by Rifki Rostum
The DJ console has come a long way since Francis Grasso plied his trade with the first stereo mixers.  Today DJs have digital, analog, midi, and hybrid mixers. For hybrids, where analog, digital and midi are married among the available controls, great possibilities await.  Well that’s what the advertising promises.  DO they live up to the hype?  Lets break down the available hybrids and see if any of them show promise.

HYBRID OR THE HIGHWAY ?

Mixer manufacturers have looked towards the future and it is quite evident that the digital world is only going to expand further.  Analog will likely never go completely away, thanks to its warm, human character, but the real estate it occupies is now doing double duty with digital and/or midi.  Opening these possibilities becomes completely context sensitive and hard to totally encompass in a single article, but lets look at a couple of the mixers available and dip into what new avenues open up for us as digital DJs.

ALLEN & HEATH XONE 4D

Allen & Heath offer this no joke mixer more at home in the pro DJ’s studio or atop a two story stage during a five day festival  in Europe. At just under an arm and a leg the Xone 4D stays true to A & H’s quality, solid workmanship and design.
·    $2999.99 – $2599.99

·    105 controls in two sections with 227 midi messages

·    Shift mode allows seamless switching between program layers

·    Midi Merge allows for a peripheral, i.e. keyboard, to be intergraded into the DVS

·    4 stereo/analog in & 1 stereo/digital in

·    4 stereo/analog out & 1 stereo/digital out

·    20 channel 2.0 USB soundcard 96 kHz/ 24 bit

·    BPM push and pull midi time clock

·    All new BPM detector circuit

·    Award winning filters and effects built in

RANE SIXTY EIGHT

Rane has teamed up with Serato and pre mapped this monster mixer with scratch live functions and with features like dual USB ports for uninterrupted seamless switching between DJ’s  or parallel mixes it is sure to stand out huge amongst the club DJ’s.
·    $3299.99 – $2599.99

·    Scratch live mapped and full midi functionality

·    Two midi sections with 12 buttons and 2 endless encoders

·    Two usb ports for real time switching or mix in parallel with two laptops

·    Two 2.0 usb ports 32bit soundcard with 22 channels @48 kHz

·    4 channels with line/phono/spdif inputs

·    Built in effects section

·    FlexFX for multiple support of effects, hardware and software based

·    Headphone split cue

·    FlexFX mix levels

VESTAX PMC-05 PRO4

The PMC series is a staple in the turntablist’s kitchen and now with cue points and effects being directly mapped to your fingertips this hybrid mixer is sure to be rolling out some hybrid mixes and juggles.
·    Around $1000

·    13 midi functions per channel

·    New digital cross fader

·    Compatible with CoreAudio and ASIO

·    Transformer switch per channel

·    Effects send and return

·    USB port for computer connectivity

BEHRINGER DDM4000

Behringer steps into the ring with the DMM4000 digital knockout that’s sure to please the digital DJ. with features like EQ kill as well as sync for effects, cross fader and sampler this mixer will be going more then three rounds.
·    Sells for $399

·    32-bit digital mixer with beat-synchronized sampler, 4 multi-FX sections, 2 BPM counters, digital X fader and MIDI

·    4 Phono/Line stereo channels allowing max. 8 signal sources to be connected simultaneously

·    2 Microphone inputs with Gain, EQ, Talk function and FX

·    4 stereo channels with Gain, programmable parametric 3-band EQ with Kill function, fader curve control and flexible cross fader assignment

·    Fully featured MIDI controller for your DJ software

·    Sophisticated sampler with beat-controlled loop function, real-time pitch control, sampler FX and cross fader start option

·    2 freely assignable and BPM-synchronized, high-quality FX engines (Bit crusher, Resonator, Reverb, Flanger, etc.)

