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Good book, eh? Little uninteresting in parts due to not having an appreciation for the genres, but pretty awesome read for the most part
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Quote:

Originally Posted by Random_Kiwi

Good book, eh? Little uninteresting in parts due to not having an appreciation for the genres, but pretty awesome read for the most part

agreed. It started to wear a little thin when by the 6 chapter or something he had barely left the 1950s.
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Quote:

Originally Posted by pEAkeR_hAT

I only have one 33rpm record but it is so awesome that i will forgive it for being 33 rpm,

A side = Voodoo People (Pendulum remix)

B Side = Smack my Bitch up (Subfocus remix) + Outer Space (Prodigy mix)


Picked it up for $2, bargain, the Smack My Bitch remix up always makes everyone go crazy

I have the same record, on the sleeve it doesn't mention the smack my bitch up remix so i was quite happy when i flipped it over from the Voodoo people side to see it.

i have started to get some nice mixes riding the pitch and actually have noticed that the 45's have a bit more of a thump with the bass so was interesting to read the differences between the different speeds, I have noticed also that skipping seems to be a lot less with thicker records, would this be because the groove is deeper? I did feel like a bit of a retard when i started to try and mix in a track on 33 when it was actually a 45 and wondered why the fuck i couldn't get it to work!!
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Quote:

Originally Posted by macc4

who said anyone was not buying something or missing out? Facts are facts dude, if you don't know them, don't argue them!

Quote:

Originally Posted by Random_Kiwi

And yeah, Derelict, I don't think anyone is not buying a track because "Oh, you only have the 33 version?!?!" *rolls eyes* we're just discussing it.

Someone earlier in the thread said "I only buy 33 rpm records".

Quote:

Originally Posted by SlicyDicer

Wouldn't having to adjust the gain have more to do with the way a track was mastered / it's levels than the spacing of the grooves?

Just wondering.

That's what I've found too. Some tracks sound better on record than on 320 mp3, just cause of the mastering. Other tracks sound awful on vinyl because of poor pressing. I've got 45 rpm records that sound better than 33 rpm records and vice versa. It just depends on many different factors from what I can tell. Of course, thicker records always sound better, and pic disks can sometimes sound shithouse.


OH yeah this is way off topic now, sorry peeps. Just felt like arguing
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Quote:

Originally Posted by Whip26

I have the same record, on the sleeve it doesn't mention the smack my bitch up remix so i was quite happy when i flipped it over from the Voodoo people side to see it.

i have started to get some nice mixes riding the pitch and actually have noticed that the 45's have a bit more of a thump with the bass so was interesting to read the differences between the different speeds, I have noticed also that skipping seems to be a lot less with thicker records, would this be because the groove is deeper? I did feel like a bit of a retard when i started to try and mix in a track on 33 when it was actually a 45 and wondered why the fuck i couldn't get it to work!!


So you mix drum and bass? List some of the tunes that you have and i'll see if i can help you out a bit !

Also, don't worry about the differences in records too much, all you have to do is adjust the gain (each channel will have its on gain) to ensure that both tracks are playng at the same volume.

The lights on your mixer that light up will indicate how loud each track is, i usually try to have it so that all green lights are lit up and a red light flickers every now and then on the loudest part of the track


good luck !
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Quote:

Originally Posted by Funkedub

I have more than a few 12" that are cut ar 45 on one side and 33 on the other ... and whaddya know, i often have to tweak the gain when i flip sides. (but yes, i still buy them)

I have a fair few like this, original is pressed at 45, and two remixes on the other side at 33. I've actually got one records which is 45 one side, 33 (track A) 45 (track B) on the other side. Thought it was strange having two different speeds on the same side.
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Yeah, two speeds on one side weirds me out a fair bit, but it seems that a lot of records ~2000 had things like the (short) accapella at 45 while the rest of the side is at 33.

Derelict, all I can say is that you must be deaf if you can't hear the difference between the same track pressed at 33, 45, 7inch 45, CD etc. I also think that colour/marbled vinyl has a less prominent high end (no, I'm not kidding), but that may just be the examples that I've heard of it - I haven't heard the same release on black wax as in on see-through blue.
Lighter records have much less bass (thus why some people use record weights with 7s, 10s and light pressed 12"s and LPs) and I find some 33s are harder to control (almost like they're warped, or maybe they actually are!)

