Feel free to contact me if you need better quality. Register Log In. Search Acapellas Tags Genres Stats. Filter Find Acapellas. FeezMuzik 26th Feb Tags : bpm Hip Hop 4. Mikamik 26th Feb Tags : 95 bpm Hip Hop 2. Description : I think this one can be hard! I hope you'll find some pleasure in it too! Tags : 85 bpm Pop BriKras 25th Feb Tags : 90 bpm Pop 2. Tags : 81 bpm Acoustic 1. Bill Haley 's cover version of " Rocket 88 " fades out to indicate the titular car driving away.
There are claims that The Beatles ' " Eight Days a Week " recorded was the first song to use the reverse effect—a fade-in. More recently: "At the meta-song level, the prevalence of pre-taped sequences for shops, pubs, parties, concert intervals, aircraft headsets emphasizes the importance of flow. The effect on radio pop programme form [is] a stress on continuity achieved through the use of fades, voice-over links, twin-turntable mixing and connecting jingles.
A fade can be constructed so that the motion of the control linear or rotary from its start to end points affects the level of the signal in a different manner at different points in its travel. The perceived distance increase can be attributed to a diminishing level of timbral detail, not the result of a decreasing dynamic level.
The shape of a regular fade and a cross-fade can be shaped by an audio engineer. The simplest of fade curves is the linear curve and it is normally the default fade. It takes a straight line and introduces a curve. The same principle applies on a fade-out where a gradual drop in volume can be perceived in the beginning, and the fade gets more abrupt towards the end.
If in your audio there is a natural ambience or reverb present that one would like to reduce, the linear shape would be ideal because of the initial drop in perceived volume. Also if the music requires an accelerating effect, this linear curve can also be applied. Also if the control can move from position 0 to , and the percentage of the signal that is allowed to pass equals the position of the control i.
At the midpoint of the fade the effect of a linear cross-fade is that both the sounds are below half of their maximum perceived volume; and as a result the sum of the two fades will be below the maximum level of either. Another type of curve is called the logarithmic ratio also known as " audio taper ",  or an inverse-logarithmic ratio. Here it is important to remember that the perceived volume of a sound has a logarithmic relationship with its level in decibels.
The logarithmic fade sounds consistent and smooth since the perceived volume is increased over the whole duration of the fade. It is best used on a long fade-out since the fade has a perceived linear nature. The exponential curve shape is in many ways the precise opposite of the logarithmic curves. The S-curve shape is interesting since it has qualities that correlate with the previously mentioned curves.
There are also two types of S-curves. Traditional S-curve fade-in has attributes of the exponential curve can be seen at the beginning; at the midpoint to the end it is more logarithmic in nature. The second type of S-curve is more apt for longer cross-fades, since they are smooth and have the ability to have both of the crossfades in the overall level; so that they are audible for as long as possible.
It is also possible to apply different fade times to the out and in portions; which a standard cross-fade would not allow you to apply. To clear up plosive sounds created through vocals a fade-in can be used, but now it has to have a very short time of around 10ms. It is important that the fade does not change the intelligibility or character of the sound too much.
A crossfader on a DJ mixer essentially functions like two faders connected side-by-side, but in opposite directions. It allows a DJ to fade one source out while fading another source in at the same time. Cut by Jagger and Richards as part of a budding song-writing partnership in September with the intention unfulfilled of Mark Wynter recording it.
This first pressing has the 2. Decca planned this grim 2-LP set of B-sides but pulled it. This punk rarity emerged just as RRPG went to press but has been added to our online version. Ringo sends a personal message to the sales team plugging his single, Only You. Sold the rest were junked. CBS Ireland milked their slim catalogue. This white vinyl presentation pack of their four singles is the most limited variant. These 50 sets have Red Hill Mining Town pressed on both sides.
Hideously rare. One hundred of these special boxes were made. Containing LP, CD, cassette, video and etching curated by designer Vaughan Oliver, complete sets retain their price as most have items missing. Zep placing themselves on the event horizon of a black hole where reggae hits doo-wop. All that remains of this aborted platter are two labels. This is the price for one! Sunshine has elements of indie band The Delays and a lead singer with a tendency to go all falsetto during choruses. Red Chalk Hill is like a conflation of Bowie and Barrett songcraft.