ECLER NUO4 (DISCONTINUED)

Ecler offers this simple yet power packed four plus one channel mixer which is perfect for the cross over DJ looking to expand their skills into the software world. A smooth lay out and midi features pushes this mixer into the new standard level for inspiring DJ’s every where.
·    $700 to $800

·    4 midi knobs and eight buttons

·    3 effects scenes

·    Deck A and B toggle button

·    Midi clock

·    No audio interface

·    Replaced by Nuo4.0 which has no Midi

PIONEER DJM-800

Pioneer has this new version of the DJM but can now offer a massive midi functioning mixer. Features recommended by many professional DJs and club engineers have been jammed into the DJM 800 and is raising the bar on sound fidelity and ease of mixer operation.
·    $1000 to $1500

·    96 kHz / 24-bit digital mixer

·    High-fidelity sound (32-bit sound processor)

·    61 fully assignable MIDI controls

·    4 sound colour effects

·    13 beat effects, including roll sampler

·    Large, bright dot matrix display

FUTURISTIC FOOLS OR JACK OF ALL TRADES?

What is the future for hybrid mixers? Is there room for these types of products in a fast growing market?  The answer is not really clear. With Ecler and Numark discontinuing several midi-mixers, there may be clear signs of a soft market. On many of these mixers, the midi-implementation seems to be just an after-thought or an extra feature requested by the marketing team not an innovative new look at DJing. We are interested in hearing what you, the community, has to say- how do these products fit into your DJing picture?

This is Rifki’s first article for DJTT, lets show a little DJTT appreciation for his work.

The Drink Line- Build it, Use it!

We would all like to think our dj skills reign supreme,  but lets keep the egos in check and share a short moment of honesty. Alcohol keeps the dance floor pumping.  You can use that knowledge to help your dance floor and make sure the club does well at the bar. The trick is to respect “the drink line”.  The basic timeline of an average DJ would start off light, build itself towards a peak, and slowly drop towards the end of the night. This will work, but the more nuanced and professional djs deftly work in some breathing room for drink breaks.

In the chart above, the dj has programmed 2-4 sections through the night where he intentionally allows the energy to drop moderately. Then after a 15-30 minute lull, the energy picks right back up and thanks to a fresh round of shots, goes to new heights! Programming in a few intentional breaks in energy does a few critical things:

1)    Provides a clear opportunity for drink breaks helping the bar
2)    Gives the dancers some breathing room and down-time
3)    Provides you the chance to play a few great tracks that might not exactly be hits
4)    Using the illusion of juxtaposition creates a sense of gradual energy building. 11 can start to feel like 7 if there is no reference point.

Like it or not- the club is not a non-profit entity. Club owners invest time and money into their institutions to bring in a profit, so if you want to keep your job as a resident dj, it’s wise to keep that in mind when planning sets. Don’t sacrifice your artistic integrity, but keep in mind when the club does well so will you.

THE TEMPO LINE

Just like the drink-line, the tempo line is also used to build and maintain energy throughout the night. It could coincide with your drink line but may also follow a totally different track. Here are 2 very common tempo lines that will pay solid dividends:

The builder should be fairly obvious but it’s amazing how few people actually gradually build tempos throughout the night. Over-zealous openers start the night off right at 130pm and leave headliners with no-where to go. If this happens to you- reset the clock! Let the track run out, start the set at a lower BPM. There will be some temporary energy loss but way more room to work with through the set.

The loop is more common with mixed format sets where lots of different BPMs are expected. This is my favorite style to mix with because tempos changes can give huge boosts of energy to the dance floor. I typically work 2-3 tempo cycles into the mix throughout a 4-5 hour set.

During a tempo cycle,  the BPM can go all the way up the tempo range, loop around the “horn” (180) and then double back down to 90.

The timing of the lower BPMS is very important and  should be used sparingly. A good time to give dancers a break by dropping the tempo is around 2AM when everyone enjoys a good drunken slow dance. The tempo’s and times above are not by any means correct, but used more as an example of the cycle.

UNIVERSAL AUDIO

Some of these principles certainly apply more to venues where drinks are no longer served after 2AM. Others, like the tempo line can apply to any venue if the unique needs and circumstances of the local dancers are considered. These principles should serve as guidelines but ultimately its your eyes, ears, and judgment that will make the best call for the dance floor. That is, after all, why they pay us the big bucks!

The idea for this article came from Jules Etro but was re-written for clarity- Thanks Jules!

Today we get back to the basics with a good old fashioned Traktor tutorial. After months of requests, we finally address a common problem- how to get the BPM for and beatgrid an acapella. If you have any questions, post them in the comments and we will update the post.

WHAT DO WE KNOW?

