velocity of some mechanical component.
Standards organizations generally recommend the symbol r/min, which is more consistent with the general use of unit symbols. This is not enforced as an international standard; in French, for example, tr/mn (tours par minute) is commonly used.
The corresponding International System of Units (SI) unit would be the hertz and we have:
1 r/min = (1/60) revolutions per second = 0.01666667 Hz
In the SI one often uses the unit for angular velocity which is radians per second (rad·s−1):
1 r/min = 2π rad·min−1 = 2π/60 rad·s−1 = 0.10471976 rad·s−1
[edit] Examples
Main article: Orders of magnitude (angular velocity)
* On some kinds of disc or tape-like recording media, the rotational speed of the medium under the read head is a standard given in r/min. Gramophone (phonograph) records, for example, typically rotate steadily at 16, 33⅓, 45 or 78 r/min.
* Modern dental drills can rotate at up to 500,000 r/min.
* The second hand of a conventional analogue clock rotates at 1 r/min.
* Audio CD players read their discs at a constant 150KB/s and thus must vary the disc's rotational speed from around 500 r/min when reading at the innermost edge, and 180 r/min at the outer edge. CD-ROM drives have their maximum rotational speeds are rated in multiples of this figure, even though they do not hold to constant read speeds when reading from data tracks.
* A washing machine's drum may rotate at 500 to 1800 r/min during the spin cycles.
* An automobile's engine typically varies between 700 and 7000 r/min (though there are certain cars that can rev as high as 11,000 r/min.
* A piston aircraft engine typically rotates between 2000 and 3000 r/min.
* A computer's hard drive rotates at 3600, 4200, 5400, or 7200 r/min on IDE types and 10 000 or 15 000 r/min on some SATA and SCSI and Fibre Channel drives.
* The engine of a Formula One racing car can reach 20,000 r/min under some circumstances.[1]
* A Zippe-type centrifuge for enriching uranium spins at 90 000 r/min or faster.[2]
* Gas turbine engines rotate at tens of thousands of r/min. JetCat model aircraft turbines are capable of over 100 000 r/min with the fastest reaching 165 000 r/min.[3]
* An electromechanical battery (EMB) works at 60 000 - 200 000 rpm range using a passively magnetic levitated flywheel in vacuum[4]. The choice of the flywheel material is not the most dense, but the one that pulverises the most safely, at surface speeds about 7 times the speed of sound.
* A turbocharger can reach 290 000 r/min while 80 000 - 200 000 r/min are common.
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raindance-rob
Average Member
United Kingdom
194 posts
Joined: Aug, 2007
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Posted - 2007/12/21 : 03:27:09
note how it says about beat mixing on the page about BPM but not on the one about RPM . . . i rest my case & buy this book it covers the basics of mixing:
HOW TO DJ (PROPERLY)
The craft
What makes a great DJ? How does a DJ create so much energy and emotion? True insight into the art of playing records.
The bedroom
A complete step-by step guide to all basic DJing skills, including a whole chapter on beatmatching. Plus CD and MP3 DJing, choosing equipment, setting up, and more.
The dancefloor
Taking your skills onto a real dancefloor. Using your bedroom talents to make people actually dance. How to cope with your first gig.
The masterclass
Advanced techniques for experienced DJs. From turntablism, to FX, EQing and harmonic mixing – even how to use three decks.
The industry
Endless insider secrets. Solid advice on getting gigs and getting paid. Everything from how to get gigs to how to make and release a record.
THE EXTRAS
Packed with contacts and websites for finding out even more.
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Edited by - raindance-rob on 2007/12/21 03:27:54 |
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