I think part of the zen with vinyl is knowing how the different tracks will respond and you playing them accordingly.
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Quote:

Originally Posted by ferretrock

I also think that colour/marbled vinyl has a less prominent high end (no, I'm not kidding), but that may just be the examples that I've heard of it - I haven't heard the same release on black wax as in on see-through blue.

Yep I think the same about the coloured/marble vinyl. I'm not a fan of coloured vinyl in general, I'm buying the record because I like the tune, not the gimmick of it being a different colour. I've been told that coloured/marble vinyl doesn't hold up as long as regular black vinyl (anyone know if this is true?).
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I dont think so ^ coz heaps of "Scratch" records are coloured, and they are built for durability !


Having said that, all my clear records sound like shit, my full colour and black ones sound good tho.....
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that’s terrible spastic
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Quote:

Originally Posted by pEAkeR_hAT

I dont think so ^ coz heaps of "Scratch" records are coloured, and they are built for durability !


no they aren't ... they're built to rip up, abuse and then throw away and buy another.


Coloured vinyl is very often a shittier press than regular vinyl. Not always, but more often than not ... but damn i've picked up some pretty pieces over the years
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sometimes you just can't resist the pretty ones

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coloured records can suck me sideways - esp. white and clear! gots some rippers but hate playing them coz you cant see grooves for shiet. other records are mad though... really mad.

Anyone know a way to fix a record thats concaved?.. bad enough you cant touch the record without it stopping. I use one of those rubber ring things but if i could just fix it i'd be stoked.

this thread is the best thread ive read on here for some time.

Will a 45 wear down quicker than a 33? from more friction?
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i really respect all who can seemlessly mix with tables. i bought some pretty basic turntables a few weeks ago and i feel like im starting all over again! lol
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^haha and i cant mix on a cdj to save my life
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My coloured records sound fine, as do my white ones.

To be honest, I think the issue here is the records you guys listen to. Most of mine are really high quality pressings (most of the labels are still releasing in vinyl these days).
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Quote:

Originally Posted by Derelict

My coloured records sound fine, as do my white ones.

To be honest, I think the issue here is the records you guys listen to. Most of mine are really high quality pressings (most of the labels are still releasing in vinyl these days).

there is no issue here, just some bloke that keeps telling everyone that all records are the same is now telling us that the records we listen to are low quality
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Quote:

Originally Posted by Derelict

My coloured records sound fine, as do my white ones.

To be honest, I think the issue here is the records you guys listen to. Most of mine are really high quality pressings (most of the labels are still releasing in vinyl these days).

that's probably because you're hardcore
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Quote:

Originally Posted by ricky_radar

^haha and i cant mix on a cdj to save my life

cdjs are so automatic man. i never realised how handy the cue button was.

i've only had a few cracks at the vinyl, i'm running traktor but having a few issues with the
fluctuating pitch, which is a new thing to me.
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how bad does it fluctuate? if you can do a 3min mix on a cdj without touching the jogwheel you can do the same on a turntable. if you have 2 records the same test it by playing them the same speed at the same time.
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Quote:

Originally Posted by ricky_radar

coloured records can suck me sideways - esp. white and clear! gots some rippers but hate playing them coz you cant see grooves for shiet. other records are mad though... really mad.

Anyone know a way to fix a record thats concaved?.. bad enough you cant touch the record without it stopping. I use one of those rubber ring things but if i could just fix it i'd be stoked.

this thread is the best thread ive read on here for some time.

Will a 45 wear down quicker than a 33? from more friction?

Nha, won't wear down quicker. But the best way to avoid wear is to make your needles and records are clean.

If you've got a record you REALLY REALLY want flat, the recordstore has a machine that will flatten it for $10 a plate.
Otherwise you can put it face down under a heavy well distributed weight for a bit (I'm think a cardboard box full of records on top) and see how that goes..?
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Quote:

Originally Posted by ricky_radar

how bad does it fluctuate? if you can do a 3min mix on a cdj without touching the jogwheel you can do the same on a turntable. if you have 2 records the same test it by playing them the same speed at the same time.

it's not that much, but im really new to vinyl. okay so whilst the tables are playing, they will jump from eg. 127.5 to 128.5 constantly, sometimes its not as much as that. when i use the pitch fader, it doesnt really adjust slightly enough to ride it. if i move it up a fraction, it will slow down too much, and vice versa. i really think i just need to get used to it haha
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Quote:

Originally Posted by Funkedub

i have a healthy collection and i'm not poor ... in fact, i built most of my collection when i was poor. Although i probably don't have as many cool shoes/clothes as digital DJs, and i wouldn't have it any other way

This is so me, but with a baby on the way, "poor" may be on the way again
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Quote:

Originally Posted by Derelict

My coloured records sound fine, as do my white ones.

