WingsOfAnAngel
Banned
ill o.g.
Battle Points: 3
Produce Better Mix Tapes Now
© 2003 Courtesy of Remix Magazine. Article By Robin Smith.
Anyone can make a mix tape. Just slap in the tape, hit record, dub some copies, and sell them, right? Unfortunately, it's not that simple. Many problems can arise when recording a mix tape, and sometimes you don't even know it until you hear the final product. If, like me, you've been disappointed with your mix tapes-messy transitions in the middle of an otherwise solid tape, recording levels too low, boring transitions-then read on.
Because the mix tape market has become saturated in recent years, DJs need to aim for high-quality production if they want to stand out from the competition. Whether you hope to sell tapes, get a gig, or promote your own flavor of underground music, a great-sounding tape is a must.
This article examines the steps involved in producing a high-quality, marketable mix tape, assuming that you have a basic DJ setup (two turntables and a mixer) and a cassette deck. We'll also look at ways to fix and enhance your tapes using some basic computer-based processing techniques.
PRE-PRODUCTION Defining your goals. Before embarking on a mix tape, you should determine what you hope to achieve. For some, a mix tape is a way of making money. For others, it's a demo of their skills. For me, it's the thrill of creating something unique to get heads nodding with the latest joints. Knowing what you want to achieve will help you make informed decisions on the type of music and mixing techniques to employ.
Defining your goals should include deciding on a theme or musical style for your mix tape. If you like to spin multiple styles of music, resist the urge to create a one-tape-fits-all mishmash of musical genres. Your audience may not have tastes as eclectic as yours. For example, if you're into hip-hop and disco house, you and your audience will be better served if you release multiple mix tapes. This will also allow you to test the market to see what sells best.
Preparing and planning. Preparation is the key to a successful mix tape. Your mix tape is a snapshot of a live performance; however, it's also permanent, so any mistake will leave a more lasting impression than messing up a mix at a live gig would. Here are some tips I use when preparing a mix tape:
* Decide which tracks to use, as well as their natural progression.
* Write a playlist.
* Practice specific mixes and transitions.
* Record your practice sessions and review them.
* Listen to mix tapes from other DJs.
* Watch DJ videos to see how others mix. (Hint: try the Vestax DJ School series or any of the DMC Scratch Mixing Championship videos for some hip-hop DJ tricks.)
* Build on other DJs' ideas and strive to take them to the next level.
Setting up your equipment. Good mix tapes can be made with some basic equipment; however, if it's hooked up incorrectly, the result will probably be disappointing. If you're mastering to audio cassette, be sure to use a high-quality metal tape-TDK and Maxell have always worked well for me. Better yet, you could record to DAT or into a computer with audio capabilities (which most of them have built in these days). Both of these options have two major advantages: it's simple to make CDs from computer audio files or DAT, and your tapes won't suffer from the noise inherent in recording to cassette.
For those without a computer audio setup, DAT is an excellent choice, and the recorders are inexpensive to rent. However, I prefer mastering on computer because I can use software that enables me to create seamless edits and punch-ins. In addition, I can enhance the mixes using digital signal processing (DSP), such as noise reduction, during post-production.
RECORDING Setting optimal levels. It's frustrating to record what feels like an awesome mix tape only to discover that your recording levels were screwed up. When levels are too low, there's noticeable tape hiss. When levels are too high, the tape sounds distorted. If you master to computer, you can perform some post-production touch-ups to make some corrections, but you will achieve the best results by properly setting up your equipment.
To set recording levels, it is best to adjust the level on the recording device to match the levels on your mixer. Once they are thus calibrated, you can use the mixer levels to ensure that the master levels are correct. To calibrate, follow these steps:
* Play a loud section of one of the songs you plan to use.
* Set the mixer meters so the song peaks around +3 dB but the overall level doesn't rise above 0 dB.
* Once the mixer levels are set, repeat the section of the song you used to calibrate your mixer and adjust the meters on your mastering device (cassette deck, DAT, or computer) so that they closely match the mixer levels.
Mastering to your computer. Since I don't own a DAT recorder, I record mixes into my PC, which has a built-in sound card with audio inputs and outputs. One advantage of mastering to computer is that you can fix errors afterward by removing or replacing the parts of your recording that you are unhappy with. So when you start recording a mix, don't stop-continue through to the end, even if you make mistakes.
If you plan to record with a computer, you'll need the following:
* a PC (Pentium II processor or better) with a decent sound card (I use a Creative Labs SoundBlaster Live, but other cards such as Voyetra's Montego Quadzilla or the WavePro 424 from Gadget Labs would work fine); or a Mac (PowerPC with System 7.6 and 64 MB of RAM)
* phono cables to RCA or 11/44-inch, depending on your computer's audio inputs
* digital audio recording software (Sonic Foundry's SoundForge, Syntrillium's CoolEdit, and BIAS's Peak LE are good choices)
* approximately 750 MB of free hard disk space for a 16-bit, 44.1 kHz, 70-minute audio file
POSTRECORDING TOUCH-UPS Fixing mistakes with software. If you are dissatisfied with any part of your recording, you can rerecord the problem area and paste it in. Here's how:
* Create a new WAV file.
