Here’s a brand new tutorial from MixrDJ – Learn how to master the multi cues to quickly produce loops, cuts and remixes with muscle memory exercises and technique. Mixr features 4 hot cues that allow you to instantly go back to a specific point in time. You can tap on multi cue/loop button to activate the panel. To set a cue, simply tap on the “set” button, or the “in” buttons in the multi cue panel to set your markers. Each marker is color coded to help differentiate the multi cues.
You can set up to 3 manual loops by setting “out” points and enabling the “loop” function. You can clear out the in and out points by tapping on the “in” and “out” buttons. Each multi cue is saved and can be used when you reload your tracks. Each deck can save a different set of multi cues per song allowing you to customize your cue sets. Alright, and thats how to use multi cues and loops. Remember, each deck can save a new set of multi cues per song. Don’t forget to follow us on twitter, Facebook and subscribe on youtube, we’ll see you guys in the next video.
Mixr delivers a rich feature set designed for mobile DJ’s. You can pitch, tap to tempo, scratch, multi-cue and mix with precision. You can manage your iPod library with the revolutionary Crate Manager. Make crates with the touch of your finger in the drag-n-drop interface, you have complete control over your mixes. Featuring high quality DSP effects, you can add Delay and Reverb to your mixes to add that extra punch to your sets. Supporting mono split audio output, you can monitor pre-cueing with your headphones for live performances. Record your mixes and play them back in a sleek player. Recording a mix automatically creates playlists! Turn your iPad into the best mobile DJ Turntable Studio, with Mixr.
When learning to mix – sound is of paramount importance. Understanding the ins and outs, and how it all interacts is the building blocks from which any mix is made. However, once sound and the manipulation of sound is learned, there is a further and more important step: feel. People listen to music on laptop speakers, ear-buds, and in cars on the freeway with the windows down. They’re probably also listening to the mp3 version.
Under all these circumstances, the sound is clearly compromised. I’d venture that sound quality, is not really the be-all end-all of a record. Mind you, I do feel it’s important, but I don’t think that’s what people attach to and get hooked by when they listen to music.
When dealing with sound, we tend to think in terms of tone, timbre, balance, image, and punch. But why do these things even matter?
Punch is how the sound jumps out at you, image is the world the sound lives in, and balance allows the important elements to step forward. These all have emotional ramifications, and directly influence the feel of a record. So I would posit, that without “feel,” sound quality is essentially meaningless.
Here are some feel-related ideas for you to ruminate on:
1. Unbalanced Sounds – Sometimes when a certain element is unbalanced, stepping on other elements, it can feel really good. It might not sound so hot, but it can feel ever so good.
Sometimes it’s nice to momentarily unbalance a key element to build tension, and then return it to a balanced level as the release. It’s also a good way to direct the listener’s attention.
2. Groove is Everything – No matter what, at all costs, get the groove working. Whether this compromises the sound or not, groove is the innate part of music that we all feel with our body. It determines whether or not we like something before we even determine thoughtfully whether or not we like something.
Consider old Motown recordings. Any technological hurdle was superseded by incredible musicians playing with great feel. Consider this next time you’re obsessing over that hot new plugin bundle.
3. Transitions & Arrangement Dynamics – It’s very rare that a song that doesn’t vary much or have any solid transitions actually captivates people. Address and consider the points immediately before & after a song changes sections. Automate some dynamics between and during sections if necessary. [editor’s note: for transitions, check out these free cymbal swells from Joe Gilder of Home Studio Corner.]
4. Depth – That 3D image is an important part of the emotion of a song. As Jimmy Page said: “the emotion is in the room.” That can be interpreted both figuratively that the emotion is in the interchange between musicians working together in the same space, or literally that it’s the sound in the space that resonates emotionally. I think both are accurate.
5. Make the Moments Special - A song is a series of moments – if every moment is special, the song is always impactful. When recording, take the time to get the performance right. Like Edward J “UK” Nixon says, “keep working until the goosebumps come.”