As usual, the staff at TechTools has some inside info that we can’t yet share with you- Dammit! Contractual obligations will allow us to share the following tidbit of info:  Ean Golden was directly involved with the concept and design of the controller and software.

A CLOSER LOOK

Pausing a 30 second video can be a pain in the butt so we grabbed and cleaned up a few of the best shots so you can get a better look at the controller.

WHAT DO WE SUSPECT

Should a DJ wish to speculate, one could deduce the following from the screen shots above:

• There is a new software on the way with 4 loop players/samplers
• This will be a 2 deck/4 channel mixing console much like the new Xone DX
• It  has a built in sound card
• The outer decks are switchable to control 4 virtual decks.
• Lots of good LED feedback
• What looks like 4 cue pads per deck
• NI is calling it a Traktor System (Hardware and Software combo)

That’s pretty much it- tell us what you think in the comments!

*Update regarding the VCI-100SE*

Several people have asked about how this will affect the future of the VCI-100SE.  Our flagship controller has managed to last for several years now because it has proven to be a reliable, fun and well balanced solution. We will absolutely continue to sell, support and integrate the controller with future versions of Traktor. For DJs looking for a portable controller at a lower price- we think the SE will still be a great product and the only controller with our one of a kind mappings.

SIGN UP LIST TO PURCHASE

Since Ean helped design the new Traktor controller, DJ TechTools will be selling it with some special perks exclusively for our customers. Add your name to the list bellow and get the first chance to buy the controller. Exact price and release date are not yet public.

The ad from the local paper says it all: looking for a multi-skilled DJ to bring in a crowd, and we’re not too worried about your mixing skills.  What has gone wrong in the club scene that having mix skills is no longer a priority?  In case you have been living under a rock, draw power is high on the list of promoters criteria now. Being able to bring in the crowd is considered by some to be greater than being able to keep the crowd.  How do you keep up with the Jones’ and get gigs in this type of club climate?  Read on…

To succeed as a professional DJ in the 21^st century, you have to treat it as both an art form AND a business.

OFFER MORE

On the business side of DJing, the way to get paid more is really very simple. Offer More! Here are 5 simple value-added things you can do for a club/bar that will raise your pay-out.

1. Do sound tech work – make sure the system is running smoothly and sounds great all the time
2. Create a flyer if there is none – time to brush off Photoshop!
3. Offer to pass out flyers – ideally with some trackable item on the flyer like a coupon code for half-off entry before 12 that shows what your efforts yielded.
4. Build a facebook event page and promote the hell out of it
5. Find opening DJs or off-night filler djs for low cost or free. The best way to keep your job is to manage the clubs bookings- duh!

Create Your Brand

These days, there’s always going to be another DJ who’d like to do your job for free, regardless of their capacity/skill.

Set yourself apart by creating your own unique DJ brand. It pays to stand out!

1. Define your Brand – The music you play, the way you conduct yourself and even the way you look determine people’s impressions about you. Each time you play out is a chance to promote your own brand of music and style of DJing. Dress for the gig and play like the professional you are!
2. Give out a Mix – All those people having a great time on the floor probably won’t remember everything you played. Giving out a mix CD is one way to keep you in the minds of your loyal audience. If you don’t want to spend $ on CDs, you could upload your mix on sites like http://soundcloud.com and just hand out flyers to people advertising it.
3. Collect e-mails – Every gig is packed with potential fans, but its your job to convert them. Go out and pro-actively give them another chance to hear you play.
4. Create a website/social networking page – The online world has become as much a part of the working DJ as the real world. Skip Myspace, and go straight towards building a facebook fan page if your just getting started. This will be the least expensive way to leverage social networking tools. Have a bit of a budget? Create a custom home page- but be carefull of having too many destination spots (myspace, facebook, web-page, blog, etc.). Its better to focus everyone to one place and optimize the hell out of it.

Stay Competitive By Staying Ahead

It’s easy to dream about being the next big name in DJing. What’s difficult is figuring out how to get there!

