 EQUIPMENT FAQ (If you've cocked up, and didn't want to be here, click HERE to get back to the FAQ menu page) It's a visual indication of whether your decks are screwed or not. If, when the pitch control is set to 0, the dots continue to move, then it means that your deck isn't turning at exactly 33 or 45rpm. Be careful though, if the deck is off - and you try to fix it yourself, things can go haywire! Soundlab (and maybe some other decks) have a little screw that you can access above the pitch control (with a + and - marked on it) to help you deal with this problem. Be VERY careful if you're gonna start playing with this. It takes a lot of time because you HAVE to be a perfectionist about it. Also, make sure you use a plastic screwdriver for this job. A metal one causes some kind of magnetic effect, one which will make your adjustments inaccurate. In case you were wondering, the control for this on Technics decks is inside the casing. Apparently, because the decks hardly ever falter, Technics didn't really see the point of giving the user access to it. Cocky, eh!!!! Piping your decks through your computer is reasonably easy.
Reasonably........ First off, what kind of sound card do you have? Chances are, if it's a basic set up for a computer, the sound-card will have inputs that look the size of a personal stereo jack (like mine does). In this case, you might start to have problems. None that can't be fixed, but..... If the sound-card has phono inputs, likely if it's an expensive one that gets used with Midi etc, then you're sorted. Check the back of your mixer, depending on how good it is, you should have 2 or three different outputs. 1) Master (goes to amp/stereo) 2) Tape out/ Record out - (self explanatory) 3) Booth . The one that is missing on the lesser mixers is the booth output. Doesn't matter, but it's nice to have. If you have a booth output on the mixer, use this one to feed the computer. The reason for this is that there is normally (hopefully) a separate control for the booth, independent of tape and master controls. This means you can change the output to the computer without having to change what you're hearing/taping. It's also nice to be able to tape the mix your trying to do (onto a normal tape) so you can comp check it afterwards (without tying up the computer). So now simply take the output from the mixer, and put it into the input of the sound-card. If it is the personal stereo size input, you may have to either buy a lead that goes from this to a double phono, or sacrifice an old set of personal headphones, and a phono lead, and build one yourself. Next, check the settings on your volume control on the computer, make sure line in is selected - not muted. It might also be a good idea to get a account like Cool Edit 96 for the recording. The windows Sound recorder doesn't handle lots of information well (apparently) but Cool Edit can handle up to 1Gb of information in one go - which is about 95 minutes at 44kHz 16bit stereo. You can sometimes find it on demo disks on PC mags, or go to www.syntrillium.com to download it. Then that's it. If you're into streaming mixes on the net, go to the real player page, www.real.com and download the Real Producer beta encoder, which will let you encode your stuff. Can I get good decks (and a mixer) for under £200? No. Stop asking me this.....please! I'll write an answer here, and from now on, everytime I get asked this question, I'm just gonna refer you to this. So if I have and you're here......Hiya!! New, the cheapest deck that I've seen that you can get is about £85, the Gemini XL-100, and is probably the next best thing to picking chewing gum off the road so that you can get something to eat!! The cheapest I've seen mixers for is £59, either Soundlab 's DSM-1, or Force G' s unpowered Slim G. Both of which, though great for the beginner, are just that - great for the beginner, but not much else. So anyway, new - this lot comes to £229. Puts you over budget, and you're getting pants for your money. There are cheap packages out there, like Soundlab's DLP-1 package, for about £269 - but still, the only thing that has changed is the decks. I have said a couple of times before that these are good to start on, but that's really it, the minute you realise you want to do anything more than find out if you want to be a dj, you're gonna need new decks and a new mixer. The only thing I can suggest is to check out all the classified ads in newspapers and stuff even put a "wanted" ad in yourself, I've known a couple of people that's worked for. Or if there's one of those second hand stores that are sprouting everywhere anywhere near you, then check in there. The good news is that everyone is coming back