Full Version: Am I Being Ripped Off???
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Just a quick question, I've been offered a pair of direct drive turntables and a citronic CDM:3 mixer for £200. What do you rekon, too dear or okay?
If they are brand new then go for it.
On new equipment I can currently offer a pair of Gemini XL-500 direct drive turntables with 3 year warranty for £199.00 add £30 for a new mixer and £229.00 for new kit with warranty may still be a better offer than 2nd hand for £200.
However if its brand new, then rip his hand off. What are the make of the turntables?.
On new equipment I can currently offer a pair of Gemini XL-500 direct drive turntables with 3 year warranty for £199.00 add £30 for a new mixer and £229.00 for new kit with warranty may still be a better offer than 2nd hand for £200.
However if its brand new, then rip his hand off. What are the make of the turntables?.
I'd exercise caution - OK, this next bit might sound a little like type-casting, or stereotyping (which is like Mono-typing but quicker 
).
Direct Drive decks plus a little, entry level 2 channel mixer, instantly makes me think of scratchers/turntablists. As such the gear may not have been treated to only "fair" wear & tear.
If you get the chance to see the gear first, some tell tale signs of heavy scratch-use would be worn off panel printing around the crossfader, up-faders and Input selector switches (AKA: Transform switches). Also you may even see that some of the plastic fader caps are not all straight and level when you get down "eye-level" with the mixer. On some cheaper decks, also watch the platters going around - watch for any lop-sided, un-even movement - listen (with all volume down) for any rubbing/friction noises from the platters as they spin.
Of course, other tell-tale signs would be if the decks are pictured/set-up in "Battle
mode", where the turntables are rotated 90degrees around, so that the tone-arms are along the back of the units, rather than on the right-hand side.
A couple of LP's entitled "101 scratch sounds that you've heard a million-and-one-times-before" would also be a bit of a hint.
If you're really still looking for vinyl turntables in this day-and-age, then I'd suggest going for brand-new - its safer. However, having said that, there are two "end dates" being mentioned for vinyl, after which no new vinyl will be made. One states this will happen in 2009 due to environmental reasons (use of the raw material stablizer additives used in vinyl/LP production), and the other says 2010, purely on supply'n'(lack of)demand reasons.
).Direct Drive decks plus a little, entry level 2 channel mixer, instantly makes me think of scratchers/turntablists. As such the gear may not have been treated to only "fair" wear & tear.
If you get the chance to see the gear first, some tell tale signs of heavy scratch-use would be worn off panel printing around the crossfader, up-faders and Input selector switches (AKA: Transform switches). Also you may even see that some of the plastic fader caps are not all straight and level when you get down "eye-level" with the mixer. On some cheaper decks, also watch the platters going around - watch for any lop-sided, un-even movement - listen (with all volume down) for any rubbing/friction noises from the platters as they spin.
Of course, other tell-tale signs would be if the decks are pictured/set-up in "Battle
mode", where the turntables are rotated 90degrees around, so that the tone-arms are along the back of the units, rather than on the right-hand side.A couple of LP's entitled "101 scratch sounds that you've heard a million-and-one-times-before" would also be a bit of a hint.
If you're really still looking for vinyl turntables in this day-and-age, then I'd suggest going for brand-new - its safer. However, having said that, there are two "end dates" being mentioned for vinyl, after which no new vinyl will be made. One states this will happen in 2009 due to environmental reasons (use of the raw material stablizer additives used in vinyl/LP production), and the other says 2010, purely on supply'n'(lack of)demand reasons.
Basically whats happened is my brother in law aquired these decks himself, the make unfortunately can't be put up here due to the rules and regs but the first bit is elctro and the second part is music so that will give you a clue!!! they have'nt had a lot of use and all I want to do play around with them. Because I'm an old man now it's too late to start getting into the mixing thing. 
| QUOTE (Loz @ Oct 25 2004, 01:23 PM) |
| it's too late to start getting into the mixing thing. |
What?! its never too late to get into mixing, on any format or medium...
Its important to remember that there are all sorts of levels of mixing...yes there are those who will quite happily drone on about using a whole batch of MIDI gear, 10 record decks, 3 mixers, 2 copies of the same tune, and a partridge in a pear tree, but simply fading one tune in, while the other is fading out is also mixing.
From a certain point of view, even the order that you play your tunes is a form of mixing - you wouldnt play Lady in Red, Dance the night away, Unchained melody, Lets twist again, I will always love you, and then "you're the one that I want", in that order would you? (well, hopefully not). Music programming and mixing go hand in hand really.
