- So you’ve rocked your bedroom and the local bar, next stop superclub main room! A hefty sound system in a large space is an entirely different challenge, so what are the key technical aspects you should know before you step into the big league? Sankeys in the UK has hosted the biggest international DJs and was voted DJ Magazine’s number one club in the world in 2010. Here are some tips from their sound engineer Rob Thomas and resident DJ Jozef K on how to play a big room.
1. Bring earplugs!
Sankeys’ Phazon system reaches 120 db (equivalent to a loud rock concert). Described by Rob as ‘sillily loud’, the sheer size of the sound can be overwhelming to a new DJ.
“At first it scares you,” says Jozef K, who had to upgrade his headphones after they blew on his first gig there, “you put your tune on and think “fuckin hell” because there’s so much bass there, but you get used it.”
Rob confirms that all the top DJs now use earplugs – except some of the older ones because “they’ve already buggered their ears up!” – but earplugs dull the higher frequencies, so be careful not to over-compensate.
2. Mind your monitors!
At these volumes managing the way you listen to the output becomes vital – you don’t want to burst your eardrums by whacking up the monitor speakers, but they must be louder than the reverberated sound from the dancefloor, otherwise your mixing will be constantly out of time due to the delay.
Jozef K says: “I’m quite cautious with my hearing – sometimes I turn my monitors down between mixing. Normally DJs have the headphones on full blast (dial at six o’clock) but I’m usually two or three o’clock.”
Preferences vary among top DJs according to Rob: “Some have told me they don’t need to use monitors, others ask for the monitors to be louder to cut through the ear plugs. But I ask them: ‘why not take out your ear plugs and turn the monitors down?!’
“Others will mix in their headphones – Laidback Luke used in-ear monitors the other week. They tend to only turn up the monitor speakers for the benefit of mates in the booth and also so they can feel it.”
Check out: The best in ear monitors for DJs and DJing with in-ears
3. Sounds jump out on a big system
Jozef K says: “You get used to it and usually you know which sounds are gonna come alive, but even people who’ve been playing here for ages can get surprised.
“I had this tune called DimDim by Sis – when I heard it in my headphones the vibe of the track was pretty relaxed, but when I played it on the big system the kick drum was so banging and there were lots of tough sounds – I thought ‘Sh*t! I shouldn’t be playing this in a warm-up set!’”
He advises to choose more groovy tunes rather than percussive for warm-up sets.
The below video shows how the music changes during a warm-up:
4. Be prepared to adjust your mixing style
For Jozef K the big sound requires a different method: “When you’re playing at home in your bedroom you can hear every tiny sound, but when you’re playing in a room like this when it’s loud as fuck and there’s loads of reverb the sounds aren’t as intricate, so I like to do a nice bold mix.
“Just go ‘bam’ swop the kick drums over, then you’ll wait for a good bit when the melody’s running out, swop that one in – you’re just a bit more aggressive with your mixing style when it’s so loud.”
But at least, he says, the less detailed sound means you have a bigger margin for error.
5. How far should you turn up the music?
You are in control of the booth mixer but the engineer has overall control from upstairs – even down to individual speaker stacks.
“It’s generally a no-no for me to touch the [booth] mixer,” says Rob, “but if you max it out then the sound is going to distort and I have had to have a word in the past.
“Everything’s limited so there’s protection there, but there’s no limiter fast enough all the time that will catch everything – once in a while they will pop something.”
Also, people act as sound absorbers, so the busier the dancefloor the more volume is needed.
Rob says: “To us they are water bags. The more people you get in, the more they mask how loud it is. So if you have it at full blast when there’s hardly anyone in, it’ll just rattle about all over the place.”
6. Pre-gig
So you get the call – the club wants you to play – but what happens with equipment?
Rob explains: “The headline DJ always gets priority – their spec supercedes what anyone else wants – this or that mixer.
“Here it’s mainly a fight between the DJM800 [Pioneer] and the Allen And Heath [Xone 92] though Armin van Buuren requested the Pioneer DJM2000 mixer to go with the CDJ2000s.
If you’re bringing other gear (controller with a laptop etc) it’s a good idea to warn the engineer because at Sankeys he will be the one plugging it into the mixer.
“Most of my trouble comes from the DJ changeovers – sometimes I have to say to the DJ ‘look you’re not gonna do that tonight mate’”, adds Rob.
7. I wanna scratch!
With scratch DJs and turntablists the harsh mids can be an issue at a club.
“Some of the bigger scratch DJs will come in and do a sound-check beforehand and we’ll EQ a system to what they want – we just have a chat with them about their requirements”, says Rob.
However, unless you’re a big name it’s unlikely you’ll get this opportunity – but do at least warn the engineer you might be scratching.
8. A big system will expose poor file quality
Rob says: “With some MP3s you’re like “oooh god” – I have to run upstairs and take the top end out because you can just hear them straight away.
“The higher quality MP3s are ok but if it’s below 192 kbits/sec you really start noticing it, in fact once you go below 320 you start to hear it.”
Jozef K prefers not to mix WAVs with 320s during a set: “I get the piss taken out of me for it, but I think the change in dynamics is too noticeable on these massive speakers.”
You don’t want to undermine an intense breakdown like the one below with poor MP3s:
9. Alternative DJs beware!
Keep in mind that that the system is not designed for a country and western – rock – blues mashup.
Rob says: “It wouldn’t sound great because it’s been set up for dance music. It’s been tweaked and tweaked and tweaked but always around the dance genre. Every once in a while we do get the occasional band here and we can tweak things to sound better for bands but most of the time there’s no need for that.”
10. Know your shit!
Rob says: “Never turn up to a venue with something you don’t know how to use. I’ve had kids turn up with Serato and never used it before!
“Because for us house engineers – all we need to know is how to plug it in and how to look out for errors on it – we don’t need to know how it works.
“But some DJs will think we know how to use everything – but there are too many things out there. A guitarist wouldn’t ask the engineer to tune up for him.”
besides everyone bickering about the 120dB this is a great read, i wish i have and other people will bump into before playing on a big system for the first time. made me feel alright again 😉 all that bass just scares u to shit, when after months u reached a properly stable lvl at home and then get thrown into the cold, struggling and almost starting at 0 all over again. but it takes time. and something i’ve also been told over and over again: don’t focus on the kick too much. for the most parts the hi’s are the key to beatmatching. cheers
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By the way, if you performing your own material, is it a good idea to remaster for such venue, adding more space for the mix? Because it’s not like you’re going to loose a loudness war with such setup
Don’t remaster, just a/b your own tunes with some other tunes you know sound good in a club. Dance music DOES sound good with compression and limiting, just not too much;)
Doing an opening Moombahton/Dubstep set for Big Chocolate and Zeds Dead in SF last month, I learned all these lessons at once. Thankfully the venue called for a sound check and everything was dialed in. I was in for a shock of how loud the music was. Ear plugs are so necessary.
The sound at Sankey’s is uncomfortably loud and I have stopped going because of it. I had to buy some £30 earplugs to try and stop my ears from being damaged and I still came out with muffled hearing.
Inside it’s so loud that it just distorts, it’s horrible. What are you thinking making it so loud?
Yea, seen that, been there (but elsewhere).
For one they must have their ears done already, and then some owners wants the sound system to act like those chair-moving machines, so the moment you go inside the place you can’t stop dancing (moving really), no matter what you are up to.
They will -eventually- find out that it alienates many audiences. Personally I don’t come back
Great article! More like this would be really good – other club engineers/residents on what they experience week in week out and their advice. I think this is top stuff. Thanks.
I agree with Gabor. The UK is not the world and the world is not the UK. Westerners tend to believe that they run everything. How is a DJ supposed to follow the crowd when he’s wearing earplugs.