from Ibiza wanting to be a Dj, going out and buying equipment, realising they suck, then trying to sell them off quickly, so if you're really lucky, you might find a good deal - if you're patient enough. I know it's hard, especially if you're as impatient as I am about these things, but try to save up another couple of 100. It might seem like a lot, but for 200/300 you're gonna be stuck with a couple of lemons for decks, a mixer that you'll grow out of in a couple of months if you turn out to be any good, and then have to save up all over again because hardly anyone is going to pay the same kind of money you paid for them. You really can't get into this business with a budget. Especially through the beginner stages. Records nowadays cost a lot of money, and with the enthusiasm that you'll bring to this, you'll want to constantly buy new tunes, and keep progressing. Next off, you'll want to upgrade your equipment - even if you went for middle of the road stuff like Gemini's PT-1000 decks, and the PS-626 mixer, you'll eventually outgrow them. Give a lot of thought before jumping into this, I'd never been as poor as when I started Dj'ing. Why does the record not slip right when using the slip-mats? There's a couple of reasons why this might happen. 1) Your decks aren't up to much:- If the power (torque) of the deck isn't that good, then the deck wont have enough force to keep turning under the extra forced applied when you try to hold the record. There's a couple of ways to get around this. 1) Buy new decks - sorry, but it is a solution. 2) Put a piece of wax paper (like you find as an inlay in some of your records) that has been cut to the shape and size of your slipmats underneath the slipmat. This will help to reduce some of the friction. It wont cure the problem totally, but it should help - a little. 2) You still have the rubber mat that came with your deck on:- You have no idea how many people write to me with this problem, then let it slip (forgive the pun) that the rubber mat is still on the deck!! The set-up should go - deck plate, slipmat (with optional wax cut out underneath) record. The rubber mat is there for people who aren't dj's, and just like to listen to their old Brahms and Mozart records on a good deck. So take off the rubber mat, put the slip-mat back on, and things should be a lot better. How do I set up the tonearm on my decks? The way I'm about to tell you is the way I've seen it done, in person, and the description in magazines. One conflicting opinion I've seen is whether to take off the needle or not (leaving the cart in place) Most of the stuff I've read hasn't mentioned it, so I just leave it in place. If there's any tekkies reading this, that have an opinion on the matter, get in touch, explain your thinking and I'll change this.  First off, wind the weight on the tone-arm right to the back of the arm, so it is pointing to the sky.
Next, wind the weight back on until there is enough weight to keep it hovering in mid air. It may be an idea to turn off the ant-skate - otherwise the arm will move from left to right, and hinder your accuracy. 
When the arm is level, rotate the indicator ring so that th 0 mark on it lines up with the mark at the top of the weight.
Now, look at the manufacturers recommendations for the amount of weight that should be applied (you'll find this in the gumf that came with it - or on the web-site of the manufacturer) and wind on this amount.
Of course, this is their base recommendation. The way I do it (MY WAY - I'M NOT SAYING IT'S THE RIGHT WAY, BUT IT'S MY WAY is to add on as much weight as is needed to stop the needle skipping when cueing up the record, or jumping due to the bass. Some manufacturers may have a minimum performance weight for their needles, so it's still an idea to check them out for the full specs.
Why not to get belt-driven decks. Let me tell you a little story.
The club that I work in normally use Technics SL1210 decks (basically the best you can get) but they were beginning to slip a bit, and needed a service. So they put them in for this service, and as a replacement, they got Soundlab DLP1 decks. It only dawned on me then JUST how bad belt decks can be. They don't hold their pitch - at all, they speed up and slow down through the tune (not only during the beat-matching process) and they're effected badly by heat - as the belt stretches and contracts. I must stress though that this doesn't only happen through heat - with belt driven decks, it just....happens. You have no idea how many mails I get that first say "I'm thinking of getting Belt Driven decks....." I tell them it's a bad idea, then in a few weeks, I get another one saying "why do they not hold their pitch?" DOH!!!
