A
Alex TC
Guest
Some dudes here asked for a thread about some tricks and tips on the DJM600's effetcs. I'll start this but I expect other users/owners help this grow as well, adding usable DJM advice.
IMHO the best part of the DJM's efx section is: 1) Agility, as it's fast and easy to set up, change parameters and apply live; 2) Quality, since it's well integrated with the mixer and has some very usefull effects, as well as comprehensive parameters setup, it sounds very, very good and professional too, belnding nicelly with the music playing.
In order to take best advantage of this, after using it quite a lot both at home and clubs (since here the DJM500 and 600 are found on most clubs/gigs) I found the best advice to be given is to setup the beat parameter for all effects when starting to play.
That is, if you're starting to play a house set, get the beat counter to set the BPM and beggin to set the parameters for ECHO, DELAY, FLANGE, etc... It's easy as all it takes is pressing the beat pattern button right bellow the parameter display. Once you return to the desired effect it'll take only minor (if any) adjustments and it's set to be used, allowing fast switching between effects.
That will sound nice 'cos it'll be more natural, if done properly. Takes a while to master and get it smooth but it's worth the time.
There's no really usefull advice for using the effects per-se, except trying as much as you can new stuff, ie different patterns and wet/dry balance for each effect. So, creativity is key, it's also hard to explain in words w/out any sound but one main rule is important for me: To make effects as subtle yet noticeable as possible (avoiding clashes and out-of-context distortions as well as overuse). Something that ppl will "feel" and, why not, hear very noticeably yet not be able to tell in entirety. Just to spice up the music, not make new versions or remixes 'cos that's unreal with the potential of such effectors.
So, as a rule I hardly go beyond 50/50 wet/dry for echo or delay as this brings confusion to the sound coming out, and also adds too much to the master volume 'cos the sound overlaps. Blows the red. With Flange, Filter, Reverb and Pitch it's OK to use the volume knob to create sweeps and build-ups during kicks, vocals or breakdowns - more volume means more excitation with mids and highs, and when the lows return everybody goes mental.
It's important to remember, though, that Filter is audible however you set the volume (wet/dry) parameter, and playing with this knob will affect the, er, sweep only (it's a monodimentional, fixed type). Adjusting different beat patterns can allow for pretty cool cuts into
Also, to help adding more precision and if you switch a lot between channels it's better to play between CF A and B (xfader A and B respectivelly), 'cos those are closer to MASTER and on the way to the propper CHANNEL settings as well.
I find it nice to apply the effect to master as I can cut in and out or wallow the music volume using the channel while the effect comes out of the master. If you apply to the channel and lower the fader both music and effect will die. For instance, if a vocal is playing you add echo, then cut out the music only the echo remains. Then you return the music w/out echo, the add again and cut out, and so on. If done properlly and also using fast cuts, and different beat patterns (long and short, depending on the desired effect) this can sound awesome. Try to "shrink" the patterns as the breakdown reaches the peak, removing bass and adding mids to create a "filter-like" effect. It's wild!
On the other hand if you want to let an echo (from a song being mixed out into another new music) to dye slowly into the music, set the effect to that channel and cut at the right point using the transform (line/phono) switch. This cuts the chanel music only leaving the effect into no-effected new track and sounds cool too.
Delays are great to change the beat pattern, adding energy and creating moods into the tracks. Minimal techno and straight tribal house are excelent for that. I find delays best used in fast beat patterns and adjusted to 1/3 or 1/2 wet/dry balance. Fast on/off switching also creates some cool effetcs that sound absolutelly real-time and sync'ed. It can a;lso be used during a mix, to create a build-up for the new track as this reaches perfect "IN" point.
Most DJs overlook the filter, reverb and pitch of the DJM600. The pitch is great to introduce (and induce) weird sounds and some nice, mad distortion both up (+) and down (-) the scale on tracks with vocals or synths. It's amusing to play with the beat pattern and parameter of these while the music plays, or during a breakdown or even switch on/off fast according to the beats.
Well, that's what I could pull out for now. I'm quite tired and must go home now, perhaps a few more trick of my own tomorrow. Sorry for the looong post but the subject is extensive, I'm sure this could go on and on. What I find is most important with this EFX thing is to focus on creativity, not being afraid to try new stuff for as crazy as it may seem (if you;re at home), 'cos cool stuff could come out and actually do. Listening to mix CDs from top jocks like Umek's Torture CHamber 2 also help improve technique, the guy taught me a few new tricks about the DJM600.
