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I — Milonga DJ sound technique

When DJing a successful milonga, there are a number of technical issues that are important to take into account. The main of these are: (1) media quality, (2) equalisation, (3) digital-analogue conversion, and (4) speaker output.

II.b — Transfer comparison

In the previous chapter we noted that the transfer quality of the same song can vary widely. This depends on many factors, the quality of the original shellac records, the technique used for recording the music and transfering it to digital format, and the post-production

I.a – Pre-tango: before 1895

Tango traces its origins to the popular culture of South America, to the area around the Rio del plata, River Plate, the bay that lies between Argentine and Uruguay, in the merchant cities Buenos Aires in Argentine and Montevideo in Uruguay.

II.a — Media quality

The media we have available, the digital files with tango music, form the basis for a quality DJ performance. There are things you can do later on, in equalisation, to improve a bad file, but that can only tackle smaller problems.

IV.b — Guardia nueva equalisation

As we’ve said before, there is reason to equalise tango tracks in various cases, both to improve on the sound of the older music, and to rectify faults in post-production of a lot of the music available. We have alreaydy analysed some of the scenarios

IV.a – Equalisation

Music on shellac records has a unique frequency range that is quite different from modern music. Because of this equipment that is adequate for pop music, for example, does not suit tango music in the same way. The common two or three field equalisation of

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