The Barons issued five singles on Imperial between and , but only the last was issued here. Along with Love Me Do, the rarest Beatles demo. There must have been nervous executives at RCA when Bowie delivered Low with one side full of instrumentals. Apple only got so far as these test pressings. Near impossible to find with an intact Gimmix sleeve.
This band was thrown together for school concerts in the Bristol area, staying together to record this copy album. Half the pressing was flood damaged…. Their last album never got beyond this lone test pressing. The LP hardly sold, making it a massive rarity. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. See also: Magik series. Arny Bink Tijs Verwest.
Categories : Record label discographies Electronic music discographies. Hidden categories: Articles lacking sources from February All articles lacking sources. Namespaces Article Talk. Beatlock is the feature that gives Virtual DJ the advantage over conventional disc jockey equipment. Moving the control up slows the song, and moving the control down increases the BPM.
This sound-editing feature is useful when you want to increase or decrease the speed of combined tracks to make them line up perfectly. Study the open-source Virtual DJ wiki to learn more.
There is an infinite number of possibilities on Virtual DJ, and the only way to learn about them is to start studying. Luckily, Virtual DJ has a wide variety of lessons online to help their community members. The complexity of the screen. The color of the screen. The songs you're able to play. The cost of the program. Method 3 of Use Virtual DJ to organize your music. The program lets you organize your collection of tracks and group them easily in a DJ-friendly way.
You can use filters to find the hot songs, find songs with a compatible bpm or key, access your previous playlists, and more.
This is essential if you want to do any live DJing, as you need quick access to the right songs, and you may need to cater to audience requests. Use crossfades to blend one song into another. This is the bread and butter of DJs: keeping the music going without pauses. Use the "crossfader" to set the time at which you want the songs to switch, as well as how quickly you want it to change. The horizontal bar between the two decks is your "Crossfade bar.
Match up the wave forms of songs to get them in sync using the pitch bar. You should try to keep the high peaks on the waveform synchronized and overlapped one above the other. This usually means that the beats are "in sync" and the mix sounds good. You can use the two vertical pitch sliders to adjust the BPM on each song, making it so that the waveforms match up and the songs are in sync. Sometimes Virtual DJ does not analyze a track correctly, and the CBG can be incorrect, so you should learn to beat match by ear and not rely on visual aids.
Syncing up songs makes transitioning from one to the other much easier. Equalize songs on the fly. There are three EQ knobs next to each deck that let you change how the songs sound.
They correspond to Bass, Middle, and Treble. Bass: The low end of the song. This is the rumbling, deep parts of the songs.
Middle: This is usually where the vocals and guitars hang out—not super deep or high-pitched. Treble: Usually this knob affects the drums most heavily, though anything high-pitched will be affected. Play with the song effects. You can use Virtual DJ to add tons of effects to your songs, creating house and electronic-style remixes anywhere.
The program comes with a plethora of effects ranging from traditional flanger, echo, etc, to more modern "beat-aware" effects like beatgrid, slicer, and loop-roll.
The built-in sampler will let you spice up your mixes with a broad range of drops and loops. You can also use the sampler like a sequencer to create remixes on-the-fly, effectively merging live performance and production. Use the BPM analyzer to get a permanent readout of your songs and their tempos. If you'd like to mix songs, you must choose BPMs that are close to each other. This will take a while, but will save you from having to compute the tempo of the song on the fly.
As soon as the other song isn't coming through the speakers, you can turn it back to 0. Don't try to mix songs that lay too far apart—this simply sounds bad. Use live feedback to turn Virtual DJ into an automatic playlist maker. Live feedback features recommend tunes that you can play to maintain the mood and the beat. However, you are free to play whatever you like regardless of the recommendation.
The songs are usually chosen to match up the BPM, making the songs flow seamlessly together. Attach Virtual DJ to other equipment for total control of your music. VirtualDJ is compatible with most of the DJ controllers on the market. All you have to do is open Virtual DJ and plug the equipment in. If you want to change any of the default behavior, VirtualDJ has a "VDJScript" language that lets you re-code the program to your liking.
The best way to learn how to use Virtual DJ is to use it. There are so many different features and ways to tackle problems that the focus should not be the software. Focus on you and your creative practice.
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