Sevrin

Hi folks, I plan on switching from headphones to in-ear monitors (IEM's), mainly for protecting my ears, while maintaining sound quality. After some on-line research, it appears that IEM's have some real pros, though there are some cons, and these can be summarised by: Pros Superior sound isolation allows you to keep the volume of your IEM's at a very low and therefore safe level. Sound quality is not compromised by safety (as with headphones with musicians ear plugs for example), and in fact, IEM's will often sound better than many headphones Portability, less cumbersome than headphones Cons IEM's used while DJing, require the DJ to mix via earphones, and not with monitor speakers. The one-can-on and one-can-off ear method of mixing doesn't apply here. Exposing a naked ear to loudness defeats the purpose of IEM's. Many Dj's just don't enjoy this style of mixing so this could be seen as a con by some. The downside to amazing sound isolation is feeling disconnected to the audience. DJ's can feel like they're in their own little world separate to punters. Acoustic shock by (generally accidental) high volume would be worse with IEM's than regular cans. I'm really keen to explore solutions to audience disconnection and the potential for acoustic shock. I have some questions: Custom molds are known to increase isolation and comfort, but will this further increase audience separation? Has anyone had experience with IEM's with db filters to allow some ambient sound in and therefore reduce the 'bubble effect' when performing? Has anyone had experience with limiters that block sound if it reaches dangerous db's? Is this a reasonable solution to avoiding accidental acoustic shock? Look forward to feedback re: the above IEM issues when Djing. Thanks in advance!

Hi folks, I am a bedroom DJ, and would like to take my DJing to another level, and play at bars and small venues around Melbourne. I'm not interested in playing at big clubs or festivals, and the vinyl funk 45's I play generally lends itself to playing the smallish gigs anyway. My only hurdle is my ears. I have some mild hearing loss and moderate Tinnitus. I don't want my hearing loss or T to get worse. Can I protect my ears and DJ? Should I quit while I'm ahead and give up? I desperately want to play the music I love and would be crushed if I had to sell all my gear and give up, but i can't afford my ears getting worse. I have musicians ear plugs that I can wear under my headphones which in theory, should protect my ears. I mean if I can get the volume down to 60db (considered everyday speaking level) then my ears should be protected right?? On a Tinnitus forum I just visited, there are people posting about the dangers of headphones, and that anyone with noise-induced Tinnitus should give up all headphones completely, as even low volumes and musicians ear plugs WILL NO protect ones ears from the sonic impact of headphones right next to your ears. Pretty sobering stuff. I'm really keen to hear from DJ's living with Tinnitus who still confidently play, but have found ways to protect their ears, but any thoughts on this subject are welcomed! Cheers

I know it technically can be done. Just switch from phono to line and back on the ole dj mixer. I guess what I'm asking is, is there a culture with lets say vinyl dj's playing old skool funk or hip hop, to only use vinyl and not transition to digital and back again, perhaps to keep a pure analog sound or something

I've always been a vinyl purest, but occasionally I come across killer tracks that are only available in digital format. Is it naf mixing digital tunes with vinyl tunes? The sound character would be different, but does it matter? Are there techniques in transitioning from vinyl to cd or mp3?

yeah, there are some good Jamaican 45's at Northside. But they plug themselves as the 'go to' store for funk which is rubbish. Searchers is great. I've never been to a record fair, but damn keen for the next one! And yes, Japan has cheap import costs. But for Funk, Reggae, and associated styles what about Plug 7 records?? Located: 313A Smith st, Fitzroy. These guys are the shit in my opinion. They never come up in any 'best vinyl stores' searches, and I had to find 'em on google maps, 'cause they're badly advertised. But they have a huge range of funk and reggae and well priced. I aint no rep for that store haha, I'm just really impressed with their stock. Piles and piles and piles of 45's. Like I've died and gone to heaven

The best inner sleeve for 12" records, are the poly/paper combo one's. Cardboard one's are a nightmare, and will trash your vinyl, paper deteriorates, and leaves fragments in the grooves, and pure poly sleeves are fine, but can be a pain when they come out with the record. Some records (not many) come with a paper sleeve, with a poly lining and really protect your records, and allow for fast and easier taking out and replacing records. So yeah, I'd like to hear from folks who have bought the paper/poly combo sleeves, and their experiences of them

Discogs. I mean as far as soul, funk and psych goes, whats better? It's the only online store that has all the rare and weird shit that I want. Round and round in Brunswick is a rip off. Northside in Fitzroy is a joke for soul and funk in my opinion. Just a lot of well know comps such as (the great) Marva Whitney and the like, with bugger all 45's.

G'day, Just ordered 100 poly/paper combined inner sleeves to replace the crappy paper or pure poly sleeves for my records so they're better protected, and also so I can pull records out faster and easier. The records go in and out easier, with the sleeve remaining inside the cardboard outer sleeve, but these new sleeves bunch up terribly, with a corrugated look, and add more bulk to my records, which will be an issue when DJing. Thoughts?

Could I have a link to the 'how to clean vinyl records article?' can't seem to find it, cheers. I get that it's hard to abstain from these 'sins' when you're djing, but after spending my rent money on a few rare funk 7"s, I reckon I'll take this advice!!

Pure late 60's and 70's funk and soul, no 80's. Lyn Collins, Marva Whitney, The Soul Tornadoes, Marsha Gee, Betty Davis, James Brown, Quincy Jones,...and loads and loads more of the greats. Fun stuff like sesame street, and movie themes and then just a whole pile of obscure shit, like Bollywood psychedelic funk, 70's porn soundtracks, 60's punk//funk crossovers. What ever!! I also like ultra funky covers of classic songs for the novelty factor.

Great!! That'll get me started, cheers!!

Can anyone recommend any video tutorials for beat mixing funk vinyl? Not much on utube, happy to buy something if it was worth it. Cheers.

Breakcore makes up about 5% of electronic dance music enthusiasts. The scene in Melbourne (where I reside) is tiny, and the music tends to be made by odd people, and played in odd locations, like squats, or on the side of a river, or in peoples lounge rooms. Put simply, its generally too fucked up for general consumption, and there are very few venues that will cater for it, so they're mostly DIY. But I like it haha.

thanks mate! Oh perhaps I should state that I'm also into breakcore haha. Like the really hard obnoxious variety. I realise that this is probably the polar opposite to funk, but I guess I like extremes

G'day! My first post So I've been collecting old skool funk and soul of various descriptions for years, but never really learned how to dj properly. I was somehow talked into playing a set at a party the other week, and despite mixing worse than a blind folded crack addicted monkey with a frontal lobotomy, I actually managed to get folks shaking it to my trashy funk and soul. Needless to say, I'm hooked! I've heard that actual drummers (not drum machines) on old vinyl is hard to beat mix to, but I wanna learn!! So here goes. Hope these forums can help get me started. Cheers.