Creative Ways to Use Sync
The last piece that I really want to cover in this particular module is here's what I referred to earlier as like oftentimes the elephant in the room and matt I don't know how you ah like some of the response that you get sometimes and I know that there's a lot of guys that are out there um that you know look at sink as the way of cheating or that like that sink is the er you know, the devil of the deejay world and I think you know for anybody who's bought gear recently who's using software you know, sink is definitely a part of that world now and you know that's something that exists and we should we should address it and we should talk about it and we should talk about you know how you can you sink and how to be creative with think and to sort of guess like find ways to utilize in your said if you find use for it so what is your take on it, man? Well, I think you really, really touching in the right way it is obviously a way to make d jane easier and it is it's a progression and d ja...
ne a lot of people I thought that you know he's in a computer to deejay with was just the devil's work you knows thie end of d jane as we would say as you can see that's just the way it is these days and and I think maybe one of those things that may not be but it's there and it's also something that you don't have to use this note that no one's holding a gun to your heads and you know you have to use it is not from the tear it off completely so if you don't want it if you know what it is that you don't have to but if you do want to use that you do want to explore some ways to use it there is it really opens up a lot of possibilities that otherwise you really can't do you know previously were limited with the turntable with the range of plus and minus eight and ah you know now we have seen in jay's that have you know plus minus fifty range if you want to do a transition from you know one hundred up to one hundred twenty or one hundred twenty down to one hundred or any kind of transition you can think of you can now do that with you know with the same technology to allow you to change john rizzo change temples to get to a place that you would otherwise would have been out to do with just two turntables and records right so yeah I think we can talk about those sorts of things yeah for sure so I wantto let's look at the you know, as matt said, you can choose to use sinker, choose not to you sink and that that is completely up to you. I think what we want to talk about those, like, some, some creative ways. Do you think some ways, teo, the fact that there's a difference in and you know how you can you think and how to set it up? Sort of properly. So one of the biggest things I think when it comes to sink, um and, well, one of the biggest things when it comes to sink is that, like, you have to recognize that there's two things that are happening, that one is based on tempo, so song sinking to the same tempo. And then also like whether or not you actually have the tempo sink, like, if you had a song that was one hundred beats per minute, naturally, like that was the actual bpm of the of the record, yet another song that was one hundred twenty eight that obviously, like, if you slow down that one twenty eight to be one hundred beats per minute, did that might not sound correct. And so if you were to sink, though, what would end up happen? News like let's say you were using the hundred as your master and the one twenty eight he's going to line up and sink to the master so what's going to happen then is that it's going to kick that one twenty down to one hundred and then the line up um and they'll they'll be in the same tempo but that also doesn't necessarily mean that it will be in the right position in and the right phrasing of the song so it's important to also recognize that like just because something is sink does not mean that it's like complete autopilot and that like you now aren't d jane um there's a lot that you're that still has got to go into that and in fact even like sort of the the artistry of it all and like you know musically do these things make sense together even if the tempo is the same it's the same as it would be without sink that even if the tempo is the same ah does it make sense? Are you mixing out at the right point of this song at sort of the height of this song like you know, do these songs sound good together? Are they in the same you know are they in keys that a complementary or the same t on finding, you know mohr there's more sort of layers on top of it other than simply just like matching two temples together so I want to do is ah that's going to set up really fast? Um and there is a deejay preferences there's saying preferences so that talked about this I can turn sink off and now I'm not using sync at all like there is no option for me to even sink uh what there are buttons here above the dial normally that air this sink and the master ah and those air gone so in this way like I am choosing to not even address it if I want to enable think I've got to go back in turn simple sink on and that will pop up uh here so snap to be grid maintain sink on track load ok, I'll keep both of those checked sounds good to me um and now you'll see sink the sync button right here okay, so um let's let's just kind of like play a few tracks and like start to play with this a bit so many use your green dollar bills instrumental here that ninety four beats per minute I'm gonna take this other track let's take a track that's also yours it over them and that's that's match these together so without saying gone you'll see that the green dollar bills is ninety for the other one is a hundred clearly they're not matched up I'm turned sink on and actually I couldn't do that on the c t j also causes an hiv mode second turn thing gone it automatically snapped to ninety forty what way sound exactly right I think again it a lock in now their instinct they're both they're both working in tons and that was saying what I could do is I can actually adjust, adjust them together that's where my temples that right, I could use this is a way of, like, transitioning between songs like I absolutely need to make sure that not only, like, when I'm sinking things together am I like is the temple, right, but making sure that, like the songs sound good together and and as you're moving through this and trying to figure out how and if and when you would you sink like it's important to recognize which one is like the master and which one is not. So matt, are you there? So when you're when you're hitting sink it's important for people to understand that when they hit sink that it will match to the other deck that is playing correct, correct, yeah, so you if you if you want to sink us on, make sure your presents sync on the song that you want to stick to correct, correct so the if I press sink on like let's, reverse it, and if I were playing this song and if if I want to get back to the to the regular piece of this, I need to turn sink off then allowed to get back to the regular tempo so if I'm if I'm doing it this way and now you'll notice that this song all reverse this let's play it and then I hit I think it will do it best to try and catch it at the closest transit did a pretty good job of doing that's what I want to transition this down so what I could do is I can move the tempo, my master back at that original ninety for temple of what this one was that so this is what I think that was talking about in terms of, like, being able to use this to transition temple and we can actually get even more extreme by taking two tracks that are at completely different temples, like, if I were to take, um, I'll take that one hundred and we can actually do is that one hundred and this like one, twenty eight? And now a big part of this, though, is we need