I agree with Gabor. The UK is not the world and the world is not the UK. Westerners tend to believe that they run everything. How is a DJ supposed to follow the crowd when he’s wearing earplugs.
Today’s tech toys DJ tools make every geek a good DJ. Back in the days was much better.
By pushing the limits in dB’s you’ll just activate the limiters and lose all dynamics. Sounds loud but flat like a pancake.
Be very carefull with mixing kicks, cause sometimes they’re out of phase and cancel each other out and gone is your kick’s body
By pushing the limits in dB’s you’ll just activate the limiters and lose all dynamics. Sounds loud but flat like a pancake.
Be very carefull with mixing kicks, cause sometimes they’re out of phase and cancel each other out and gone is your kick’s body
By pushing the limits in dB’s you’ll just activate the limiters and lose all dynamics. Sounds loud but flat like a pancake.
Be very carefull with mixing kicks, cause sometimes they’re out of phase and cancel each other out and gone is your kick’s body
By pushing the limits in dB’s you’ll just activate the limiters and lose all dynamics. Sounds loud but flat like a pancake.
Be very carefull with mixing kicks, cause sometimes they’re out of phase and cancel each other out and gone is your kick’s body
People! 120 db is not the problem, dynamic is wonderful. The problem is the LOUDNESS WAR, the songs areever higher, more compressed, more stupid.
But the DJs have control!
We have great systems, great interface, great software, knowledge, hard drive space and all this at affordable prices.
Let’s use expanders instead of compressors, we TURN ITDOWN, NOT UP (Ean Golden, 2008), Dynamics! We’ll save the 120 db for the right moments.
YOU have the control, not the engineer.
Does anyone know what I mean? Ean? Dan? anyone?
Alia,
Yes, I am sure many here are aware of the Loudness Wars.
However the issue is… -imho-:
To find the way of optimization while dealing with a complex sound chain, that still is evolving.
One overlooked example of this is that the rising loudness, actually partially solves many faulty recordings that were done -in average- too low (not so far in time). If part of your music layers dont peak close to 100 (up or down) in your music editor, …and many did not even reached 50, for instance; secondary voices, instruments, etc. Those below that level dont use up more than 8 bits…
Not many producers show this.
See; Its a delicate BALANCE at ALL STAGES of the SOUND CHAIN.
Alia,
Yes, I am sure many here are aware of the Loudness Wars.
However the issue is… -imho-:
To find the way of optimization while dealing with a complex sound chain, that still is evolving.
One overlooked example of this is that the rising loudness, actually partially solves many faulty recordings that were done -in average- too low (not so far in time). If part of your music layers dont peak close to 100 (up or down) in your music editor, …and many did not even reached 50, for instance; secondary voices, instruments, etc. Those below that level dont use up more than 8 bits…
Not many producers show this.
See; Its a delicate BALANCE at ALL STAGES of the SOUND CHAIN.
Alia,
Yes, I am sure many here are aware of the Loudness Wars.
However the issue is… -imho-:
To find the way of optimization while dealing with a complex sound chain, that still is evolving.
One overlooked example of this is that the rising loudness, actually partially solves many faulty recordings that were done -in average- too low (not so far in time). If part of your music layers dont peak close to 100 (up or down) in your music editor, …and many did not even reached 50, for instance; secondary voices, instruments, etc. Those below that level dont use up more than 8 bits…
Not many producers show this.
See; Its a delicate BALANCE at ALL STAGES of the SOUND CHAIN.
Re-reading your comment I realize we are probably saying the same thing. Be concious of the levels, dont saturate, except for a few instants.
This power balance, out-of-balance is an art (and a tool) in itself.
And one of the reasons I prefer to DJ long sets; you may allow for build ups, dramatic changes, creating context and then using it up freq-wise, release, etc.
Re-reading your comment I realize we are probably saying the same thing. Be concious of the levels, dont saturate, except for a few instants.
This power balance, out-of-balance is an art (and a tool) in itself.
And one of the reasons I prefer to DJ long sets; you may allow for build ups, dramatic changes, creating context and then using it up freq-wise, release, etc.
Re-reading your comment I realize we are probably saying the same thing. Be concious of the levels, dont saturate, except for a few instants.
This power balance, out-of-balance is an art (and a tool) in itself.
And one of the reasons I prefer to DJ long sets; you may allow for build ups, dramatic changes, creating context and then using it up freq-wise, release, etc.
Re-reading your comment I realize we are probably saying the same thing. Be concious of the levels, dont saturate, except for a few instants.
This power balance, out-of-balance is an art (and a tool) in itself.
And one of the reasons I prefer to DJ long sets; you may allow for build ups, dramatic changes, creating context and then using it up freq-wise, release, etc.
Alia,
Yes, I am sure many here are aware of the Loudness Wars.
However the issue is… -imho-:
To find the way of optimization while dealing with a complex sound chain, that still is evolving.
One overlooked example of this is that the rising loudness, actually partially solves many faulty recordings that were done -in average- too low (not so far in time). If part of your music layers dont peak close to 100 (up or down) in your music editor, …and many did not even reached 50, for instance; secondary voices, instruments, etc. Those below that level dont use up more than 8 bits…
Not many producers show this.
See; Its a delicate BALANCE at ALL STAGES of the SOUND CHAIN.
People! 120 db is not the problem, dynamic is wonderful. The problem is the LOUDNESS WAR, the songs areever higher, more compressed, more stupid.
But the DJs have control!
We have great systems, great interface, great software, knowledge, hard drive space and all this at affordable prices.
Let’s use expanders instead of compressors, we TURN ITDOWN, NOT UP (Ean Golden, 2008), Dynamics! We’ll save the 120 db for the right moments.
YOU have the control, not the engineer.
Does anyone know what I mean? Ean? Dan? anyone?
People! 120 db is not the problem, dynamic is wonderful. The problem is the LOUDNESS WAR, the songs areever higher, more compressed, more stupid.
But the DJs have control!
We have great systems, great interface, great software, knowledge, hard drive space and all this at affordable prices.
Let’s use expanders instead of compressors, we TURN ITDOWN, NOT UP (Ean Golden, 2008), Dynamics! We’ll save the 120 db for the right moments.
YOU have the control, not the engineer.
Does anyone know what I mean? Ean? Dan? anyone?
People! 120 db is not the problem, dynamic is wonderful. The problem is the LOUDNESS WAR, the songs areever higher, more compressed, more stupid.
But the DJs have control!
We have great systems, great interface, great software, knowledge, hard drive space and all this at affordable prices.
Let’s use expanders instead of compressors, we TURN ITDOWN, NOT UP (Ean Golden, 2008), Dynamics! We’ll save the 120 db for the right moments.
YOU have the control, not the engineer.
Does anyone know what I mean? Ean? Dan? anyone?
Remember: There huge diference between dB, dBSPL, dBV, dBu, dB(1W/1m), dBA, dBC…Just for exemple: 3dB is double of power!!
Remember: There huge diference between dB, dBSPL, dBV, dBu, dB(1W/1m), dBA, dBC…Just for exemple: 3dB is double of power!!
Remember: There huge diference between dB, dBSPL, dBV, dBu, dB(1W/1m), dBA, dBC…Just for exemple: 3dB is double of power!!
Remember: There huge diference between dB, dBSPL, dBV, dBu, dB(1W/1m), dBA, dBC…Just for exemple: 3dB is double of power!!
Alia,
to get extra 3 dB you need to apply double power (in watts) from your amp. However in low volume levels, little displacement of the vol pot gets you double power several times, iex; 1w–>2w, 2–>4w, 4w–>8w, etc. Yes, each –> gets you 3 dB extra.
Have in mind that 3 dB is just a notch up in perception from the previous vol.