1. Innovate – Bring something different to your gigs that the crowd will remember you for! Having a successful night every week might tempt you into resting on your laurels, but let’s not forget that with today’s fickle crowd, you need to keep stepping up each and every time.
2. Integrate – There’s a lot of new DJ technology and techniques out there for you to incorporate into your current set. Slip a MIDI controller like the Midi Fighter in with your DVS system for some new routines, or go perfect that FX transition you saw the other night on YouTube. Never be content with the skills that you have today! There’s always room to improve and build on your strengths and work on your weaknesses.
3. Promote – Unless you have a professional promoter working for you, you’re going to have to do this on your own. Work those social networking sites, get your web presence up and take some time out to talk to people at your gigs. Meeting people is interesting in itself, and once you do, you’ll end up with a deeper understanding of your audience. What they think of you just makes it that much more important for you and your career. Good promotion is self-promotion (Check out John Thomas’ article).
4. Get a Manager (booking agent?) – To free up some time and create a bit more mystique, you could ask for some real from a professional manager. I’m not talking about that buddy of yours who likes the ladies (“I can ‘manage’ you AND your girl fan base!”). Your manager should be a good negotiator, play bad cop well, and be effective at creating a sense of demand for your services.

Sell Yourself as the Human DJ

We, as living, breathing DJ’s, must push to position ourselves by constantly developing relevent skill sets and taking it beyond what machines and software can do on their own. Here are a few areas where the human DJ still excels.

Phrasing and Beatmatching
It can’t be done properly by software alone, and it really goes without saying that the true Human DJ must excel in them. Train wrecks in 2010 are a no-no!
Harmonic Mixing
Do you play an entire set based on the relationship of your songs’ keys with each other, or do you break cadence and throw a wrench in the works to foster an element of surprise in your mix? The perception and interpretation of key is a uniquely human experience so make it something that you do very well.
Read The Crowd
What kind of group has gathered on the floor. How are they moving? What is the atmosphere in the air? These are all questions that a good DJ will take into account and work into his mixing decisions though the night.

This is Joey’s first article for DJTT, lets show him a little DJTT love. He works as a DJ, producer and sound engineer for a recording studio.

Dj TechTools spent some time with Glitch Mob, the Ableton dj crew turned live band, and dug into the details on how they make their new bombastic show work technically. Read on after the break for the full interview on what they like and don’t like about Lemurs and more!

What kind of a concert is the new Glitch Mob Set?

To some people going to the Glitch Mob is a full on rave party and to some it’s an experimental electronic rock concert. We take you on a ride.. we are not afraid to have tender moments and also crush them over the head.

What kind of technology do you use live?

Basically we have a bunch of midi controllers and perform our music through Ableton Live using a series of samplers. We use a combination of traditional instruments like guitar and bass, which run through Ableton, and we also use touch screen controllers called Lemurs made by Jazz Mutant.  We also use Roland V Drum midi controllers.

Before this bigger live show, you did a mash-up remix set. How has the transition gone?

The transition has gone well. The biggest difference now is that we stop between songs where before it was a continuous dj set. It feels good to be up there playing the songs, which is what this show was all about- playing the songs from our new record. Its a heavily percussive album so we wanted to get up there and actually play the percussion.

Are you getting the band effect (stop and watch) or are people still dancing?

I think its a fair bit of both. I noticed last night, playing in LA that there was a whole chunk of people dancing the whole time but then there is a whole different group that is just fascinated by what is going on. I actually think that’s amazing because if people are dancing the whole time it would not matter if we were up there with instruments or a turntable. I have noticed that this is a really cool mix of the dance party and a show you can watch.

How do you make computer technology playable and not stiff?

The way we have the live set set up is that we use a series of samplers instead of launching clips. We previously used clip launching, but for this particular set we have essentially sampled (note for note) every melody and chord progression from the record so we can re-play that exact melody live. Obviously,  due to the fact that it is live there will be that humanistic feel and error involved.

How much does each song then evolve as you play it live?

We have the opportunity to riff.. but we try to keep it as close to the way the record was written because this is the first time most people have heard the record but there are moments where we can throw in a little. There are improvised moments- like we always do a drum solo every single night and every single night it comes out a little bit different.
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Are the controllers you are using expressive enough?

We are always looking for stuff that we can bash harder and tweak more. I imagine a keyboard with big giant keys. We were just over at the Moog factory and checking out the midi-theremin which could get worked in some-how.

The Jazz-Mutant Lemur literally takes center stage, how well do they work for you?