to make sure that the grid is set. So in another one of these modules, we talk more in depth about ah, beat grid and going in and actually setting the beak rid, and that is super important for like when you're using sync because that is the foundation of how all of this is working is really off of that secret on dh you need to make sure that you spend time making sure that that grid is correct because if it's not, then your sink is not going to line up correctly so great is is absolutely key to that. So I've got now, um, I loaded up this one twenty eight on the side and because this one was our master that was playing this is now locked into that ninety nine, so you'll see as I play these one twenty eight that sink, all right, so we can actually transition between tracks by using sync to actually do that like I just made it a transition from one hundred two one twenty eight using that that technology to be able to do that, which is pretty cool, allows me then open up like the genres that I'm playing a bit, maybe or, you know, I mean there's a ton of different ways to transition tempo sink is is one way of maybe doing that and utilizing this feature to do that could be a pretty seamless way of doing it, but there are so many other ways of doing that as well. So it's all about kind of, I think like having particular tools and knowing what they are and then figuring out how you want to use them, um, not anything you want to add on this on this sink side of things yeah sure so we talked a bit about be grids and big rigs yet you're right one hundred percent that's the best way to get the most out of sync and a lot of features in surround a deejay a ll that information is really exactly correct so sitting loops and all that's going to snap to those big rigs if you don't use snapped a secret on which a cz you saw on the set up menu you could just turn off that'll that'll take away your secrets and you want to see those and when using think as you're saying when you press think instead of snapping to those grids and being really correct is just going to match the tempos so uh you still have to d j so it's not think isn't really taken away the deejay inside of it you still have to know how to mix two songs when they drop them just like you did and uh and when to take them out and so forth it just lets you jump to a temple correctly and very swiftly the other thing you really want to be careful about with sink is that using a range if you using devious you don't have many information coming in from a turntable that that's an analog pitch fader so if you need toe reset a picture or something like that you won't really got to do it you have to turn sink off and then mix in a record and then reset your your pitch according to the analog pitch that if using a controller ah you can priss shift and then you can move the pit trader on the d j s x or whatever control using and that will disable the pitch failures so you can move that wherever you want um so if you were if you started a sink in the already maxed out at plus eight you compress shift that disables the pitch later and then you can move that pit trader right back to zero we're even further down to minus eight and then you've got the full range again so getting familiar with with that as he's as you saw once you've enabled that think that both pit traders are locked together and moving one pit trader will adjust both so it's very important to know how to get in and out of that right? Right. So exactly so when I actually did this I was moving the pitch fader on are the tempo fate or on the c d j and I was doing it on this deck and it was changing both of them because they were locked in because they were using sync so now as this is playing, I mean, I've now moved the pitch freighter and I made the I made it wide so that it could could go farther, so I changed that by this right here which changes the range of it and that way I had an actual knob to control like the the how fast it was accelerating or whatnot but now as it's playing here, I can take sink off and if I don't, I need to make sure I'm conscious of with that that I take sink off if I take sink off its now playing at this where this tempo is that so I need to make sure that I know where I'm at in this and then reset this accordingly so in this case hitting reset will get us back to zero so it's very like this is something that like even though it seems like it's an easier way there's also some complications that come with that and that sort of comes with the territory is you just need to make sure that you're aware of all of these things if you already utilize think like how to you know how to do that. The other piece of this is like, you know, there's also something to be really said about, like the art of manual beat matching and really learning that process there's plenty of times in which you will not have sink let's say and if you don't have sink enabled, does that mean that you are able to mixed two songs together so you know that really is a real core a fundamental piece of being a professional deejay or d j in general is thie ability toe beat match and to match two songs together seamless and if your only way to do that is by hitting the sync button then you know there's a lot more to d jane and a lot more to discover and a lot more that's there that then you're not um you haven't mastered which you know um you know it's it's up to everybody how they choose to do it but to me that's a big part of it and knowing how to manual beat match as well will only enhance your mixing and so for somebody that let's say it has manual beat matching down and you want to utilize sink as a way of either transitioning temple as we did or as a way of just sort of like locking something into then do something more creative on top of it whether it be effects or something you want to do with let's say flip inside of inside of here or with any other piece of this like you want to add in a third deck or fourth deck or something like that and get even more creative with your performance like sync would probably be a good way to do that just so that everything is talking to one another and then you're able to like really utilize your creativity instead of worrying about something really falling apart so that really is that's that's sort of this module tied up here we covered everything from you know, the analog turntable and using that into a controller using the dvs expansion to then h I d mode on the cd jay's here and then getting into sync and and how to use sink in some creative ways and all of this stuff should hopefully give you a lot more foundation have you feel a little bit more comfortable with the new features inside of surat o d j and like I said before, this is one of several pieces that we've done here at creative live on cerrado deejay specifically make sure to check out the other ones a cz well, there's a lot of great information in those also so on behalf of myself here in seattle um creative live and matt perry from new zealand that I want to thank you over for being here man for this session thank you for having me. Yeah, man, I think I think that's a lot of thing. We gave you guys a lot of stuff to like really? Chew on and find find your set up, find what works and by all means you don't have to stick to one one set up either I mean like it's good to know how each of these works and what the differences are between those and and you never know what you'll have. When you turn up to a gig, you might end up like thinking that you'll have turntables and dvs. And now you're in front of c djs and it's, like I will. No problem. I can still use throughout the d, j just the same and, you know, be able to go. So, um, hopefully, that was helpful for all of you out there, and we'll see you on the next one. Did you happen? We're out of here.