This talk about dBs and power and watts is most alsways quite misunderstood
Alia,
to get extra 3 dB you need to apply double power (in watts) from your amp. However in low volume levels, little displacement of the vol pot gets you double power several times, iex; 1w–>2w, 2–>4w, 4w–>8w, etc. Yes, each –> gets you 3 dB extra.
Have in mind that 3 dB is just a notch up in perception from the previous vol.
This talk about dBs and power and watts is most alsways quite misunderstood
Alia,
to get extra 3 dB you need to apply double power (in watts) from your amp. However in low volume levels, little displacement of the vol pot gets you double power several times, iex; 1w–>2w, 2–>4w, 4w–>8w, etc. Yes, each –> gets you 3 dB extra.
Have in mind that 3 dB is just a notch up in perception from the previous vol.
This talk about dBs and power and watts is most alsways quite misunderstood
Alia,
to get extra 3 dB you need to apply double power (in watts) from your amp. However in low volume levels, little displacement of the vol pot gets you double power several times, iex; 1w–>2w, 2–>4w, 4w–>8w, etc. Yes, each –> gets you 3 dB extra.
Have in mind that 3 dB is just a notch up in perception from the previous vol.
This talk about dBs and power and watts is most alsways quite misunderstood
11. Be attentive to Signal-to-Noise (S/N).
At 124 dB, a recording done with any piece of equiment that has… lets say 80 dB S/N, will have 44 dBs of noise floor. which usually is a dense layer of freqs muddding the treble and Mids of your tunes, sounding at a level similar to conversational volumes.
Note that at around a music level of 100 dBs, the same recordings will produce 24 dBs instead, which is far less noticeable.
11. Be attentive to Signal-to-Noise (S/N).
At 124 dB, a recording done with any piece of equiment that has… lets say 80 dB S/N, will have 44 dBs of noise floor. which usually is a dense layer of freqs muddding the treble and Mids of your tunes, sounding at a level similar to conversational volumes.
Note that at around a music level of 100 dBs, the same recordings will produce 24 dBs instead, which is far less noticeable.
Actually, I believe these points apply to most club sound systems. Djing in a system with a separated subBass will sound more along the lines explained above than your average small rig/headphones.
So, it’s very important DJ advice!!
Actually, I believe these points apply to most club sound systems. Djing in a system with a separated subBass will sound more along the lines explained above than your average small rig/headphones.
So, it’s very important DJ advice!!
Loudest Bass i ever heard was at Noctrunal Wonderland 2008, their engineers in the minimal room was positioned in the middle of the floor, and the bass was just INSANE!! felt like my lungs were destroyed after that from the bombardment of BASS!! had to have been 120 cuz when those high notes hit my ears were bleeding!
Loudest Bass i ever heard was at Noctrunal Wonderland 2008, their engineers in the minimal room was positioned in the middle of the floor, and the bass was just INSANE!! felt like my lungs were destroyed after that from the bombardment of BASS!! had to have been 120 cuz when those high notes hit my ears were bleeding!
Loudest Bass i ever heard was at Noctrunal Wonderland 2008, their engineers in the minimal room was positioned in the middle of the floor, and the bass was just INSANE!! felt like my lungs were destroyed after that from the bombardment of BASS!! had to have been 120 cuz when those high notes hit my ears were bleeding!
Loudest Bass i ever heard was at Noctrunal Wonderland 2008, their engineers in the minimal room was positioned in the middle of the floor, and the bass was just INSANE!! felt like my lungs were destroyed after that from the bombardment of BASS!! had to have been 120 cuz when those high notes hit my ears were bleeding!
My mobile system has a 124dB SPL output… But that’s with 10% THD. It will run between 90 and 95dB all night without hitting the limiter and that’s at a distance of 15m. So writing that sankeys’ system reaches 120dB isn’t all that spectacular. Most PA-systems reach that; what’s more important is how many speakers and speaker position in relation to/and size of room that counts. If your club has a world class sound system and it sounds terrible then it’s down to either of 2 things, the DJ and/or the engineer who done the EQing. Usually it’s the DJ though.
So make sure your channel levels hit 0dB when cueing as this will leave room for the loudest part of the track when it arrives. If it still sounds crap then you know it’s not your fault but here’s the good bit. Your first club gig could well have you doing the warm-up. This means you could be in a position to do a sound check before the club opens?
My mobile system has a 124dB SPL output… But that’s with 10% THD. It will run between 90 and 95dB all night without hitting the limiter and that’s at a distance of 15m. So writing that sankeys’ system reaches 120dB isn’t all that spectacular. Most PA-systems reach that; what’s more important is how many speakers and speaker position in relation to/and size of room that counts. If your club has a world class sound system and it sounds terrible then it’s down to either of 2 things, the DJ and/or the engineer who done the EQing. Usually it’s the DJ though.
So make sure your channel levels hit 0dB when cueing as this will leave room for the loudest part of the track when it arrives. If it still sounds crap then you know it’s not your fault but here’s the good bit. Your first club gig could well have you doing the warm-up. This means you could be in a position to do a sound check before the club opens?
My mobile system has a 124dB SPL output… But that’s with 10% THD. It will run between 90 and 95dB all night without hitting the limiter and that’s at a distance of 15m. So writing that sankeys’ system reaches 120dB isn’t all that spectacular. Most PA-systems reach that; what’s more important is how many speakers and speaker position in relation to/and size of room that counts. If your club has a world class sound system and it sounds terrible then it’s down to either of 2 things, the DJ and/or the engineer who done the EQing. Usually it’s the DJ though.
So make sure your channel levels hit 0dB when cueing as this will leave room for the loudest part of the track when it arrives. If it still sounds crap then you know it’s not your fault but here’s the good bit. Your first club gig could well have you doing the warm-up. This means you could be in a position to do a sound check before the club opens?
My mobile system has a 124dB SPL output… But that’s with 10% THD. It will run between 90 and 95dB all night without hitting the limiter and that’s at a distance of 15m. So writing that sankeys’ system reaches 120dB isn’t all that spectacular. Most PA-systems reach that; what’s more important is how many speakers and speaker position in relation to/and size of room that counts. If your club has a world class sound system and it sounds terrible then it’s down to either of 2 things, the DJ and/or the engineer who done the EQing. Usually it’s the DJ though.
So make sure your channel levels hit 0dB when cueing as this will leave room for the loudest part of the track when it arrives. If it still sounds crap then you know it’s not your fault but here’s the good bit. Your first club gig could well have you doing the warm-up. This means you could be in a position to do a sound check before the club opens?
Regarding the volume and monitor issues, I’ve gotten used to being able to mix ‘visually’ with Traktor or Serato. I’ve played in too many clubs with shitty monitors that it’s been a lifesaver. It saves on blasting my ears with headphones also. I suppose it’s an advantage to using a digital rig..
When I was opening up for one particular superstar DJ, he pitched a total temper tantrum about the monitors, etc when it was his turn to go on using a 4xCDJ2000s setup. This was after I had already been DJing on the same system for 2 hours. The monitors were blaring soo loud by the time he was happy that I’m sure his hearing is gone.
Changing up mixing styles is one of the best tips on here. The size of the soundsystem and room, as well as the type of mixer can all play in to how kick drums will blend. Even when on perfect sync, a slow blend of the kicks can sound muddy.
Regarding the volume and monitor issues, I’ve gotten used to being able to mix ‘visually’ with Traktor or Serato. I’ve played in too many clubs with shitty monitors that it’s been a lifesaver. It saves on blasting my ears with headphones also. I suppose it’s an advantage to using a digital rig..