So back to my story; I spent the whole night having to really concentrate on my mixes, to some success, but it was REALLY hard. Add to this the fact that the counter weight on the tone arm wasn't sufficient to counteract the effects of club bass (needles kept jumping) and I was one step away from turning the music off and going home.
There is however, a school of thought that starting off with bad decks will help you in the long run though. Here's why:-
1) Bad decks that lose their pitch easily will teach you how to be really precise when it comes to beat-matching...
2) They also teach you how to correct timing errors during the mix (coz they go out of time all the time)
3) They.....well, that's about it really!!
So it all comes down to a matter of mind over money. How impatient you are is going to dictate what decks you get. Just remember that after about 6 months, you'll start to feel REALLY limited by these decks, and want to upgrade. Selling your decks second hand wont recuperate half of the money you spent on them, so you'll end up spending a lot more money in the long run.
Basically, the cheapest decks that I've used that I thought were of ANY cop at all, were the Gemini XL-500's at around £150 or the XL-600's at around £195. They both still suck, but their suckdom isn't anywhere near as bad as belt-driven decks. If you can wait a little longer, I recommend trying to get hold of the Gemini PT1000 or 2000's. They still cost a little bit more (around £220/£260 respectively)
Of course, you're probably thinking of trying to get hold of a package anyway, in which case there's lets of options. You can get basic Direct Drive Soundlab packages with a good mixer (Numark DM2000X for around £400, but then you can also get the XL-500 packages for the same price (get in touch with Kingston Sound and Light on 0181-339-0449 for those - they claim to do special offers for students). You can go cheaper package wise, it all comes down to the mixer you want. If you choose the Soundlab DSM15 mixer, you drop £80 in price - but you'll soon get pissed off with the mixer, want to buy another, better one, and end up spending more than that!!
If you're wondering why I'm talking only in terms of Soundlab and Gemini, it's because they're the only decks (other than Technics) that I've ever had ANY experience with. Also, some people claim that there isn't that much difference between the Soundlab Direct Drive decks (DLP3) and the Gemini XL-500's, but I think there is a small difference.
You also might want to try the classified ads.
Packages (Starter Kits) Of course, you're probably thinking of trying to get hold of a package, in which case there's lets of options. It's a nice way to get everything you need in the one place, and mostly for a discounted price.
You can get basic Direct Drive Soundlab packages with a good mixer (Numark DM2000X) for around £400, but then you can also get the Gemini XL-500 packages for the same price (get in touch with Kingston Sound and Light on 0181-339-0449 for those - they claim to do special offers for students). You can go cheaper package wise, it all comes down to the mixer you want. If you choose the Soundlab DSM15 mixer, you drop £80 in price - but you'll soon get pissed off with the mixer, want to buy another, better one, and end up spending more than that!!
I know it's really tempting to go for the really cheap starter packages, I cited the Numark dj in a Box on the second equipment page as an example. Yes they are great for the starter - but only for them. Once you've learnt the basics on them, the belt-driven decks are going to have to go, as is the REALLY basic 2 channel mixer.
If you're wondering why I've only really talked in terms of Soundlab and Gemini, it's because they're the only decks (other than Technics) that I've ever had ANY experience with. Also, some people claim that there isn't that much difference between the Soundlab Direct Drive decks (DLP3) and the Gemini XL-500's, but I think there is a small difference.
Buying on the Web If you're looking fore places to anger your bank manager on the net, go to THIS PAGE ON MY SITE where there's a list of a few good URL's.