* Cue up the record starting at least 30 seconds before the mistake, and start recording.
* Perform your mix and let it record through at least 30 seconds past the trouble spot.
* Listen to the new WAV file for a logical spot to perform your edit. (Absolute silences are easy to find in WAV files, so they're good places to start and end edits.)
* Highlight the section you wish to use and copy it to the Clipboard.
* Switch to the master WAV file, highlight the section you wish to replace, and delete it.
* Paste in the new section from the Clipboard.
If done correctly, the edit will be seamless to the listener. Practice is key. Soon you will find it easy to "read" WAV files and pick ideal spots to perform edits (see Fig. 1).
Alternating mixes and adding beats. Applying the same principles described previously, you can rearrange the order of a song's parts, remove or extend sections, and merge samples over the top of the song. This last technique requires that your software offers a "Paste Mix" feature, which combines audio in one file with whatever sound-such as a drum loop or sound effect-you copy to the Clipboard.
My favorite trick is to introduce elements of a song during the previous one. For example, I copy recognizable parts of the upcoming song, such as the bass line or a vocal sample, and then layer these elements over an instrumental section of the song prior to it, using the Paste Mix function.
GO FOR A SPIN By putting into practice some of the ideas outlined in this article, you'll be on track to the next level in mix tape production. With preparation, creativity, and some inventive uses of computer-based technology, you have all the ingredients you need to mix up the perfectly produced tape. Good luck and happy mixing!
Robin Smith is a former hip-hop radio and club DJ, as well as a mix tape producer. He is the creator of the Online 1200, the online operating instructions for the Technics 1200 MKII turntable system, featuring his Turn-tablist Tips.
For mix tapes that stand out above the rest, your transitions between songs need to be creative and varied. If you plan to DJ more than just weddings, simply running beat mixes will not suffice. Here are some ideas to consider for your next mix:
* Chop/crash mixes. Cut from one song immediately to the next without beat-mixing.
* Simple or complex scratch mixes. Not only do they add to your mix, but the practice will help improve your beat-mixing skills, too.
* Echo, reverb, or filter effects. Add these during beat mixes and song breaks to create more dramatic remixes.
* Add samples. This can be done during recording by scratching in or dropping in sounds from sample records (my favorite method), or by preloading sounds into a sampler (such as the Boss SP202) and triggering them at key points in your mix. Samples can also be added during post-production, particularly if you master to computer.
© 2003 Courtesy of Remix Magazine. Article By Robin Smith.
Anyone can make a mix tape. Just slap in the tape, hit record, dub some copies, and sell them, right? Unfortunately, it's not that simple. Many problems can arise when recording a mix tape, and sometimes you don't even know it until you hear the final product. If, like me, you've been disappointed with your mix tapes-messy transitions in the middle of an otherwise solid tape, recording levels too low, boring transitions-then read on.
Because the mix tape market has become saturated in recent years, DJs need to aim for high-quality production if they want to stand out from the competition. Whether you hope to sell tapes, get a gig, or promote your own flavor of underground music, a great-sounding tape is a must.
This article examines the steps involved in producing a high-quality, marketable mix tape, assuming that you have a basic DJ setup (two turntables and a mixer) and a cassette deck. We'll also look at ways to fix and enhance your tapes using some basic computer-based processing techniques.
PRE-PRODUCTION Defining your goals. Before embarking on a mix tape, you should determine what you hope to achieve. For some, a mix tape is a way of making money. For others, it's a demo of their skills. For me, it's the thrill of creating something unique to get heads nodding with the latest joints. Knowing what you want to achieve will help you make informed decisions on the type of music and mixing techniques to employ.
Defining your goals should include deciding on a theme or musical style for your mix tape. If you like to spin multiple styles of music, resist the urge to create a one-tape-fits-all mishmash of musical genres. Your audience may not have tastes as eclectic as yours. For example, if you're into hip-hop and disco house, you and your audience will be better served if you release multiple mix tapes. This will also allow you to test the market to see what sells best.
Preparing and planning. Preparation is the key to a successful mix tape. Your mix tape is a snapshot of a live performance; however, it's also permanent, so any mistake will leave a more lasting impression than messing up a mix at a live gig would. Here are some tips I use when preparing a mix tape:
* Decide which tracks to use, as well as their natural progression.
* Write a playlist.
* Practice specific mixes and transitions.
* Record your practice sessions and review them.
* Listen to mix tapes from other DJs.
* Watch DJ videos to see how others mix. (Hint: try the Vestax DJ School series or any of the DMC Scratch Mixing Championship videos for some hip-hop DJ tricks.)
* Build on other DJs' ideas and strive to take them to the next level.
