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.
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.
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
As we’ve said before, there are many different ways to handle the DJ playing process, with many different software and hardware choices available. It is really comfortable to handle most tasks within the computer itself. One program that is able to do that, on a
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.
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.
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
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
Recording technology improved gradually from the commencement of electronic recording in 1926 until the end of the shellac age, after 1950. This involved among other things better cutting tecniques, increasing the frequency response of the records. At the same time gradual improvements in microphone technology
When moving from your own studio to a new venue to DJ, you will find that your carefully crafted equalisation sounds a lot different than at home. Different types of speaker systems tend to emphasise music in different ways and the specific acuoustics of the
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