Matthew Weiss records, mixes, and masters music in the Philadelphia, New York, and Boston areas. Find out more about him here.
DMG Audio has released EQuick, an equalizer effect plug-in for Windows and Mac.
EQuick is a streamlined, ultramodern EQ built to help you make your mixes magnificent. Fast, intuitive and unbelievably flexible, we’ve packed it with digital functionality. We built its beautiful, clear graph with accessibility and efficiency in mind, and it’ll refine your workflow forever; but don’t take our word for it – test the claim and download the demo! We wanted to play with the idea of the interface; we wondered whether EQ could be made more intuitive, more direct, and how one would go about making an EQ that made the process even faster. EQuality speeds up your workflow because it sounds great, and you don’t waste any time compensating for defects in what it does. For EQuick we wanted to delve deeper into the design of the interface. Perfection is when there’s nothing more to take away, so we started by stripping down the interface to its most essential element – the graph. EQuick has nothing else. We had to work in all the controls (like Range and Shift) that made EQuality so special and we found that we could do that with the graph. Also, we took account of the fact that different people have different size screens – so you can pick your size for EQuick. But we couldn’t do that at the expense of control, so we built the tooltip system that provides you will all the data you need, when you need it.
- Unbelievably low CPU usage for high instance counts.
- Generates super-high-quality prototypes. Clear undistorted top.
- Linear phase mode for mastering and special channels.
- 32 bands of EQ, Q 0.1->50, +/-36dB range.
- Each band can be Peak, HPF, LPF, High Shelf, Low Shelf or Notch.
- Each bank can process Mid, Side or the full stereo image.
- Fully parametric filters (high and low-pass), 6/12/18/24/30/36/42/48db/oct.
- Five different UI sizes.
- M/S processing per-band with listen.
- Windows VST and VST3 as 32+64bit, RTAS 32bit.
- Mac VST, VST3 and AU as 32+64bit, RTAS 32bit.
- Bells and notches, with a +/-36dB range, and a Q range from 0.1 to 50.
- Shelves which let you move the resonance above or below the curve.
- Filters at 6/12/18/24/30/36/42/48 db/octave, sweepable resonance.
- Adjustable gain-q interaction for ‘musical’ usage.
- Beautiful, clutter-free modern interface.
- Big, clear, antialiased graph.
- Hi-res Spectrum analyser.
- Range, to scale the EQ response, both +ve and -ve.
- Frequency shift, to allow you to retune the response.
- Large, configurable spectrum-analyser with readout.
- Control linking to move sets of bands together.
- Configurable VU, with variable ballistics.
- 8 banks of A/B.
- Full preset management system.
- Autolisten mode, for quick finding/adjustment of frequencies.
EQuick is available to purchase for £74.99 GBP. A bundle with EQuality and EQuick is £124.99 GBP, and the EQuality, EQuick and Compassion Bundle is £224.98 GBP. Previous EQuality customers get EQuick at no cost.
Here is a cool teaser for an upcoming mixing app for iPhone:
Mix done 100% visually (without headphones), shows the usage of Auto-Sync and Auto-EQ features of Touch DJ Evolution. The app allows extremely easy, almost perfect instant mixing. The preparation phase for this mix was just loading the tracks an defining some cue points to mark entries and transitions. The tracks were loaded in alphabetical order (what is wrong in general, but good for demo purposes)
What happens in the video is simply navigating on cuepoints (by tapping them in the track waveform overview), engaging Auto-Sync at the right time, and ultimately moving the crossfader and loading another track.. App handles mantaining constant BPM of the mix through time-stretching the tracks, not pitch-shifting (although that setting is also possible, separate for each deck).
The application will hit AppStore soon, as a universal app for iPhone & iPad.