What to look for when buying second hand A lot of times, it makes more financial sense to try and find gear second hand so that you can save some dosh. But, you don't always know what you're getting, so here's a few things to look out for when looking at second hand gear. On decks (assuming you're buying vinyl decks) First off, set the pitch control to 0. Take a look at the strobe indicator (the red light to the side of the deck plate, which illuminates the dimples on the plate) At 0 pitch, these dots should stay still. If the move a little, it's maybe ok, you should be able to adjust the motor a little. If the dots move erratically, then there's a problem with the motor. Now move the pitch slider smoothly into the + area - again look at the dots, the speed of them should increase smoothly as you increase the pitch - again, if it's erratic, there's either something wrong with the slider, or the motor. do the same for the - pitch. While you're doing this, check the feel of the pitch slider, it's supposed to be a smooth control (apart from when it locks in at 0 pitch) - if it starts to grab on, making it hard to move, then it's gunked up. Also check to see that the 45 + 33 buttons do their job. I know a few people who forgot to check that, only to get the deck home and find out it doesn't change. If you can, lift off the deck plate, and take a look underneath it. If it's really dirty, then there's a chance that the motor will be dirty too (ask if you can unscrew the cover over the motor, and take a look at it - most people will tell you where to go though!!). While you have the deck plate off, take a look at it to make sure it's not warped or bent. try placing it on a flat surface, and make sure all if it connects with the plate. If (heaven forbid) you're looking at belt driven decks, take a look at the belt too - it's under the deck plate - make sure there are no obvious signs of stretching or corruption on it. For mixers, make sure you get a chance to see it in action. Check through ALL of the controls. From the master output, to the gain controls, to the Eq's on each channel (which you're looking for a) that they do what they're supposed to, and b) that they don't crackle when you adjust them) Then the channel faders - again, make sure they're not sticky, or crackle. Then the cross fader, same as the channel faders. Then the headphone socket (again no crackles, no cut outs). Then the mic input (if you're able to check it) to see that it connects well - and three are no sudden losses of signal). Try to check through all the outputs too - there should be a Record Out, a Master Out, and if you're looking at a good mixer, a Booth output. Plug the output into all of these, and make sure there are no breaks in signal - and that adjusting the levels on the mixer transfer to the specified output (just remember that the master control doesn't normally affect the recording output. Finally, make sure that the Line/Phono switches do their job. from being able to switch to and from Line and Phono for that channel, to being able to get silence when you switch from one to the other (when the other has no input). If there's special things like BPM counters, cross fader curve adjusts, punch buttons or hamster switches, check that they all work too. If the gear you're buying includes Headphones, make sure that they work too. Move the cable around to make sure there are no breaks in it, and rotate the connector in the socket on the mixer to make sure there are no crackles and signal breaks there too. What equipment does a start up DJ need? In its simplest state, a Dj needs two players (Vinyl or CD) a mixer, a pair of headphones, something to play it through so you can hear it, and some tunes.
The actual quality of the equipment you're using depends on the amount of money you spend. The more advanced equipment you get, the more you'll be able to manipulate the sound. But for a beginner, it's best to get basic spec equipment while learning the basics of Dj'ing. (this stilll doesn't mean get belt driven decks though!!)
Why is there a separate input for vinyl decks and CD decks? Right, I'm not going to go too far into this, coz I'm not 100% on the exact reasons, but I'll tell you what I think I know! Go to UR Pressing if you've got any more questions, they've got a good article on it there. Basically, it comes down to how vinyl is recorded. If you were to take a normal tune, and record its signal onto a record without doing anything to it, you would drastically reduce the amount of time available to you for recording, as the stronger the signal, the more space it takes up on the record. So, in an effort to combat this, when vinyl is pressed, some things are done to the signal of the music. Mainly, this involves cutting the bass level by 40dB and boosting the treble by 20dB. By doing this, you can fit lots of time onto the vinyl. Then, when it comes to playing the record, the RIAA curve comes into effect, which boosts the bass by 40dB and cuts the treble by 20dB. and that's the simple basics of it. The mixer needs to know that it's receiving something that the RIAA curve is applied to in order to get the signal sounding like normal again. As I said before, if you want to know more, then go to UR Pressing .
Hehe, click it, if you're a fan of Kevin Smith stuff like me, you'll love all this
sex levis coke coca-cola
|