To be honest, I think the issue here is the records you guys listen to. Most of mine are really high quality pressings (most of the labels are still releasing in vinyl these days).




lol wtf

Most of my records are from 2010 ? I don't know many people who mix vintage EDM ?
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that’s terrible spastic
also I would imagine a little disheartening that he has never attempted to drug rape you?

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Quote:

Originally Posted by ricky_radar

Anyone know a way to fix a record thats concaved?.. bad enough you cant touch the record without it stopping. I use one of those rubber ring things but if i could just fix it i'd be stoked.

Have you got a big amplifier? Like big enough for a record to lay flat on it?
If so, lay your record on the amp, place a piece of wood over it, place a stack of records on top, turn the amp on and leave it on for 24 hours. The low level warmth helps soften it, the weight flattens it...doesn't work 100%, but makes a huge improvement.

Otherwise there's methods which involve 2 sheets of glass and the oven...which sound dodgy as fuck
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Quote:

Originally Posted by pEAkeR_hAT

lol wtf

Most of my records are from 2010 ? I don't know many people who mix vintage EDM ?


wtf is vintage?!

There's no reason to only stick to releases from the past couple of years IMO.
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Quote:

Originally Posted by Funkedub

wtf is vintage?!

There's no reason to only stick to releases from the past couple of years IMO.

Word...you can't play a set of only well known old tracks (unless it's a "classic" night or something), but there's still tracks inside the 10 year old track which do the damage...people are way way too caught up on "fresh" tracks imo.
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Quote:

Originally Posted by dazthedominant

it's not that much, but im really new to vinyl. okay so whilst the tables are playing, they will jump from eg. 127.5 to 128.5 constantly, sometimes its not as much as that. when i use the pitch fader, it doesnt really adjust slightly enough to ride it. if i move it up a fraction, it will slow down too much, and vice versa. i really think i just need to get used to it haha

Can you hear the two tracks separate or not? Don't spend too much time reading BPM on a screen but let your ears do the work, if it doesn't start running away from the other track then there is no problem. I am new to vinyl as well hence why I started this thread and i am not using DVS (although I got torq for $200 bucks!) until I am happy with my mixing (which im still not )

Quote:

Originally Posted by pEAkeR_hAT

So you mix drum and bass? List some of the tunes that you have and i'll see if i can help you out a bit !

I didn't mix drum and bass too often on cd, but when i got my turntables I got about 7 or 8 DnB records so thought it would be a waste not to practice a different style and challenge myself a little more!! I cant remember what they are except Voodoo People(prodigy), Slam and Granite by Pendulum
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[quote=Whip26]Can you hear the two tracks separate or not? Don't spend too much time reading BPM on a screen but let your ears do the work, if it doesn't start running away from the other track then there is no problem. I am new to vinyl as well hence why I started this thread and i am not using DVS (although I got torq for $200 bucks!) until I am happy with my mixing (which im still not )

nah i dont read the BPM on the screen, i'm quite a fluent dj when it comes to use CDJs. but i guess i became very reliant on the jogwheel. my tables don't have the best of torque and until i learn to become very very light handed, its hard to nudge them a little bit. its a practice thing however. best of luck with your vinyl journey too man definantly alot funner.
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Quote:

Originally Posted by dazthedominant

it's not that much, but im really new to vinyl. okay so whilst the tables are playing, they will jump from eg. 127.5 to 128.5 constantly, sometimes its not as much as that. when i use the pitch fader, it doesnt really adjust slightly enough to ride it. if i move it up a fraction, it will slow down too much, and vice versa. i really think i just need to get used to it haha

what decks you got? that's some major fluctuating i reckon. maybe your decks need some serious servicing. are they belt driven? if so, perhaps the belts need replacing, or if they are direct drives then motors.
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Quote:

Originally Posted by Spicy

what decks you got? that's some major fluctuating i reckon. maybe your decks need some serious servicing. are they belt driven? if so, perhaps the belts need replacing, or if they are direct drives then motors.

they are just old school stanton str8-60's, they seem in pretty good condition, took them to a shop and they said they appear okay (although they didn't actually look into them too much, so who knows). only bought them for $300 so i figured they would be fine to learn on.

like i mentioned though, sometimes it will only go from eg. 127.97 to 128.02 which is barely noticeable. but ultimately, i'd like them to hold as well as possible.
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Quote:

Originally Posted by dazthedominant

my tables don't have the best of torque and until i learn to become very very light handed, its hard to nudge them a little bit. its a practice thing however.