When I was opening up for one particular superstar DJ, he pitched a total temper tantrum about the monitors, etc when it was his turn to go on using a 4xCDJ2000s setup. This was after I had already been DJing on the same system for 2 hours. The monitors were blaring soo loud by the time he was happy that I’m sure his hearing is gone.
Changing up mixing styles is one of the best tips on here. The size of the soundsystem and room, as well as the type of mixer can all play in to how kick drums will blend. Even when on perfect sync, a slow blend of the kicks can sound muddy.
Regarding the volume and monitor issues, I’ve gotten used to being able to mix ‘visually’ with Traktor or Serato. I’ve played in too many clubs with shitty monitors that it’s been a lifesaver. It saves on blasting my ears with headphones also. I suppose it’s an advantage to using a digital rig..
When I was opening up for one particular superstar DJ, he pitched a total temper tantrum about the monitors, etc when it was his turn to go on using a 4xCDJ2000s setup. This was after I had already been DJing on the same system for 2 hours. The monitors were blaring soo loud by the time he was happy that I’m sure his hearing is gone.
Changing up mixing styles is one of the best tips on here. The size of the soundsystem and room, as well as the type of mixer can all play in to how kick drums will blend. Even when on perfect sync, a slow blend of the kicks can sound muddy.
Regarding the volume and monitor issues, I’ve gotten used to being able to mix ‘visually’ with Traktor or Serato. I’ve played in too many clubs with shitty monitors that it’s been a lifesaver. It saves on blasting my ears with headphones also. I suppose it’s an advantage to using a digital rig..
When I was opening up for one particular superstar DJ, he pitched a total temper tantrum about the monitors, etc when it was his turn to go on using a 4xCDJ2000s setup. This was after I had already been DJing on the same system for 2 hours. The monitors were blaring soo loud by the time he was happy that I’m sure his hearing is gone.
Changing up mixing styles is one of the best tips on here. The size of the soundsystem and room, as well as the type of mixer can all play in to how kick drums will blend. Even when on perfect sync, a slow blend of the kicks can sound muddy.
whos idea bright idea to move the dj box sankeys after the refurb cant see shit now n where are the truck horns??? (”¬)
whos idea bright idea to move the dj box sankeys after the refurb cant see shit now n where are the truck horns??? (”¬)
whos idea bright idea to move the dj box sankeys after the refurb cant see shit now n where are the truck horns??? (”¬)
whos idea bright idea to move the dj box sankeys after the refurb cant see shit now n where are the truck horns??? (”¬)
whos idea was it for the refurb is my question!??!
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
hmmm… ah yes, the good old days: a factory bassment, blacked out, a plank for a bar, and a 2am licence and on red bull all night apart from the girls who always had vodka and i always got some… 😉 and the truck horns my first experience of them layo & bushwacker “lovestory” drops and “PARRRRRPPPPHHH!!!”, “WTF WAS THAT!?!” right next to the DJ box deaf all night cuz the horns lol quality…
whos idea was it for the refurb is my question!??!
whos idea was it for the refurb is my question!??!
whos idea was it for the refurb is my question!??!
Boy racer sound engineers are exactly why noise regulation for music venues is being introduced in the UK. Regulation always over steps common sense but common sense is being ignored when ever someone turns that system up. Its like the loudness war in the charts, everybody loses.
Boy racer sound engineers are exactly why noise regulation for music venues is being introduced in the UK. Regulation always over steps common sense but common sense is being ignored when ever someone turns that system up. Its like the loudness war in the charts, everybody loses.
Boy racer sound engineers are exactly why noise regulation for music venues is being introduced in the UK. Regulation always over steps common sense but common sense is being ignored when ever someone turns that system up. Its like the loudness war in the charts, everybody loses.
Boy racer sound engineers are exactly why noise regulation for music venues is being introduced in the UK. Regulation always over steps common sense but common sense is being ignored when ever someone turns that system up. Its like the loudness war in the charts, everybody loses.
Your car may be able to reach 200m/h. that does not mean you’ll b0.e driving through the back streets of your home town at that speed.
The system CAN reach 120db that doesn’t mean it gets driven that loud (please ready the articles properly before making silly remarks
Good to have the headroom though! It allows for an healthy uncompressed dynamic range…
Nice article. Remembered me to my first time in a big room. I was standing vis a vis the bass system and wondered why the bass “reached me” approx. half a second later than the rest 😉
But for me the three main points from this article are:
“Use the f*ckin’ earplugs!!!”
“Know your own equipment and some industrial standards, dude!”
“Have some backup in your bag if you rely on technology!”
I’ve saw many upcoming “artists” playing on a lots of parties around but not knowing the simplest things in their soft- and hardware.
Nice article. Remembered me to my first time in a big room. I was standing vis a vis the bass system and wondered why the bass “reached me” approx. half a second later than the rest 😉
But for me the three main points from this article are:
“Use the f*ckin’ earplugs!!!”
“Know your own equipment and some industrial standards, dude!”
“Have some backup in your bag if you rely on technology!”
I’ve saw many upcoming “artists” playing on a lots of parties around but not knowing the simplest things in their soft- and hardware.
Nice article. Remembered me to my first time in a big room. I was standing vis a vis the bass system and wondered why the bass “reached me” approx. half a second later than the rest 😉
But for me the three main points from this article are:
“Use the f*ckin’ earplugs!!!”
“Know your own equipment and some industrial standards, dude!”
“Have some backup in your bag if you rely on technology!”
I’ve saw many upcoming “artists” playing on a lots of parties around but not knowing the simplest things in their soft- and hardware.
Regarding: “Have some backup in your bag if you rely on technology!”
Personally I have a hopefully steady backup plan for situations like “death of a laptop” (hasn’t happened to me in four years, and hopefully never will again) or “software crashing” (which hasn’t happened to me in over a year, but you never know)…
The main line of my defence are my timecode CDs (which I usually bring along at least three to four pairs to any venue) … the first track on each disk is the timecode track, whereas the rest of the disks is filled with recent floorfillers and stuff like that. With the surplus timecode CDs, even with a total loss of computer midgig, I can still play a full gig (granted, it most likely will be rather unsurprising set of hits, but it still will be a full set) – and… the CDs are always ready to serve me as timecode control CDs also (furthermore, I never need to spend time finding a new disk if the laptop dies – I can just skip to the next track and continue playing on the mixer’s “through”-channels).
Extremely simple and effective way to save a day if the shit happens to hit the fan. I do hope it never comes to that, but with the amount of gigs I do monthly, I’d rather be prepared.
Regarding: “Have some backup in your bag if you rely on technology!”
Personally I have a hopefully steady backup plan for situations like “death of a laptop” (hasn’t happened to me in four years, and hopefully never will again) or “software crashing” (which hasn’t happened to me in over a year, but you never know)…
The main line of my defence are my timecode CDs (which I usually bring along at least three to four pairs to any venue) … the first track on each disk is the timecode track, whereas the rest of the disks is filled with recent floorfillers and stuff like that. With the surplus timecode CDs, even with a total loss of computer midgig, I can still play a full gig (granted, it most likely will be rather unsurprising set of hits, but it still will be a full set) – and… the CDs are always ready to serve me as timecode control CDs also (furthermore, I never need to spend time finding a new disk if the laptop dies – I can just skip to the next track and continue playing on the mixer’s “through”-channels).
Extremely simple and effective way to save a day if the shit happens to hit the fan. I do hope it never comes to that, but with the amount of gigs I do monthly, I’d rather be prepared.
Regarding: “Have some backup in your bag if you rely on technology!”