They are not perfect. For example, you can hit them, but you can’t really whack it. Its also not the most accurate or responsive of interfaces. Like, if you have an air bubble in your screen you will get weird anomalies sometimes.  The visual feedback is awesome but its not precise. Its cool because we can actually show people what we are doing because they can see the correlation between visual and audible.

How do you manage to play so many different parts with one controller?

The way we have designed our set, we could not really perform without it (the Lemur). We have written some scripts where Ableton will basically fire off some midi to the Lemur and the Lemur will change pages and then you are ready to play your next part.

Lets say we play 8-10 parts in a song and some of the parts are back to back with only a 16th note between the 2 parts. So with this set-up, you don’t have to press the next page button- Ableton does it for you. Basically, by the time your done playing the end of a phrase, the Lemur page will change and your playing a completely new instrument with a completely different layout with pads and stuff all custom designed for that part. That’s one thing about the Lemur thats important for us.  We could not just have 16 buttons, some of our melodies have anywhere from 4 notes to 12 notes so it has to flexible and open.

So your willing to trade the loss of tactility and errors in exchange for flexibility?

Yeah – not that this is a good thing but when there are those minor errors then its obvious that we are playing up there. When you hear a dropped note, then its like- ok this is live.

We are often talking about one of the drawbacks of Ableton is its rigidity and the fact that it is so hard to screw up.

It actually took us a lot of engineering hours to make Ableton be able to fuck up. It was 2 months solid of trial and error programming to really get things tight but now everything is running pretty smooth.

Get more info on Glitch Mob including tour dates at their website.

An audio issue is every DJ’s worst nightmare, after all audio is our art!  For digital DJs, there are two sets of audio to worry about: analogue and digital, with USB being the most popular means for our digital hook-up.  For MacBook and MacBook Pro users, the choice of which of the two available USB ports to use for your sound card hook-up may have never occurred to you.  New evidence is showing, that especially with the new i5 and i7 models, you might be missing out on performance by choosing the wrong port.

Background

As digital audio performance increases, with higher sampling rates and greater bit depth, the speed of our USB port becomes more significant.  Most high end sound cards require USB 2.0 to even operate, with some cards even have multiple configurations.  For example, the Numark Omni will only provide 4 channel output if it detects a USB 2.0 connection, defaulting to 2 channels if it detects anything lower.

How does this affect you? The ability for a port to receive and transmit at specified rates affects our audio settings.  If we want to have a high sample rate working at a low latency, the port needs be reading and writing quickly.  When audio drop outs occur, often our only remedy is to increase latency.  And we know that when the latency is too high, our actions become noticeably out of sync with the audio.

With only 2 USB ports on the 13″ and 15″ MB and MBP, Apple have shuffled around USB users on its internal USB hub scheme over the years.   Hardware like the keyboard/trackpad, iSight, memory card reader, Bluetooth and the IR receiver are all USB devices attached to the internal hub.  And depending on the configuration of the laptop, the devices are piggybacked differently onto your 2 USB ports.

Native Instruments thinks that the issue is serious enough to include recommended USB ports for Mac users in all it’s soundcard manuals in the Troubleshooting section.  Hercules also have it in their FAQ.  Serato do not go into specifics as to which port to use, but acknowledge that one port is “good” and the other “bad”.

PC users may rejoice at this one, but should first check their internal USB hub is functioning optimally.  Then, after disabling USB energy saver mode, they can shout back “Get a PC” at the Mac users!

Core/Core Duo MacBooks

For MBP models with ports on the left and right, only those on the left are recommended.  For MB and MBP models with the both ports on the left (as in the above photo), only the port furthest from the screen is recommended (often referred to as the front port).  These recommendations have stood since the early days of the MBP, with the trackpad and iSight specifically pointed out as devices causing poor port performance.

To quantify the difference between the ports on my Dec 2009 MBP 13”, I used Ableton Live’s audio test tone with a NI Audio Kontrol 1 on both ports.  For those unfamiliar, Live provides a test tone with a simulated CPU load for testing audio latency.  After setting the sample rate to 192 kbps and the CPU load to 80%, I reduced the samples to minimum (lowest latency) and started increasing until there were no more drop-outs. The results were very similar (74 samples or 3.30 ms latency for the front and 88 samples or 3.38 ms latency for the rear), but the front port repeatably required a few less samples before the drop outs stopped.  The relatively small difference indicates that either port could successfully be used for a sound card and that Apple seem to have distributed the USB peripherals evenly on the latest builds.

