RobbieD

I brought the CD single couple of weeks ago at HMV. - But of course some HMV's no longer sell singles, so best to phone first. Am I the only person that still buys singles? It's getting very hard to find them nowadays!

This is exactly what I have done in the past. With a remote speaker in the bar, set at a low level, I find you end up with a constant number of people in with the disco, and the bar experiences a more even flow of people. I posted a full report of the effect experienced at one venue over several functions in a previous post here. Coincidentally I've just been asked to put an additional speaker in an adjoining room tomorrow so that people can hear the speeches. A small powered speaker and a (reliable high quality) radio link allows me to say yes.

I assume the marquee is on the venues land. If so, the venue would be within their rights to switch off the generators if you refused to stop playing. I guess the point I was making is not only do you need to follow the venues rules, if you don't they can stop you playing one way or another. I've had one occasion on which I was initally booked until 12am, but on contacting the venue they said that music was only until 11.30pm, although guests could stay until 12am. When I went back to the client, they then spoke to the venue who explained this to them. They understood and agreed I wo

If not breaking the terms of the venues licence isn't reason enough in the clients view, it's worth point out to them that if you continued beyond the time the venue says that music should end, that they would be within their rights to pull the plug on you - making it impossible to continue. (There are venues that would do this.)

OK, it's costing more than I worked out, because each year one needs to renew at £250 even if only copying one track. But keep in mind that this replaces the previous Digital DJ licence which cost £200 a year, every year. So it is only an additional £50 - although £50 is still a lot if you only copy one track! I think this may be a reasonable solution for those on a budget. If you currently only buy a couple of new tracks a week to keep you going, then buy these online as DRM free mp3's, or buy the CD's and rotate them (replacing those you no longer play with the latest) in

Why not ask your client for their favorite Abba songs and mix these together? This had the advantage of being tailored to the client, and depending on how well the Abba is going down, you make it last for as long or as little as required to keep the audience interested.

Well it's horses for courses. A professional Sennheiser or Shure solution will give you pro quality. A consumer system may give good quality. Personally I can't accept "may" - I need to give my clients quality in all areas of the service I offer.

Is there a limit to how many conversions or years you can roll over? Assuming no limit: £250 for 5000 tracks, for 10 years of new music (500 new tracks a year) = £25 a year. Or am I missing something?

Hi Matt, Your right. A pro solution is the only way to go if you want an interference free, reliable link. I discussed the way I do this in this post here. It will cost you around £300-£400 new, or you may be able to pick up something second hand for less. If this is a one off requirement then I suggest you rent a suitable solution from a pro-audio supplier. It shouldn't cost you any more than £40 for a day.

Hi all, I've been too busy to visit here for a few months, but it looks like I came back at the right time. This licence looks good to me and reasonably priced. - £400 as a one off fee for 20,000 songs is a reasonable fee, considering these tracks would be used for a few years. I have some questions. (Sorry if they have already been answered.): 1) Is this licence in addition to the exsisting digital license? I assume it is, but can some one confirm. 2) I have almost 20,000 tracks currently loaded to hard disc. (I don't play out with them yet - still using CD's.) For th

Great tune, but no, this thread title is based on the opening lines of something a little older, and lower BPM. - The most famous line from that track is "so you sit by the radio, hand on the dial. Soon as you hear it, ......." And hundreds of samples followed.....

Definitely, this is the number one requirement for me. But it should always be two decks connected to a mixer, and their should be a wide variaty of music on the discs in the players, not just ten similar hard-core house tracks. Whilst this is useful (and you are very good at this Gary) at these shows I tend to have limited time, and lots of things I want to see. Given the choice of someone talking me through the features for five minutes, or five minutes of playing with a deck myself, I would choose the second. One of the best demo's for me was when Technics introduced their rotat

Congratulations Gary! I though you looked like you had lost weight when I saw you at the SEDA meeting, but wasn't sure, and decided not to mention it in case your were sensitive about your weight. But this is yet more proof that I'm not the most observant of people - you've lost over 9 stone, and I'm thinking "has he lost some weight?"! One of my other half's many fields of expertise is dietary nutrition. I know that she frowns on these kind of diets (along with lighter life), but she would agree with how important it is to control the way you re-introduce regular foods. - And that i

