INTRODUCTION This article is about a simple and effective technique for getting the best sound out of your tango recordings. More specifically, we are targeting the electric recording era, from 1926 to 1949. The technique defines a set of simple rules which allow to obtain repeatable results in any tango venue, on any recording, with minimal adjustments between the tandas. It was tried and tested in several milonga venues in Toronto and further improved with the feedback from the DJs from all over the globe. I strongly believe that it can dramatically improve your sound, and, at the same time, you would spend less time tweaking the equalizer, cursing the bad recording and/or inadequate sound system, etc.
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I will not provide any “before and after” sound examples – the technique is entirely yours to try at your venue, to improve, to use or to lose. Feel free to let me know whether you like it or not in any form. In order to try this technique all you need is a 9 to 10 bands graphic EQ with 12 dB boost and cut, either in software, like this one: or in hardware, like this one: Please, do not use EQ in iTunes – its incredibly slow response time will prevent you from clearly hearing the differences in your experiments. Also you will need either a pair of high quality DJ headphones, or, better yet, an hour of time to yourself and your music at the venue where you regularly DJ, before the milonga. Cyberlink Power Media Player Serial Number on this page. In my own experience, using home sound system, be it a Walmart bookshelf audio or British hi-end system alike, is grossly inadequate for this kind of experiments. If you don’t have a 10-bands EQ, scroll down to the section with the advices on various types of EQ to try. In order to convey this technique in a reasonable amount of space, I will not try to prove each and every statement here, as you can (and should!) test it all for yourself.
A FEW MYTHS OF TANGO DJ • There is nothing useful either below or above the mid-range on the shellac – wrong. • There is no cure for reverberation – wrong. • If you equalize out the groove noise you will inevitably lose the musical content with it – wrong.
• A “smile” on the EQ is a sign of a clueless DJ – partially true but keep reading SOME BASIC FACTS FIRST It is generally accepted that human ear can distinguish the sounds spanning from 20 Hz to 20 kHz. To put it into perspective, the lowest note on the piano, A0 registers at 27.5 Hz and the highest, C8, at 4186 Hz. The huge range between the 4.2 kHz and 20 kHz (over two full octaves) is responsible not for the musical tones, but for their character, such as timbre and shape.
The graphic equalizer with one octave spacing contains 9-10 bands within the human hearing range, which are conventionally set at 31 or 32 Hz (10-bands only), 63 or 64 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz and 16 kHz. There is no particular note corresponding to this sequence of frequencies, but the closest one would be B. So you can imagine that your EQ is “tuned up” to B0, B1 up to B7, and then have two more bands above for the timbre control. The boost/cut range for each band is usually either 6 dB or 12 dB.
Subjectively, human ear perceives the 10 dB change in the signal level as “twice as loud”, and 1 dB change as “barely perceivable”. In order to follow our examples, your equalizer should have all the bands, and be capable of 12 dB cut and boost. Our ears very quickly adapt to the changes in the sound, so if it only seems to you that you hear the difference when you run the experiments, always compare your new EQ setting with flat setting, by using IN/OUT button on your EQ (it might also be called ON/OFF on a software EQ or BYPASS on some hardware EQ). If your EQ does not have such button – find another EQ.
I am not kidding. Better software EQ also provide A/B button – to switch between your previous and current setting, which comes very handy for comparison of finer adjustments. Sql To Caml Query Converterlite. Also, the human ear has highly non-linear response to the extremes of the sound spectrum, namely, at low volumes we hear the mid-range much better than extreme lows and highs.