Core i5 and i7 MacBook Pros

DJRiO sent us an article on the new Core iX family of MacBook Pros that indicates the newer models are subject to one “good” port and one “bad” port too, but that the good and bad are reversed from the old norm.  The article from Hardmac has graphical representation that the rear port has a much higher read/write performance than the front.

To illustrate the difference, hereafter are captures of a test performed with a SSD drive installed in an external enclosure USB 2.0:

On the USB port located close to the user sitting in front of his MBP, the following results are obtained:

On the most distant USB port from the user:

The first port is almost twice slower than the second one, limited to 15 MB/s in writing and 22 MB/s in reading, while the other port reaches the maximal performance level offered by the USB 2.0 enclosure.

They go on to list the keyboard/trackpad, memory card reader and Bluetooth all connected to the front port, while the rear has the iSight and IR receiver, indicating a possible overload on the front port.

A quick Google search found a user on MacRumors forum with very similar results.

What should I do?

For those that don’t have issues and feel there system is working as it should, there is nothing to do except keep using the ports in the same way you always have.  But for those that have had issues in the past, especially if you have a habit of changing how you hook-up your equipment, it is worth while testing to see which port is best for your audio card and then always connecting in that configuration. After all, you owe it to your dance floor to make sure your sound is optimized, and with only 2 ports to check this is an easy one to check and get right.

Special thanks to DJRiO for bringing this information to our attention.

You’ve just put together a killer  re-mix  and spent weeks making everything perfect but its still not bumping like the big club bangers.  Don’t worry-  You need professional quality mastering and we are here to try and help.

Last month we brought you Part I of our DJ mastering guide, Pump up the Jam, which discussed the concept of mastering with industry experts. This month, we will take you through the process detailing what to look for in each step along the road to mastering perfection.

Finally, as if that was not enough, read on for a chance to win 2 of the top mastering plug-ins out there.  A free copy of The Glue and T-RackS 3 mastering plug-ins!

Before you start.

Never underestimate how important it is to get your mix as sonically correct as possible and to know what sort of overall sound you are trying to achieve before you start mastering. After all, if you don’t know where you’re headed you are quite simply never going to get there! The mastering process cannot make a rough and nasty mix sound great. It can, however, add that certain sparkle and impact to an already great track.

It is perhaps useful to think of the mastering process as analogous to a food condiment, namely salt. Salt is a flavor enhancer, it brings out the taste in food, it can’t however make rancid fodder taste divine and too much of it can give you a heart attack! Mastering is the same. If your ingredients are of high quality and carefully balanced, the mastering will enhance them; but, if you have a weak, badly EQed kick drum or sloppy bass line there’s nothing the process can do.

Ready to begin.

When the track is mixed and you have gone through the “happy period,” leave it alone for a couple of days. Return to your studio and, at low to moderate level, listen to a few current commercial tunes that are in a similar style. Listen super-critically to these hit tracks and familiarize yourself with how it sounds in your room and what elements you wish to reproduce.

Open a fresh project on your DAW and import the stereo mix of one of these successful tracks that you think is closest sonically to what you want to achieve. Leave this plug-in free with a direct out to a separate master. You do not want the plug-ins you are adding to affect this signal chain. Also, if you have run the output of your mix through some kind of limiter or exciter, remove it and bounce down an untreated mix; there should be as little processing as possible on your file for master.

Now import your mix to another track and check you have enough headroom for your mastering. Do this by playing back the track at its loudest point and check the maximum level on your master output. Note where it peaks on the meters. If it is hovering around 0dB the whole time and smashing into the red, REDUCE IT! This does not mean pulling the channel fader down; take the gain out of the signal by 3–4dB at least. You need room to work and you don’t want to be overloading any of the plug-ins.

Bus compress:

Strapping a compressor across the entire mix output is called bus compression and the purpose is to ensure the dynamics across the track’s duration are as uniform as possible. It tends to “glue” the elements together, whilst retaining the original feel of the track.