...without a strong post to tell you (......why) Well back at the end of June, after I last posted, I was unexpectantly made redundant from my day job. As my only PC was my company laptop, my internet access was limited to an hour a day at the local library, and of course I wisely used that time for job hunting. By August I had a couple of job offers, chose the best and was back in work, with some of my redundancy money still left! Obviously a new job requires a lot of effort to make a name for oneself, so I've been putting in a lot of hours including several weekends away

Jeff, this is quite common, although I try and dissuade couples from doing it. As other have said, you get a lot of the old favorites requested (such as the ones Nedd got) and a few crap ones. I explain to the couple and then again to the guests on the night, that there isn't time to play everything, I will try to play as many as possible, and apologies in advance if I'm not able to fit your particular request in. But it has some times resulted in guests coming up at the end (or sometimes earlier!) asking why I haven't played their request. So again I apologise and explain that there

But in your other thread you say will be starting with pubs/parties/home functions. The two are very different, both in how you approach DJing the night, and also in how you get in to them in the first place. Getting in to club DJing nowadays is very difficult with so many bedroom DJ's desperate to "actually play in front of real people". A club will want to know how many people you can attract, what can you offer that the next guy can't, and how you will increase their turnover. To get a night is just as much about promotion as it is about playing music. But DJing in a club is

Shure Beta 57 (wired). I also have a Sennheiser EW100 for when I need to go out front.

Halfpint is giving some excellent advice here. Isolation and mass are the keys. Many clubs used to have their decks stood on paving slabs. And I once did this myself after playing at a new club. They didn't have feedback as such, just a woolly bass boom instead of a nice thud - bass drums sounded more like some tapping the side of the deck. The next time I was their I took in two paving slabs and put them under the decks, and suddenly the bass sounded great - they were even able to turn the subs up as the nasty boom that affected the bar area was gone! I have also seen decks on

I disagree. I believe that hiring is a great, low risk, way of trying out different types of speakers and systems, to decide which suits you best, before spending your hard earned.

That's why many of us started by doing disco's for friends free of charge. Then it didn't matter so much if we cocked up. It's also a reason why inexperienced disco's charge a lower rate than experienced DJ's, and there will always be a market for people who can't afford an experienced DJ for their party. As mentioned, you can get a head start and gain experience much more quickly, and with less risk, by tagging along with an experienced DJ for a few months. Then you can take on a few bookings of your own, and you will continue to learn by making your own mistakes (the best way to lea

I did find a spelling mistake in an artist name. (Can't remember who now.) When searching by the artist name, the single I was looking for didn't come up in the results, so I searched by the title and there it was, with one letter wrong in the artist name. (I too sent them an Email.) But otherwise I agree that Everyhit is very useful.

Hi Jeff, Sounds like another night ruined by a limiter that's set too low. May be you could cut and paste these details to the Venues with Sound Limiters thread. I normally try to avoid taking bookings at venues with sound limiters, but every now and I find out after I've taken the booking. I've got my first one this year coming up at a venue in High Wycombe on the 30th of this month. Supposedly it is set at 96dB which doesn't sound too bad to me, but it's about the same level as you describe, so I may have the same problems, but I'll post back on the url=http://www.dj-foru

Yes, sorry, I missed this question. The new version of music manager which is due this very month will auto-calculate BPMs on both WAV and MP3 files. You can also point Music manager at a whole batch of files, not just individual files, one-at-a-time, and leave it to do its thing. The calculated BPMs are then placed into the BPM field of the IDtag/metatag data. :bouncy: Fantastic!!!!

Although I generally prefer passive set ups, I would go for a pair of active speakers for this. Simpler to use, and more flexible. Something that you could just plug a mic, or CD/mp3 player directly in to, or connected directly to the output of a mixer. Also built in protection on most active speakers makes them more difficult to damage through overpowering, etc.

:scared: :scared: :scared: I don't think I would ever sell my vinyl, but I guess you must have thought long and hard about it. But I would be interested in seeing a list Tony, if it's something you can easily run off. However nowadays I would only buy anything that's not available on CD (and that I don't have already) and generally only 12" singles. But knowing you, I'm sure that's quite a lot of your stuff. That's exactly why I got rid of my stuff in the first place, maybe you're right, as you've transferred all of it onto mp3. Maybe I should buy your collection! I'