IV.a — Media management

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.

V.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

V.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

V.c — Edad de oro equalisation

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

V.d — Venue equalisation

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

V.e — Compression

A compressor can be used in a DJ situation when you feel you are not able to play the music loud enough. The cause for that may be that your equipment cannot sustain more volume, or that you cannot due to external restraints increase the

VI.a – External devices

Once we have modified the music to our taste in the digital realm, we need to get that music in the most straightforward way possible to the speakers that output the music in a milonga. How we do that, however, can in many ways affect