Personally I have a hopefully steady backup plan for situations like “death of a laptop” (hasn’t happened to me in four years, and hopefully never will again) or “software crashing” (which hasn’t happened to me in over a year, but you never know)…
The main line of my defence are my timecode CDs (which I usually bring along at least three to four pairs to any venue) … the first track on each disk is the timecode track, whereas the rest of the disks is filled with recent floorfillers and stuff like that. With the surplus timecode CDs, even with a total loss of computer midgig, I can still play a full gig (granted, it most likely will be rather unsurprising set of hits, but it still will be a full set) – and… the CDs are always ready to serve me as timecode control CDs also (furthermore, I never need to spend time finding a new disk if the laptop dies – I can just skip to the next track and continue playing on the mixer’s “through”-channels).
Extremely simple and effective way to save a day if the shit happens to hit the fan. I do hope it never comes to that, but with the amount of gigs I do monthly, I’d rather be prepared.
Regarding: “Have some backup in your bag if you rely on technology!”
Personally I have a hopefully steady backup plan for situations like “death of a laptop” (hasn’t happened to me in four years, and hopefully never will again) or “software crashing” (which hasn’t happened to me in over a year, but you never know)…
The main line of my defence are my timecode CDs (which I usually bring along at least three to four pairs to any venue) … the first track on each disk is the timecode track, whereas the rest of the disks is filled with recent floorfillers and stuff like that. With the surplus timecode CDs, even with a total loss of computer midgig, I can still play a full gig (granted, it most likely will be rather unsurprising set of hits, but it still will be a full set) – and… the CDs are always ready to serve me as timecode control CDs also (furthermore, I never need to spend time finding a new disk if the laptop dies – I can just skip to the next track and continue playing on the mixer’s “through”-channels).
Extremely simple and effective way to save a day if the shit happens to hit the fan. I do hope it never comes to that, but with the amount of gigs I do monthly, I’d rather be prepared.
Nice article. Remembered me to my first time in a big room. I was standing vis a vis the bass system and wondered why the bass “reached me” approx. half a second later than the rest 😉
But for me the three main points from this article are:
“Use the f*ckin’ earplugs!!!”
“Know your own equipment and some industrial standards, dude!”
“Have some backup in your bag if you rely on technology!”
I’ve saw many upcoming “artists” playing on a lots of parties around but not knowing the simplest things in their soft- and hardware.
just to add on to the sankeys point i agrees it too loud as the real legal limit in uk clubs is 90db and a venue of 750 and it’s layout should reflect this go louder if in bigger venues turn it up by all means in my past career i DJ for ministry of sound in a venue in harrogate (town north of leeds in the uk for the yanks 😉 ) for a venue of the same size the volume was no where as near as loud as sankeys but a hell of a lot clearer and was all a martin audio rig all digitally compressed and limited with bass you could feel and not distort, so loud dosen’t always mean better….
just to add on to the sankeys point i agrees it too loud as the real legal limit in uk clubs is 90db and a venue of 750 and it’s layout should reflect this go louder if in bigger venues turn it up by all means in my past career i DJ for ministry of sound in a venue in harrogate (town north of leeds in the uk for the yanks 😉 ) for a venue of the same size the volume was no where as near as loud as sankeys but a hell of a lot clearer and was all a martin audio rig all digitally compressed and limited with bass you could feel and not distort, so loud dosen’t always mean better….
just to add on to the sankeys point i agrees it too loud as the real legal limit in uk clubs is 90db and a venue of 750 and it’s layout should reflect this go louder if in bigger venues turn it up by all means in my past career i DJ for ministry of sound in a venue in harrogate (town north of leeds in the uk for the yanks 😉 ) for a venue of the same size the volume was no where as near as loud as sankeys but a hell of a lot clearer and was all a martin audio rig all digitally compressed and limited with bass you could feel and not distort, so loud dosen’t always mean better….
just to add on to the sankeys point i agrees it too loud as the real legal limit in uk clubs is 90db and a venue of 750 and it’s layout should reflect this go louder if in bigger venues turn it up by all means in my past career i DJ for ministry of sound in a venue in harrogate (town north of leeds in the uk for the yanks 😉 ) for a venue of the same size the volume was no where as near as loud as sankeys but a hell of a lot clearer and was all a martin audio rig all digitally compressed and limited with bass you could feel and not distort, so loud dosen’t always mean better….
Excellent article, some real good advice here from those who know. Respect.
Excellent article, some real good advice here from those who know. Respect.
Excellent article, some real good advice here from those who know. Respect.
Excellent article, some real good advice here from those who know. Respect.
Like like like…. Sorry but the sound system in sankeys nowadays is turd. It’s just horribly loud and I think it’s the main cause of my tinitus. If the sound engineer is reading this, you really need to take note… You need more quality and less quantity. Your sound system is the reason I won’t even go and see my favourite DJ there now. Your killing kids ears, hope your happy with yourself!
Like like like…. Sorry but the sound system in sankeys nowadays is turd. It’s just horribly loud and I think it’s the main cause of my tinitus. If the sound engineer is reading this, you really need to take note… You need more quality and less quantity. Your sound system is the reason I won’t even go and see my favourite DJ there now. Your killing kids ears, hope your happy with yourself!
Like like like…. Sorry but the sound system in sankeys nowadays is turd. It’s just horribly loud and I think it’s the main cause of my tinitus. If the sound engineer is reading this, you really need to take note… You need more quality and less quantity. Your sound system is the reason I won’t even go and see my favourite DJ there now. Your killing kids ears, hope your happy with yourself!
pha
sound like some 1 needs to learn…
sound like some 1 needs to learn…
sound like some 1 needs to learn…
sound like some 1 needs to learn…
pha
pha
pha
phazone are amazing sound systems!! im not familiar with one at sankeys but ive thoroughly enjoyed the ones in twilo and vinyl… especially the 4way at vinyl was insaane
may well be! I’m not in anyway saying they aren’t. My message is specifically about sankeys. Its a club ive been to many times but will not go back now due to the shear loudness of the place. Loud isnt better! Look at places like amnesia in ibiza, events like sonar… the setups in them places are amaing! Your immersed in sound yet some how you come out without ringing ears, and a sense of actually being out with your mates as you could hold down conversations without shouting, damaging your vocal chords as well as your hearing! 🙂
Amen.
Amen.
Amen.
Amen.
may well be! I’m not in anyway saying they aren’t. My message is specifically about sankeys. Its a club ive been to many times but will not go back now due to the shear loudness of the place. Loud isnt better! Look at places like amnesia in ibiza, events like sonar… the setups in them places are amaing! Your immersed in sound yet some how you come out without ringing ears, and a sense of actually being out with your mates as you could hold down conversations without shouting, damaging your vocal chords as well as your hearing! 🙂
may well be! I’m not in anyway saying they aren’t. My message is specifically about sankeys. Its a club ive been to many times but will not go back now due to the shear loudness of the place. Loud isnt better! Look at places like amnesia in ibiza, events like sonar… the setups in them places are amaing! Your immersed in sound yet some how you come out without ringing ears, and a sense of actually being out with your mates as you could hold down conversations without shouting, damaging your vocal chords as well as your hearing! 🙂
may well be! I’m not in anyway saying they aren’t. My message is specifically about sankeys. Its a club ive been to many times but will not go back now due to the shear loudness of the place. Loud isnt better! Look at places like amnesia in ibiza, events like sonar… the setups in them places are amaing! Your immersed in sound yet some how you come out without ringing ears, and a sense of actually being out with your mates as you could hold down conversations without shouting, damaging your vocal chords as well as your hearing! 🙂
phazone are amazing sound systems!! im not familiar with one at sankeys but ive thoroughly enjoyed the ones in twilo and vinyl… especially the 4way at vinyl was insaane
phazone are amazing sound systems!! im not familiar with one at sankeys but ive thoroughly enjoyed the ones in twilo and vinyl… especially the 4way at vinyl was insaane
phazone are amazing sound systems!! im not familiar with one at sankeys but ive thoroughly enjoyed the ones in twilo and vinyl… especially the 4way at vinyl was insaane
It’s just too easy to blame the sound system and the engineer!…
The system sounds great and I believe the engineer is not that bad…
Putting things in perspective, it’s not hard to realize that badly encoded mp3, too much alcohol/drugs and a complete lack of knowledge and respect for music quality and hi-fidelity leads 99% of DJs to drive their equipment to the extreme of bearable distortions.