Set up the compressor with a ratio of 2 or 3:1, set the attack at about ¼ and the release about the same or auto. You should now adjust the input gain, or threshold, until you are getting a maximum of 3–4dB on your gain reduction meter at the peaks in your track. The trick here is NOT big compression but simply merging some of the frequencies in a musical way. Longer attack times with low ratios are the name of the game here to preserve as much transparency as possible. The compressor should be recovering from the dips quite quickly, but inaudibly, whilst never clipping more than that 3–4dB from the track. Adjust the output gain so that the volume with the processing is the same as when the plug-in is bypass.

EQ cuts:

Next call up the multi-band EQ and, if plug-in doesn’t have one, a Hi-pass/Lo-cut filter. Set the filter to about 30Hz and take out everything below here—you will be surprised how much this actually tightens up the bottom end! (You can try placing the filter before the bus compressor if the gain reduction is pulling too much energy out).

Now cut other troublesome frequencies by comparing your mix with your chosen reference track at similar audio levels (move the channel fader on the other track as necessary, do not change your track’s level!). You will have to sweep about with the frequency center points and concentrate on one area at a time. For example, in the bass department, is yours muddy compared to theirs? Cut by a little at 250 Hz and see if it improves. Use narrow bandwidths to start with and find the center point of the trouble, then widen the notch as much as you need. Do the same for the mid-range and mid-highs.

On to boosting:

When you are happy with the equalization cuts you can start bringing things back in. Try to use a linear phase EQ, as these plug-ins are more transparent and add fewer unpleasant artifacts to the mix.

Perhaps your kick needs to come out more…

• Try a center frequency around 80–100Hz
• Use a very narrow bandwidth and be cautious of the boost amount—you don’t want to be adding more than 2–3dB, or something was wrong with the mix in the first place. Remember on the parametric keep the Q points low!

Next for the top end. You might need to add some mid-hi and possibly a hi shelf with a boost from about 8–10kHz to add some sparkle and presence if it’s lacking.

Cool… take a break and come back to assess the results with fresh ears. Sound good? Great! If not persevere with the EQing. Now all happy? Let’s give it a bit of radio treatment…

Make it LOUD!

You don’t make tracks louder by turning the monitors up, but by adding a peak limiter. Initially, you may be more comfortable leaving the attack and release times at their default, as incorrect settings can easily leave you with an over crushed or lifeless mix. Simply set the output clamp between -0.5dB to -0.1dB (use the lower values if you want to be really safe or are going to export to an mp3) and wind down the threshold, or input, with the music playing. You will see the meters climbing up as well as hearing it sound more exciting.

Now is the time to compare the metering from your benchmark track. You want yours and theirs to be looking similar (a spectrum analyzer plug in is of great use here, if you have one). If there is not much movement it could be an indication you are strangling the guts out of your mix, not good… unless of course, that is what you are going for. It is very easy to get carried away here and overcook it! Err on the side of caution and good taste!

Enjoy it, don’t rush it.

If you are doing all this yourself the most important thing is to take time and breaks. It’s amazing how quickly our ears can deceive us; we quickly become accustomed and start to hear what we expect to hear instead of what is actually there. Referencing on other systems is also a must. Compare your track against others on the stereo in the kitchen, the car and the living room. One of the things about good mixing and mastering is making sure it translates as well as possible to any speakers. After all, you worked hard enough creating your art you want it to sound good everywhere – that extra time spent at the mastering and referencing stage will pay long-term dividends.

One last thing… As we discussed in the previous article, if a label likes your work and wants to release it, find out if they are going to master it. If they are, remember to send them the original mix file for mastering not this new one. Any mastering engineer is likely to curse you and have serious problems working with a file that has already been mastered!

Here are some audio examples of tracks before and after mastering. There are 3 different dance styles to show the effect on a variety of music programs:

Weekend Army un-mastered Weekend Army mastered

I Don’t Need to Know unmastered I Don’t Need to Know mastered

Free unmastered Free mastered

Mastering Competition:

Answer the following for your chance to win a copy of Cytomic’s The Glue or IK Multimedia’s T-RackS:

How does a Peak Limiter make a track louder?

E-mail your answer and contact info to philip@djtechtools.com with the subject “Mastering Competition”.  The winner will be drawn from among the correct answers on Friday July 16 at 4PM PST and announced here.