I think coming from the cd's its hard not to nudge or slow down the platter like its a jog wheel. I have been forcing myself to ride the pitch and slowly getting the hang of it. I have t.60's so very similar to yours and yes the torque is poo but if you ride the pitch it doesn't really effect it.
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i guess its all practice! i'll keep bangin out every chance i get. i really wanna get scratchin down nice too
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Quote:

Originally Posted by ferretrock

Nha, won't wear down quicker. But the best way to avoid wear is to make your needles and records are clean.

If you've got a record you REALLY REALLY want flat, the recordstore has a machine that will flatten it for $10 a plate.
Otherwise you can put it face down under a heavy well distributed weight for a bit (I'm think a cardboard box full of records on top) and see how that goes..?


Put your record in the oven on the lowest heat possible for about 30 mins.

Take it out and put it between two SPOTLESS pieces of glass and put books on top. Worked for me on about 20 records. Theres a tutorial online.
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Quote:

Originally Posted by daz

they are just old school stanton str8-60's, they seem in pretty good condition, took them to a shop and they said they appear okay (although they didn't actually look into them too much, so who knows). only bought them for $300 so i figured they would be fine to learn on.

like i mentioned though, sometimes it will only go from eg. 127.97 to 128.02 which is barely noticeable. but ultimately, i'd like them to hold as well as possible.

ah yep well fair enough.

if it helps i just checked and they are DD's, so looks like the motor has just worn out. replacing the motor will help, but from all my googling efforts it seems stanton motors are pretty weak so even with a new one if you backcue or scratch a lot it will wear quickly.

i suppose it's good to learn to ride the pitch on decks like that, cost then when you hit the clubs with a set of 12's you'll be super tight like a hot lycra ninja babe outfit!
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Man, the decks I learnt on were some Akai "direct drive" decks...I use the term direct drive loosly as they were so weak, you had to be super gentle just to hold the record in its cue spot without the platter stopping.

Was still fine to learn on though, and when I bought myself some 1200's, even worn ex-club ones, it was like a dream to play on!
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my overall plan is to get technics, so if these burn out i wont bother replacing the motors, ill just fork out the cash and get something better. the torque is pretty bad, but im gonna get some quality slip mats and see if that helps a bit.

hey, when you guys dj in a club, do you lug your t/ts around with you? or just use the ones in the club. whenever i dj at a club, i see the poor t/ts and they are so dusty and have a million other dj's cd wallets spread out all over them, i'd feel a bit nervous to relie on them!
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Quote:

Originally Posted by dazthedominant

i guess its all practice! i'll keep bangin out every chance i get. i really wanna get scratchin down nice too

instead of touching the platter, try and speed up/slow down using the center spindle
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Quote:

Originally Posted by dazthedominant

hey, when you guys dj in a club, do you lug your t/ts around with you? or just use the ones in the club. whenever i dj at a club, i see the poor t/ts and they are so dusty and have a million other dj's cd wallets spread out all over them, i'd feel a bit nervous to relie on them!

I cry at the state of tt's in clubs, is a crying shame how people treat them. I want to slap every person that chucks their cd wallet on it and whatever else is in their pocket. at the time.

I just use CD's because it's a good bet most TT's are never serviced or ever used.
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Quote:

Originally Posted by macc4

instead of touching the platter, try and speed up/slow down using the center spindle

i had seen that in some videos before, so it is fine to do this? i was a little nervous incase it was unscrewing something inside hahaha. like i said, i'm a noob with vinyl t/ts.
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Quote:

Originally Posted by dazthedominant

like i mentioned though, sometimes it will only go from eg. 127.97 to 128.02 which is barely noticeable. but ultimately, i'd like them to hold as well as possible.

perhaps you've fallen into the mindset that you can lock a track in and then leave it. You'll find that you'll always have to tweak tracks when mixing ... always keep your ear on what's happening and stay alert to pulling things in line if/when they start to drift
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Quote:

Originally Posted by Funkedub

perhaps you've fallen into the mindset that you can lock a track in and then leave it. You'll find that you'll always have to tweak tracks when mixing ... always keep your ear on what's happening and stay alert to pulling things in line if/when they start to drift

yeah i'm aware that they won't lock in, but i'd atleast like 10 seconds or so for them to chill.
pitch flucuating up and down makes it hard and i'm constantly fixing this, leaving no time for
anything else. i'm sure ill report back here months later and this will all be no biggie, im guessing its just getting used to tts.
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Quote:

Originally Posted by Funkedub

perhaps you've fallen into the mindset that you can lock a track in and then leave it. You'll find that you'll always have to tweak tracks when mixing ... always keep your ear on what's happening and stay alert to pulling things in line if/when they start to drift


I find that i mix better with the headphones off tho ?

DO you bring in a track with one in your ear , or do u split the cue ?
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i think funkedub meant that ya gotta be listening 100% of the time! you can take your headphones off, but it doesn't mean that you should stop listening to what you're doing. even with just booth speaker you should still be able to hear if your tune's are slightly out.
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i generally cue it up, do a preview kind of mix in the cans, then as i'm mixing it in live, i'll take them off to hear how its actually sounding out loud, then any fine tuning will be done in the cans again.
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I cue only the track that I'm about to bring in, then leave cans on when mid-mix, one ear covered, one ear listening to monitor speaker...you'll notice a track slipping faster than removing your cans and just listening to the speaker...I've done that sometimes, noticed it's slipped, put cans on to correct and been suprised at just how far is has slipped, like I would have stopped it way sooner if I was listening to the cans.

Swap over and cue the out going track once the EQing/amplitude of the new track has meant it's now the dominate sound.

Fav NZ DJ mixes one ear covered, one on monitor, 1 hand on pitch control, 1 hand operating mixer...every fucking time a coconut, on point, correcting before I can even hear it's slipped on the house system, never touching platter/spindle/record...
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But doesn't your EQing suffer then ?

If i'm listening to a track in the cans, there's now way i can listen to the mix very accurately at the same time
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Quote:

Originally Posted by dazthedominant

i generally cue it up, do a preview kind of mix in the cans, then as i'm mixing it in live, i'll take them off to hear how its actually sounding out loud, then any fine tuning will be done in the cans again.

Oh, and another piece of advice I found very beneficial is to have you headphone volume low, like way lower than your monitor...something about dominate sound, if your cans are too loud, you brain is trying to match what's on the monitor to your headphones, not what's on your headphones to what's on the monitor.

The amount of times I've taken over from other DJs and almost been deafend by the volume level they've got the cans at is retarded...one guy mixing like a pig, complains to me about not being able to hear anything (monitor placement was awful), but he was cracking it like 7/10 headphone volume, you could HEAR the monitor over that.

With you cueing track only in your cans, by the time you bring the fader up to about 6 or 7 out of 10, you should be able to clearly hear it coming through the monitor speaker...in my early days, before I was taugth this, several times I'd thought I was pulling off a sick mix, only to get 3/4 of the way through, or worse, right to end of old track, only to realise the cross fader wasn't in the middle, nothing I'd been doing had come through...and I only didn't know this because the cans were too loud.

Nowdays, mixing at home, even when it's cranked to a decent volume, I actually struggle get the headphone volume LOW enough fr my liking never and issue in a club, but at home I'm sitting on/just under 1/10
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Quote:

Originally Posted by pEAkeR_hAT

But doesn't your EQing suffer then ?

If i'm listening to a track in the cans, there's now way i can listen to the mix very accurately at the same time

Not really, see fresh post about volume levels...plus I'll slip of off the ear to have breif listens, but then slip it back on...I just think it's important to keep listening, a lot.
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RK i see what you mean with the one can monitoring, but do you ever come accross a system where the main or booth speakers lag behind the headphones by a tiny bit? i found that was sometimes the case and fucked me up with the one-can thing. are there ways around that?
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hey all, just so you know, i've been djing for years, just with using cd players. this is my first time using vinyl though, so i'm mainly having my difficulty learning to use the actual table rather than any EQing issues... although my right channel is slightly quieter than my left channel.. which i suspect as a fault in the mixer.

thanks for everyones advice though, much welcome and im sure alot of new to djing on a whole people will learn a bunch
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