The various stages inbetween being a super megamixing DJ, and fading in/fading out are many, ranging from simple beat matching and music phrasing into the inclusion of looping, sampling, stutter starts, and choosing effects to enhance certain parts of the song.
Simply include any, or all of the above, that you feel happy with.
If asked for a definition, I'd probably say:
"Mixing is - going from one piece of music to another without gaps, as seamlessly as possible"
I try beatmix-chop mix etc where ever possible but you should never sacrifice the music selection and order just because something mixes well.
I know there are quite a few people on here who go on about mixes they do at every gig- personally I believe ths wrong.
I know there are quite a few people on here who go on about mixes they do at every gig- personally I believe ths wrong.
Totally agree with the last two posts. The whole idea of mixing is to make the transition to the right track as invisible as possible. Not to try to transition to the most invisible track possible, if you understand the distinction.
Gary has mentioned that there are various levels of technology you can apply to mixing. One tool that I would love to be able to use, that is used in Spain a lot, is to be able to transition to a drum machine. Can't do this, but it adds a lot of flexibility to your programming. Anyone done this?
Gary has mentioned that there are various levels of technology you can apply to mixing. One tool that I would love to be able to use, that is used in Spain a lot, is to be able to transition to a drum machine. Can't do this, but it adds a lot of flexibility to your programming. Anyone done this?
I used to use different sequencers in mixing live - a) to see if I could make it work and b) to listen to what the quality would be like.
That was eons ago!!!! Thanks TE - you've reminded me of something that I used to enjoy......
The software sequencers were ok in sound quality, whereas a keyboard sequencer was a little more tricky to beat match with the tempo button.
Also, the keyboard sounds (frequency) were a little too rich / better sound quality than the track I was 'mixing' into (I know about compression recordings, gating up, etc).
However, the keyboard was slightly 'easier' to add percussion sounds (say on the General Midi layout / assigned keys) but in conclusion, I would have to say software over keyboard first, OR software with additional keyboard
Sorry - to answer your question, I havn't used a 'drum machine' as such but I used to use (in the old days) a customised Amiga with Octamed sequencer.
A few years ago i used Fruity loops when it first came out (Drum sequencer) then created patches on midi keyboards (Korg).
Now I just pre 're-edit' / remix tracks for pleasure.
That was eons ago!!!! Thanks TE - you've reminded me of something that I used to enjoy......
The software sequencers were ok in sound quality, whereas a keyboard sequencer was a little more tricky to beat match with the tempo button.
Also, the keyboard sounds (frequency) were a little too rich / better sound quality than the track I was 'mixing' into (I know about compression recordings, gating up, etc).
However, the keyboard was slightly 'easier' to add percussion sounds (say on the General Midi layout / assigned keys) but in conclusion, I would have to say software over keyboard first, OR software with additional keyboard
Sorry - to answer your question, I havn't used a 'drum machine' as such but I used to use (in the old days) a customised Amiga with Octamed sequencer.
A few years ago i used Fruity loops when it first came out (Drum sequencer) then created patches on midi keyboards (Korg).
Now I just pre 're-edit' / remix tracks for pleasure.
| QUOTE (transeurope @ Oct 25 2004, 04:30 PM) |
| Totally agree with the last two posts. The whole idea of mixing is to make the transition to the right track as invisible as possible. Not to try to transition to the most invisible track possible, if you understand the distinction. Gary has mentioned that there are various levels of technology you can apply to mixing. One tool that I would love to be able to use, that is used in Spain a lot, is to be able to transition to a drum machine. Can't do this, but it adds a lot of flexibility to your programming. Anyone done this? |
I used to use a drum machine, and a couple of other MIDI bits, but they're all appearing in the DJU jumble sale "as and when".
The snag with MIDI programming is that its...well, programmed. Even with a large selection of drum patterns and drum "songs" (a sequence of the patterns) you end up with lots of very similar sounding mixes. Also when you tailor a drum pattern or song to accompany particular tunes, its easy to end up play that track purely to get your newly programmed drum pattern/song played, often at the sacrifice of a track that was more suitable for the audience.
Theres also the "cheating" element, with newer MIDI systems and programs, where the system/software syncs (or at least tries to sync) the MIDI clock with the BPM of the playing track - its like the "Auto DJ" or "Auto Mix" stigma all over again.
MIDI? Been there, done that.
In the last few years, I've just used the Drum machine on its own, with me whacking out a pattern during quieter, wishy washy instrumental breaks.
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