Setting up your equipment. Good mix tapes can be made with some basic equipment; however, if it's hooked up incorrectly, the result will probably be disappointing. If you're mastering to audio cassette, be sure to use a high-quality metal tape-TDK and Maxell have always worked well for me. Better yet, you could record to DAT or into a computer with audio capabilities (which most of them have built in these days). Both of these options have two major advantages: it's simple to make CDs from computer audio files or DAT, and your tapes won't suffer from the noise inherent in recording to cassette.
For those without a computer audio setup, DAT is an excellent choice, and the recorders are inexpensive to rent. However, I prefer mastering on computer because I can use software that enables me to create seamless edits and punch-ins. In addition, I can enhance the mixes using digital signal processing (DSP), such as noise reduction, during post-production.
RECORDING Setting optimal levels. It's frustrating to record what feels like an awesome mix tape only to discover that your recording levels were screwed up. When levels are too low, there's noticeable tape hiss. When levels are too high, the tape sounds distorted. If you master to computer, you can perform some post-production touch-ups to make some corrections, but you will achieve the best results by properly setting up your equipment.
To set recording levels, it is best to adjust the level on the recording device to match the levels on your mixer. Once they are thus calibrated, you can use the mixer levels to ensure that the master levels are correct. To calibrate, follow these steps:
* Play a loud section of one of the songs you plan to use.
* Set the mixer meters so the song peaks around +3 dB but the overall level doesn't rise above 0 dB.
* Once the mixer levels are set, repeat the section of the song you used to calibrate your mixer and adjust the meters on your mastering device (cassette deck, DAT, or computer) so that they closely match the mixer levels.
Mastering to your computer. Since I don't own a DAT recorder, I record mixes into my PC, which has a built-in sound card with audio inputs and outputs. One advantage of mastering to computer is that you can fix errors afterward by removing or replacing the parts of your recording that you are unhappy with. So when you start recording a mix, don't stop-continue through to the end, even if you make mistakes.
If you plan to record with a computer, you'll need the following:
* a PC (Pentium II processor or better) with a decent sound card (I use a Creative Labs SoundBlaster Live, but other cards such as Voyetra's Montego Quadzilla or the WavePro 424 from Gadget Labs would work fine); or a Mac (PowerPC with System 7.6 and 64 MB of RAM)
* phono cables to RCA or 11/44-inch, depending on your computer's audio inputs
* digital audio recording software (Sonic Foundry's SoundForge, Syntrillium's CoolEdit, and BIAS's Peak LE are good choices)
* approximately 750 MB of free hard disk space for a 16-bit, 44.1 kHz, 70-minute audio file
POSTRECORDING TOUCH-UPS Fixing mistakes with software. If you are dissatisfied with any part of your recording, you can rerecord the problem area and paste it in. Here's how:
* Create a new WAV file.
* Cue up the record starting at least 30 seconds before the mistake, and start recording.
* Perform your mix and let it record through at least 30 seconds past the trouble spot.
* Listen to the new WAV file for a logical spot to perform your edit. (Absolute silences are easy to find in WAV files, so they're good places to start and end edits.)
* Highlight the section you wish to use and copy it to the Clipboard.
* Switch to the master WAV file, highlight the section you wish to replace, and delete it.
* Paste in the new section from the Clipboard.
If done correctly, the edit will be seamless to the listener. Practice is key. Soon you will find it easy to "read" WAV files and pick ideal spots to perform edits (see Fig. 1).
Alternating mixes and adding beats. Applying the same principles described previously, you can rearrange the order of a song's parts, remove or extend sections, and merge samples over the top of the song. This last technique requires that your software offers a "Paste Mix" feature, which combines audio in one file with whatever sound-such as a drum loop or sound effect-you copy to the Clipboard.
My favorite trick is to introduce elements of a song during the previous one. For example, I copy recognizable parts of the upcoming song, such as the bass line or a vocal sample, and then layer these elements over an instrumental section of the song prior to it, using the Paste Mix function.
GO FOR A SPIN By putting into practice some of the ideas outlined in this article, you'll be on track to the next level in mix tape production. With preparation, creativity, and some inventive uses of computer-based technology, you have all the ingredients you need to mix up the perfectly produced tape. Good luck and happy mixing!
Robin Smith is a former hip-hop radio and club DJ, as well as a mix tape producer. He is the creator of the Online 1200, the online operating instructions for the Technics 1200 MKII turntable system, featuring his Turn-tablist Tips.
For mix tapes that stand out above the rest, your transitions between songs need to be creative and varied. If you plan to DJ more than just weddings, simply running beat mixes will not suffice. Here are some ideas to consider for your next mix:
* Chop/crash mixes. Cut from one song immediately to the next without beat-mixing.
* Simple or complex scratch mixes. Not only do they add to your mix, but the practice will help improve your beat-mixing skills, too.
* Echo, reverb, or filter effects. Add these during beat mixes and song breaks to create more dramatic remixes.
* Add samples. This can be done during recording by scratching in or dropping in sounds from sample records (my favorite method), or by preloading sounds into a sampler (such as the Boss SP202) and triggering them at key points in your mix. Samples can also be added during post-production, particularly if you master to computer.