Michael Semanick is a two-time Academy Award winner and has been nominated six other times for Achievement in Sound Mixing. He was nominated for all three Lord of The Rings films and won for Return of the King in 2004. He received his second Academy Award for Peter Jackson’s King Kong. Semanick has been nominated twice for his work with Pixar on Ratatouille and Wall-E, and for his efforts on The Curious Case of Benjamin Button in 2008. His nominations for both Wall-E and Benjamin Button were given in the same year. Semanick was recently nominated this year for his work on The Social Network. Michael is excited to be joining our Ex’pression family to speak with the students, faculty, and staff upon the completion of Cars 2 for Pixar.
Ex’pert Series with Michael Semanick hosted at Ex’pression College for Digital Arts in Emeryville, CA on June 23, 2011.
MashTactic is a plug-in that can separate various parts of a full audio mix.
Many sounds, include vocals can be cut or isolated from a track.
* 8 stereo areas of sharp cut-off filtering.
* Adjust levels separately in all selected zones.
* A great tool for mashup music makers, as vocals and other sounds can be identified and manipulated within a full mix.
* Works on transients, allowing the user to emphasise or cut percussive sounds giving control over punch in drum tracks.
* Great for analysing balance and frequency mix of a track you’re composing.
Coming soon to:
Here’s a new video showing how to create a mix group. Promoted as the DAW for musicians, Propellerhead Record nevertheless features some of the most sophisticated (and intimidating) mix routing of any multi-track recording software. While this opens the opportunity to do some very creative things in the mix interface, it also makes certain basic functions — like creating mixing sub groups — a little confusing.
That’s why we’ve put together this step-by-step video on how to create submixes in Record. It may require a few more steps than creating subgroups in other DAWs, but the visual routing component presented by the virtual rack view (ported from Reason) aides the process. As does Owen’s patient, guiding voice.
Not your everyday mix up
In this video:
here i am trying to mix concertguitar and breakbeat… this are the steps to my coming live shows. keep control over various parameters makes my performance challenging but also fun
if technical detail is needed, please ask me
Dubspot Instructor and Mixing & Mastering engineer Daniel Wyatt teaches you How To Use A Limiter using Ozone 4 from Izotope in this two-part video tutorial series offering tips and techniques for polishing your tracks, and give them a finished, professional sound. Daniel Wyatt offers a universal mastering technique using Ozone 4, which is indeed one of the most powerful mastering plug-ins, but you can use this method to attain loudness in any host application. In part 1, Daniel Wyatt navigates the Limiter section and explains some the essential functions of the Loudness Maximizer (another name for the Limiter) in a step by step process; from Master Output setting to Dithering, correcting mixing mistakes, adding fullness without distortion, and Release control, for making the sound loud and bouncy. Stay tuned for part 2, as Daniel Wyatt concludes the series with a focus on Multiband Dynamics, Harmonic Exciter, and more.
Xylio has announced the release of Future DJ, a mixing software app for iOS.
Future DJ is a DJ mixing software for iPhone, iPad, iPod touch that allows you to mix like a pro dj in no time. This is not a toy, it’s a full-blown software that you can use to mix for an entire party if you want to.
Although DJ software on the iPhone and iPod touch is only at the beginning, Future DJ raises the standards through features such as automatic BPM detection, beat-matching and seamless looping, thus making it the first professional handheld DJ solution.
Future DJ features
- Classic DJ setup with 2 decks and mixer.
- Fully manual or automatic mixing.
- Pitch/speed control and crossfader.
- One-click beat-matching and sync.
- Seamless intelligent looping and skip-beat.
- Automatic BPM detection (grid like) on the device.
- Effects, eqs, filters.
- Vinyl simulation including scratch, pitch, reverse play, brake, spin.
- Separate headphones/speakers output (using a simple stereo splitter).
- IPod library browsing system with search.
- Professional CUE point functions including hot Cue-Play.
- Pitch bend (using the pitch sliders).
- MotionPlaying™ – place your iPhone/iPod on a turntable and scratch any song (requires an iOS device with a gyroscope – eg. iPhone 4).
- Extensive settings.
- Built-in help.
Future DJ for iOS is available to purchase for an introductory price of $1.99 USD.
More information: Xylio