IMHO the best part of the DJM's efx section is: 1) Agility, as it's fast and easy to set up, change parameters and apply live; 2) Quality, since it's well integrated with the mixer and has some very usefull effects, as well as comprehensive parameters setup, it sounds very, very good and professional too, belnding nicelly with the music playing.
In order to take best advantage of this, after using it quite a lot both at home and clubs (since here the DJM500 and 600 are found on most clubs/gigs) I found the best advice to be given is to setup the beat parameter for all effects when starting to play.
That is, if you're starting to play a house set, get the beat counter to set the BPM and beggin to set the parameters for ECHO, DELAY, FLANGE, etc... It's easy as all it takes is pressing the beat pattern button right bellow the parameter display. Once you return to the desired effect it'll take only minor (if any) adjustments and it's set to be used, allowing fast switching between effects.
That will sound nice 'cos it'll be more natural, if done properly. Takes a while to master and get it smooth but it's worth the time.
There's no really usefull advice for using the effects per-se, except trying as much as you can new stuff, ie different patterns and wet/dry balance for each effect. So, creativity is key, it's also hard to explain in words w/out any sound but one main rule is important for me: To make effects as subtle yet noticeable as possible (avoiding clashes and out-of-context distortions as well as overuse). Something that ppl will "feel" and, why not, hear very noticeably yet not be able to tell in entirety. Just to spice up the music, not make new versions or remixes 'cos that's unreal with the potential of such effectors.
So, as a rule I hardly go beyond 50/50 wet/dry for echo or delay as this brings confusion to the sound coming out, and also adds too much to the master volume 'cos the sound overlaps. Blows the red. With Flange, Filter, Reverb and Pitch it's OK to use the volume knob to create sweeps and build-ups during kicks, vocals or breakdowns - more volume means more excitation with mids and highs, and when the lows return everybody goes mental.
It's important to remember, though, that Filter is audible however you set the volume (wet/dry) parameter, and playing with this knob will affect the, er, sweep only (it's a monodimentional, fixed type). Adjusting different beat patterns can allow for pretty cool cuts into
Also, to help adding more precision and if you switch a lot between channels it's better to play between CF A and B (xfader A and B respectivelly), 'cos those are closer to MASTER and on the way to the propper CHANNEL settings as well.
I find it nice to apply the effect to master as I can cut in and out or wallow the music volume using the channel while the effect comes out of the master. If you apply to the channel and lower the fader both music and effect will die. For instance, if a vocal is playing you add echo, then cut out the music only the echo remains. Then you return the music w/out echo, the add again and cut out, and so on. If done properlly and also using fast cuts, and different beat patterns (long and short, depending on the desired effect) this can sound awesome. Try to "shrink" the patterns as the breakdown reaches the peak, removing bass and adding mids to create a "filter-like" effect. It's wild!
On the other hand if you want to let an echo (from a song being mixed out into another new music) to dye slowly into the music, set the effect to that channel and cut at the right point using the transform (line/phono) switch. This cuts the chanel music only leaving the effect into no-effected new track and sounds cool too.
Delays are great to change the beat pattern, adding energy and creating moods into the tracks. Minimal techno and straight tribal house are excelent for that. I find delays best used in fast beat patterns and adjusted to 1/3 or 1/2 wet/dry balance. Fast on/off switching also creates some cool effetcs that sound absolutelly real-time and sync'ed. It can a;lso be used during a mix, to create a build-up for the new track as this reaches perfect "IN" point.
Most DJs overlook the filter, reverb and pitch of the DJM600. The pitch is great to introduce (and induce) weird sounds and some nice, mad distortion both up (+) and down (-) the scale on tracks with vocals or synths. It's amusing to play with the beat pattern and parameter of these while the music plays, or during a breakdown or even switch on/off fast according to the beats.
Well, that's what I could pull out for now. I'm quite tired and must go home now, perhaps a few more trick of my own tomorrow. Sorry for the looong post but the subject is extensive, I'm sure this could go on and on. What I find is most important with this EFX thing is to focus on creativity, not being afraid to try new stuff for as crazy as it may seem (if you;re at home), 'cos cool stuff could come out and actually do. Listening to mix CDs from top jocks like Umek's Torture CHamber 2 also help improve technique, the guy taught me a few new tricks about the DJM600.