Bring in a pair or decks, some good pressed vinyl and DJs that know their job and I’m sure you’ll find the experience a much more enjoyable one.
Like like like…. Sorry but the sound system in sankeys nowadays is turd. It’s just horribly loud and I think it’s the main cause of my tinitus. If the sound engineer is reading this, you really need to take note… You need more quality and less quantity. Your sound system is the reason I won’t even go and see my favourite DJ there now. Your killing kids ears, hope your happy with yourself!
If anyone is looking to build their own system, whether for a club or mobile system, I highly recomend Bill Fitzmaurice’s plans http://www.billfitzmaurice.com/
The man is an audio wizard. His designs can be found in many clubs around the world.
Im currently building four dr250 tops and four tuba 30s. They are not expensive, only around $200 a cab. Just time consuming to build. But the result is a system that sounds better than anything you can buy and costs only a fraction of the price.
The tops max power is only 60 volts, so they require very little power, but produce somewhere around 115db @ 1w. The subs are a horn loaded design and one 12 can produce more low end bass than a 15 or 18 in a conventional style cab.
Ill be using a minidsp to control all my audio processing. http://www.minidsp.com/onlinestore/browse/15-minidsp-in-a-box?sef=hc
You can configure it on the fly with your laptop and have control over all your crossovers, eq’s, delays, and other speaker parameters.
They have a sort of app store where you can purchace different apps (with free future upgrades) for using it in different ways. You can even power it via usb or use it in your car system. It does everything lol.
If anyone is looking to build their own system, whether for a club or mobile system, I highly recomend Bill Fitzmaurice’s plans http://www.billfitzmaurice.com/
The man is an audio wizard. His designs can be found in many clubs around the world.
Im currently building four dr250 tops and four tuba 30s. They are not expensive, only around $200 a cab. Just time consuming to build. But the result is a system that sounds better than anything you can buy and costs only a fraction of the price.
The tops max power is only 60 volts, so they require very little power, but produce somewhere around 115db @ 1w. The subs are a horn loaded design and one 12 can produce more low end bass than a 15 or 18 in a conventional style cab.
Ill be using a minidsp to control all my audio processing. http://www.minidsp.com/onlinestore/browse/15-minidsp-in-a-box?sef=hc
You can configure it on the fly with your laptop and have control over all your crossovers, eq’s, delays, and other speaker parameters.
They have a sort of app store where you can purchace different apps (with free future upgrades) for using it in different ways. You can even power it via usb or use it in your car system. It does everything lol.
If anyone is looking to build their own system, whether for a club or mobile system, I highly recomend Bill Fitzmaurice’s plans http://www.billfitzmaurice.com/
The man is an audio wizard. His designs can be found in many clubs around the world.
Im currently building four dr250 tops and four tuba 30s. They are not expensive, only around $200 a cab. Just time consuming to build. But the result is a system that sounds better than anything you can buy and costs only a fraction of the price.
The tops max power is only 60 volts, so they require very little power, but produce somewhere around 115db @ 1w. The subs are a horn loaded design and one 12 can produce more low end bass than a 15 or 18 in a conventional style cab.
Ill be using a minidsp to control all my audio processing. http://www.minidsp.com/onlinestore/browse/15-minidsp-in-a-box?sef=hc
You can configure it on the fly with your laptop and have control over all your crossovers, eq’s, delays, and other speaker parameters.
They have a sort of app store where you can purchace different apps (with free future upgrades) for using it in different ways. You can even power it via usb or use it in your car system. It does everything lol.
If anyone is looking to build their own system, whether for a club or mobile system, I highly recomend Bill Fitzmaurice’s plans http://www.billfitzmaurice.com/
The man is an audio wizard. His designs can be found in many clubs around the world.
Im currently building four dr250 tops and four tuba 30s. They are not expensive, only around $200 a cab. Just time consuming to build. But the result is a system that sounds better than anything you can buy and costs only a fraction of the price.
The tops max power is only 60 volts, so they require very little power, but produce somewhere around 115db @ 1w. The subs are a horn loaded design and one 12 can produce more low end bass than a 15 or 18 in a conventional style cab.
Ill be using a minidsp to control all my audio processing. http://www.minidsp.com/onlinestore/browse/15-minidsp-in-a-box?sef=hc
You can configure it on the fly with your laptop and have control over all your crossovers, eq’s, delays, and other speaker parameters.
They have a sort of app store where you can purchace different apps (with free future upgrades) for using it in different ways. You can even power it via usb or use it in your car system. It does everything lol.
** A big system will expose poor file quality **
this should be engraved in stone or painted on metal in yellow and black (with a big skull and crossbones below) as so many do still not believe it (“it sounds great on my iPod, so it must sound great anywhere, duh!”) and as so many apps still do not support FLAC. For reasons, I just can’t understand: it’s perfectly lossless, it’s free (even for software or hardware vendors), FLAC is well probed, provides standard metadata and the FLAC codecs is small and very effective.
** A big system will expose poor file quality **
this should be engraved in stone or painted on metal in yellow and black (with a big skull and crossbones below) as so many do still not believe it (“it sounds great on my iPod, so it must sound great anywhere, duh!”) and as so many apps still do not support FLAC. For reasons, I just can’t understand: it’s perfectly lossless, it’s free (even for software or hardware vendors), FLAC is well probed, provides standard metadata and the FLAC codecs is small and very effective.
What about mp3 in vbr mode?
What about mp3 in vbr mode?
Mp3 is VBR is THE WORST quality you can ever have to play in a club. For me, WAV/Lossless is the only way to go. If it’s 320kbps, please make sure it is REAL 320kbps (I know people still ‘download’ their music from blogs that re-encode stuff). Anything else is pretty useless and shameful.
how do you KNOW if it is real 320kbps if im not the one who actually encoded it?
how do you KNOW if it is real 320kbps if im not the one who actually encoded it?
how do you KNOW if it is real 320kbps if im not the one who actually encoded it?
how do you KNOW if it is real 320kbps if im not the one who actually encoded it?
use spectrum analyzer and look in high frequency range
use spectrum analyzer and look in high frequency range
use spectrum analyzer and look in high frequency range
use spectrum analyzer and look in high frequency range
Mp3 is VBR is THE WORST quality you can ever have to play in a club. For me, WAV/Lossless is the only way to go. If it’s 320kbps, please make sure it is REAL 320kbps (I know people still ‘download’ their music from blogs that re-encode stuff). Anything else is pretty useless and shameful.
Mp3 is VBR is THE WORST quality you can ever have to play in a club. For me, WAV/Lossless is the only way to go. If it’s 320kbps, please make sure it is REAL 320kbps (I know people still ‘download’ their music from blogs that re-encode stuff). Anything else is pretty useless and shameful.
Mp3 is VBR is THE WORST quality you can ever have to play in a club. For me, WAV/Lossless is the only way to go. If it’s 320kbps, please make sure it is REAL 320kbps (I know people still ‘download’ their music from blogs that re-encode stuff). Anything else is pretty useless and shameful.
What about mp3 in vbr mode?
What about mp3 in vbr mode?
Thank you sir, you said it all.
