Any good website for DJ pointers and music editing pointers

Discussion in 'Just Dance' started by {WuMing}78, Dec 2, 2008.

  1. {WuMing}78

    {WuMing}78 Nuevo Ritmo

    Hi! Sorry for MIA in this forum for so long. I have been busy lately, specially the upcoming Salsa Congress in December in Singapore.

    I was wonder if there is any good websites or articles that teaches how to do good DJing and also pointers on how to edit music for competition. I would apprciate if someone could help me out

    Thanks in advance!
     
    #1
  2. Flujo

    Flujo Sabor Ambassador

    You could try YouTube. Lots of people have put up video tutorials for different applications. If you prefer reading then a search for something like "audio editing tutorials" or "djing tutorials" should do the trick. Hope that helps.
     
  3. GRx

    GRx Sonero


    What questions do you have for editing for competition. I recently had to do this and chop a 4:30 song into 2:00 for a competition.
     
  4. {WuMing}78

    {WuMing}78 Nuevo Ritmo

    No really.

    In the upcoming Salsa Congress in Singapore, I am assigned to teach two lessons on DJing and editing of music.

    I do have the skills to do both, just that I am not really sure how to lecture on them in the class. That's why I am looking for articles on the web, so that I can re-organise my thoughts based on how the articles are presented and then able to teach the class.
     
  5. jayzen

    jayzen Tumbao

    ah, Justin's.

    can't say much except dj-ing salsa music is not the same as dj-ing club music. and for editing, just make sure your final edit sounds seamless. i HATE abrupt changes - signs of amateur song editing and persons who have NO appreciation of music.

    er, WuMing, better change your signature, it's outdated :p

    j
     
  6. sweavo

    sweavo Maestro 'Guaguanco' Rodríguez

    I've edited 3 songs for demos that I never put together. Here's what little I know about it:

    On the technical side of editing I can recommend Goldwave - you can hit a key to enter cue points - so you listen to the song and hit the key bang on a certain beat (e.g. 1 or 5), then carry on listening and hit the key again on the same beat, then you've marked out a musically-whole block of sound that you can cut.

    As to where to place the cue points: Don't always cut on beat 1, because instruments often lead in to the next section, so say you want to lose the flute solo from measures 32 to 40, consider cutting from measure 31 to 39. This avoids the thing you often hear in shows where you'll get a sudden yank from a piece of music that was, e.g. softening, into a full-on timbales solo; or a bongo starts to pickup then suddenly it's the horn Monas.

    Zoom in and look at the waveform. Try to make the curve shape match. e.g. If your waveform is one large followed by two small waves on both sides of the cut, and you cut it so that you have one large and one small wave at the cut, the chances are you have shaved off too much time to the point where the rhythm will be noticeably interrupted.

    Finally, when you have cut, zoom right in to the waveform and look at the join.

    1) Try to make the ends meet. You can afford to slice out a few tens of milliseconds without anyone caring too much, but if the waveform has a jump in it it will translate to a really clear "click" and show up on playback (especially in a big soundsystem!).

    2) Try to make the gradient match: If your waveform on the left of the cut is heading upwards at a certain angle and the wave on the right is heading downwards, then this will also be audible.

    To do this, I usually put the stuff that I cut out into a new document, so if I need to fillet in a few milliseconds of sound I can slice it off the start or end of the stuff I just removed.

    I found that the most musical results come from spending a long time listening for places where small cuts can be made - though you could cut a whole verse if you do it sensitively, a well written and performed song will have many layers that naturally develop and lead into following sections. Much of what we hear as repetition in music is subtly developing all the time, so it still jars if you cut from the start to the end of a repeated section. So in Un Poquito Mas I ended up carefully hunting down places where I could cut two bars here, 4 there, without affecting the flow of the music too much. It took all night but was very rewarding, and gave me new respect for the musicians!
     

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