** A big system will expose poor file quality **
this should be engraved in stone or painted on metal in yellow and black (with a big skull and crossbones below) as so many do still not believe it (“it sounds great on my iPod, so it must sound great anywhere, duh!”) and as so many apps still do not support FLAC. For reasons, I just can’t understand: it’s perfectly lossless, it’s free (even for software or hardware vendors), FLAC is well probed, provides standard metadata and the FLAC codecs is small and very effective.
** A big system will expose poor file quality **
this should be engraved in stone or painted on metal in yellow and black (with a big skull and crossbones below) as so many do still not believe it (“it sounds great on my iPod, so it must sound great anywhere, duh!”) and as so many apps still do not support FLAC. For reasons, I just can’t understand: it’s perfectly lossless, it’s free (even for software or hardware vendors), FLAC is well probed, provides standard metadata and the FLAC codecs is small and very effective.
I agree Sankeys won because of it’s fanbase and it used to be a much better club than it is now, it has started looking at the money more but they have to in the end!
Been there a few times now and it has been incredible everytime. Not too loud at all so I don’t think 120dB is the norm.
I agree Sankeys won because of it’s fanbase and it used to be a much better club than it is now, it has started looking at the money more but they have to in the end!
Been there a few times now and it has been incredible everytime. Not too loud at all so I don’t think 120dB is the norm.
I agree Sankeys won because of it’s fanbase and it used to be a much better club than it is now, it has started looking at the money more but they have to in the end!
Been there a few times now and it has been incredible everytime. Not too loud at all so I don’t think 120dB is the norm.
As soon as it went ‘world number 1’ people started going who r not into the scene n just do not have a clue, no atmosphere now which was what made it so good. The owners treat resident dj’s like shit and ruined the chill out area downstairs with a ‘vip’ (as if you go to a sweat box basement to sit in vip) section
As soon as it went ‘world number 1’ people started going who r not into the scene n just do not have a clue, no atmosphere now which was what made it so good. The owners treat resident dj’s like shit and ruined the chill out area downstairs with a ‘vip’ (as if you go to a sweat box basement to sit in vip) section
As soon as it went ‘world number 1’ people started going who r not into the scene n just do not have a clue, no atmosphere now which was what made it so good. The owners treat resident dj’s like shit and ruined the chill out area downstairs with a ‘vip’ (as if you go to a sweat box basement to sit in vip) section
As soon as it went ‘world number 1’ people started going who r not into the scene n just do not have a clue, no atmosphere now which was what made it so good. The owners treat resident dj’s like shit and ruined the chill out area downstairs with a ‘vip’ (as if you go to a sweat box basement to sit in vip) section
I agree Sankeys won because of it’s fanbase and it used to be a much better club than it is now, it has started looking at the money more but they have to in the end!
Been there a few times now and it has been incredible everytime. Not too loud at all so I don’t think 120dB is the norm.
Make sure you computer doesn’t freeezeee always have a cd ready … 😉
Make sure you computer doesn’t freeezeee always have a cd ready … 😉
Make sure you computer doesn’t freeezeee always have a cd ready … 😉
Make sure you computer doesn’t freeezeee always have a cd ready … 😉
That happened to me a few weeks ago, mid-set. Fortunately I had some CDs. Since then I have not brought my laptop to gigs. I’m back to CDs (in the meantime), as I am now a little gunshy of computers in live situations.
That happened to me a few weeks ago, mid-set. Fortunately I had some CDs. Since then I have not brought my laptop to gigs. I’m back to CDs (in the meantime), as I am now a little gunshy of computers in live situations.
That happened to me a few weeks ago, mid-set. Fortunately I had some CDs. Since then I have not brought my laptop to gigs. I’m back to CDs (in the meantime), as I am now a little gunshy of computers in live situations.
That happened to me a few weeks ago, mid-set. Fortunately I had some CDs. Since then I have not brought my laptop to gigs. I’m back to CDs (in the meantime), as I am now a little gunshy of computers in live situations.
Nice article, although I tend to agree with Gabor a bit:
– DJ Mag is not that international
– 120 db is very loud
Nice article, although I tend to agree with Gabor a bit:
– DJ Mag is not that international
– 120 db is very loud
Nice article, although I tend to agree with Gabor a bit:
– DJ Mag is not that international
– 120 db is very loud
Nice article, although I tend to agree with Gabor a bit:
– DJ Mag is not that international
– 120 db is very loud
Great article! Sankeys is only down the road from me 😀
Great article! Sankeys is only down the road from me 😀
Great article! Sankeys is only down the road from me 😀
Great article! Sankeys is only down the road from me 😀
Okay, let the rant begin. Let me start with a disclaimer: this is my personal opinion, not my company’s or business partner’s or else.
120 db in the club is simply stupid, no matter if it’s the “number one club in the world” (LOL, did they ask every clobber around the world? Because DJ Mag is _not_ international, just “UK and some western world”, and because it’s based on voting, the club with the best Facebook potential in the UK always wins).
You put 120 db in the club, so the DJ and most of the crowd have to use earplugs.
And with 120 db, no matter how clear and distortion-free the system is, the human ear will pick up only noise, it’s a biological fact, so you simply KILL THE MUSIC.
From this point it doesn’t matter what kind of genre the DJ plays, everything will sound “electro”, or more like a special “club-bass genre”.
So the DJs must compensate and play according to these LIMITATIONS, they can’t properly play their own style.
Believe it or not, it is possible to design a sound system, which:
– comes close to the details of your home stereo
– punches your body
– but not kills the crowd’s ears
I was several times in London in many clubs, but i never heard any proper sound system, just some “okay”. They often buys overpriced systems, then use it like this stupid rock-concert mode. Of course there are properly made clubs all over Europe, but i suggest to visit some famous ones in Central and Eastern Europe for better overall quality. You can find much better designs in both visual appearance, furniture and sound systems in Romania, Russia, Hungary or similar. Of course these clubs doesn’t have the required marketing power and social media hype to became world-wide known, but sooner or later…
So, 120 db in the club is stupid. The key is in the hands of the sound engineer.
Okay, let the rant begin. Let me start with a disclaimer: this is my personal opinion, not my company’s or business partner’s or else.
120 db in the club is simply stupid, no matter if it’s the “number one club in the world” (LOL, did they ask every clobber around the world? Because DJ Mag is _not_ international, just “UK and some western world”, and because it’s based on voting, the club with the best Facebook potential in the UK always wins).
You put 120 db in the club, so the DJ and most of the crowd have to use earplugs.
And with 120 db, no matter how clear and distortion-free the system is, the human ear will pick up only noise, it’s a biological fact, so you simply KILL THE MUSIC.
From this point it doesn’t matter what kind of genre the DJ plays, everything will sound “electro”, or more like a special “club-bass genre”.
So the DJs must compensate and play according to these LIMITATIONS, they can’t properly play their own style.
Believe it or not, it is possible to design a sound system, which:
– comes close to the details of your home stereo
– punches your body
– but not kills the crowd’s ears
I was several times in London in many clubs, but i never heard any proper sound system, just some “okay”. They often buys overpriced systems, then use it like this stupid rock-concert mode. Of course there are properly made clubs all over Europe, but i suggest to visit some famous ones in Central and Eastern Europe for better overall quality. You can find much better designs in both visual appearance, furniture and sound systems in Romania, Russia, Hungary or similar. Of course these clubs doesn’t have the required marketing power and social media hype to became world-wide known, but sooner or later…
So, 120 db in the club is stupid. The key is in the hands of the sound engineer.
It reaches!!!!! 120db which doesn’t necessarily mean it is ran at 120db for 10 hours. Did you have to turn that into a book?
It reaches!!!!! 120db which doesn’t necessarily mean it is ran at 120db for 10 hours. Did you have to turn that into a book?
It reaches!!!!! 120db which doesn’t necessarily mean it is ran at 120db for 10 hours. Did you have to turn that into a book?
Modern tunes are having around -10 db average loudness. So if it reaches 120, then it runs around 110 average. That is tooooooo much.
Cant you just amplify the tune to make it 120 regardless of what it was mastered at?
When the amount of dynamic range compression applied with almost little fluctuation in RMS, it’s possible. That would be one hell of a treetrunk.
Cant you just amplify the tune to make it 120 regardless of what it was mastered at?
Cant you just amplify the tune to make it 120 regardless of what it was mastered at?
Cant you just amplify the tune to make it 120 regardless of what it was mastered at?
Modern tunes are having around -10 db average loudness. So if it reaches 120, then it runs around 110 average. That is tooooooo much.
Modern tunes are having around -10 db average loudness. So if it reaches 120, then it runs around 110 average. That is tooooooo much.
Modern tunes are having around -10 db average loudness. So if it reaches 120, then it runs around 110 average. That is tooooooo much.
It reaches!!!!! 120db which doesn’t necessarily mean it is ran at 120db for 10 hours. Did you have to turn that into a book?
Sankeys never reaches anything like uncomfortable volume. Amazing how different certain tunes sound on those systems, OD Muzique used to play Yousef – Come Home and it was like a different tune compared to a normal system
It definitely does!
It definitely does!
It definitely does!
It definitely does!
Sankeys never reaches anything like uncomfortable volume. Amazing how different certain tunes sound on those systems, OD Muzique used to play Yousef – Come Home and it was like a different tune compared to a normal system
Sankeys never reaches anything like uncomfortable volume. Amazing how different certain tunes sound on those systems, OD Muzique used to play Yousef – Come Home and it was like a different tune compared to a normal system
Like like like…. Sorry but the sound system in sankeys nowadays is turd. It’s just horribly loud and I think it’s the main cause of my tinitus. If the sound engineer is reading this, you really need to take note… You need more quality and less quantity. Your sound system is the reason I won’t even go and see my favourite DJ there now. Your killing kids ears, hope your happy with yourself!
Like like like…. Sorry but the sound system in sankeys nowadays is turd. It’s just horribly loud and I think it’s the main cause of my tinitus. If the sound engineer is reading this, you really need to take note… You need more quality and less quantity. Your sound system is the reason I won’t even go and see my favourite DJ there now. Your killing kids ears, hope your happy with yourself!
Like like like…. Sorry but the sound system in sankeys nowadays is turd. It’s just horribly loud and I think it’s the main cause of my tinitus. If the sound engineer is reading this, you really need to take note… You need more quality and less quantity. Your sound system is the reason I won’t even go and see my favourite DJ there now. Your killing kids ears, hope your happy with yourself!
Amen. 120db is much much too loud: it’s probable hearing damage for anyone not wearing protection.
Bring it down 10-15db FFS.
Amen. 120db is much much too loud: it’s probable hearing damage for anyone not wearing protection.
Bring it down 10-15db FFS.
Amen. 120db is much much too loud: it’s probable hearing damage for anyone not wearing protection.
Bring it down 10-15db FFS.
Amen. 120db is much much too loud: it’s probable hearing damage for anyone not wearing protection.
Bring it down 10-15db FFS.
Couple of points discredit your argument here, Gabo.
Firstly DJmag have translated versions everywhere from Spain, Germany, Italy to Brazil, Mexico, Poland, Russia, Ukraine, China, South Korea and Canada so it is more global than any other dance mag. Furthermore the clubs vote is based online, and picks up votes from pretty much every country on the planet (I know as I worked on the poll).Also the systems in Fabric and Ministry of Sound are widely considered to be among the best in the world, so I’m not sure what London clubs you have been too, which have only ‘okay’ sound. But I would suggest that they are not the right ones.
What clubs would you recommend in Hungary?
Okay, let the rant begin. Let me start with a disclaimer: this is my personal opinion, not my company’s or business partner’s or else.
120 db in the club is simply stupid, no matter if it’s the “number one club in the world” (LOL, did they ask every clobber around the world? Because DJ Mag is _not_ international, just “UK and some western world”, and because it’s based on voting, the club with the best Facebook potential in the UK always wins).
You put 120 db in the club, so the DJ and most of the crowd have to use earplugs.
And with 120 db, no matter how clear and distortion-free the system is, the human ear will pick up only noise, it’s a biological fact, so you simply KILL THE MUSIC.
From this point it doesn’t matter what kind of genre the DJ plays, everything will sound “electro”, or more like a special “club-bass genre”.
So the DJs must compensate and play according to these LIMITATIONS, they can’t properly play their own style.
Believe it or not, it is possible to design a sound system, which:
– comes close to the details of your home stereo
– punches your body
– but not kills the crowd’s ears
I was several times in London in many clubs, but i never heard any proper sound system, just some “okay”. They often buys overpriced systems, then use it like this stupid rock-concert mode. Of course there are properly made clubs all over Europe, but i suggest to visit some famous ones in Central and Eastern Europe for better overall quality. You can find much better designs in both visual appearance, furniture and sound systems in Romania, Russia, Hungary or similar. Of course these clubs doesn’t have the required marketing power and social media hype to became world-wide known, but sooner or later…
So, 120 db in the club is stupid. The key is in the hands of the sound engineer.
Okay, let the rant begin. Let me start with a disclaimer: this is my personal opinion, not my company’s or business partner’s or else.
120 db in the club is simply stupid, no matter if it’s the “number one club in the world” (LOL, did they ask every clobber around the world? Because DJ Mag is _not_ international, just “UK and some western world”, and because it’s based on voting, the club with the best Facebook potential in the UK always wins).
You put 120 db in the club, so the DJ and most of the crowd have to use earplugs.
And with 120 db, no matter how clear and distortion-free the system is, the human ear will pick up only noise, it’s a biological fact, so you simply KILL THE MUSIC.
From this point it doesn’t matter what kind of genre the DJ plays, everything will sound “electro”, or more like a special “club-bass genre”.
So the DJs must compensate and play according to these LIMITATIONS, they can’t properly play their own style.
Believe it or not, it is possible to design a sound system, which:
– comes close to the details of your home stereo
– punches your body
– but not kills the crowd’s ears
I was several times in London in many clubs, but i never heard any proper sound system, just some “okay”. They often buys overpriced systems, then use it like this stupid rock-concert mode. Of course there are properly made clubs all over Europe, but i suggest to visit some famous ones in Central and Eastern Europe for better overall quality. You can find much better designs in both visual appearance, furniture and sound systems in Romania, Russia, Hungary or similar. Of course these clubs doesn’t have the required marketing power and social media hype to became world-wide known, but sooner or later…
So, 120 db in the club is stupid. The key is in the hands of the sound engineer.
Great article at a perfect time for me! First big gig is coming in the next couple of months, this definitely helps my confidence in knowing what to expect in that sort of environment…as always, thanks DJTT
Great article at a perfect time for me! First big gig is coming in the next couple of months, this definitely helps my confidence in knowing what to expect in that sort of environment…as always, thanks DJTT
Great article at a perfect time for me! First big gig is coming in the next couple of months, this definitely helps my confidence in knowing what to expect in that sort of environment…as always, thanks DJTT
Great article at a perfect time for me! First big gig is coming in the next couple of months, this definitely helps my confidence in knowing what to expect in that sort of environment…as always, thanks DJTT
I will never forget the first time on a big system 🙂 it does take your breath away and the adrenalin rush takes some getting over…
I will never forget the first time on a big system 🙂 it does take your breath away and the adrenalin rush takes some getting over…
I will never forget the first time on a big system 🙂 it does take your breath away and the adrenalin rush takes some getting over…
I will never forget the first time on a big system 🙂 it does take your breath away and the adrenalin rush takes some getting over…