Re: Music Mixers For Mac
Katja Gains
In Windows my dad used to have a program called MP3 Tunes. I have tried running it with Wine, and it worked. But strange things kept happening to the program, so it's not a reliable way to play music.
I'm not sure where to look if you want an application that has only those features, but there are a couple of very robust audio mixing solutions for Linux, closer in functionality to Garageband for OSX.
Last week in a live show I had some guest singers join me on stage for additional harmony and I had maxed out my mic channels and could not add another microphone. I love my powered mixer and don't really want to replace it and most of the time it provides all the channels I need. But occasionally, I might run out of channels. I have a Y connector XLR cable that will allow me to plug two microphones into a single input, but then the volume and EQ cannot be adjusted independently.
I have a Mackie 808S powered mixer Mackie 808S running passive speakers with a non powered monitor output to which I connect a series of powered monitors as floor wedges. It has 8 channels with an XLR input and a line input on each channel. Two of the channels (7 and 8) have a left/right stereo input for keyboards or other stereo line level inputs.
I am wondering if I can use a non powered mixer such as the Behringer Xenyx Small Format Mixer (or any similar mixer) as a sub-mixer by connecting it to my powered mixer. I am just using this mixer as an example and not asking for opinions on the quality of that particular mixer.
My theory is that I could use 1/4 inch cables to connect the stereo main outputs from the non-powered mixer (or the control room out) into one of the two stereo inputs on my powered mixer. Then I am thinking I can plug additional microphones, guitars, pianos, electronic drums, etc. into the non powered mixer, and send the mixed signal from that mixer into channel 7 or 8 of my powered mixer which would then send the signal to the passive speakers.
In an ideal world, I would be able to apply effects from the non-powered mixer to the devices and instruments plugged into it, and turn the effects to zero on the powered mixer and thereby use a different effects set on the instruments and/or microphones plugged into the non powered mixer.
EDIT: Could I send the main signal out through the "tape out" RCA jacks of the sub mixer into the tape input (RCA) of the powered mixer and send the monitor output from the sub mixer into channel 7 or 8 on the main mixer to preserve the ability to control the monitor feed from the sub mixer?
You can definitely do something like that. One potential problem is not having independent monitor level controls for every channel in the additional mixer (let's call it mixer 2). If that matters to you, you can run monitor outputs through a simple two-channel passive mixer (mixer 3), for example.
Definitely do not use speaker wire. I would actually suggest using the tape input of your main Mackie powered mixer and connecting it to the tape output of the additional mixer, if it has one, or to its main output through RCA/TRS adapters, in which case you would need to keep in mind the difference in levels (the normal level for tape input will be about -12dB at the output of mixer 2, again, only if you connect line out to tape in of mixer 1).
Entirely feasible. In my studio, there's a small mixer for all the keyboards, which is fed in stereo to two channels of the main mixer. Or could go to a single stereo channel. That way, I save 8 channels and substitute them for one, or two, on the main. There are many smallish mixers, stereo, which have monitor mix facilities as well as eq. Often there are phonos too, for a CD, etc. And if one is desperate, there's usually a 'phones socket which could even take another signal out to another mixer. It just goes on and on...
In a big band, having a separate little mixer for the horns, another for vox, and yet another for rhythm section was a cheap and cheerful way to have separate mixes, easily adjustable, with different monitor mixes available, without having a huge mixer for everything. Hard-wired, they did a sterling job.
Here's what I have done with more than two mixers and I suggest trying this. Assuming your mixers (like most of them) both have Tape In and Tape Out RCA inputs, just run RCA from Tape Out of one mixers into Tape In of the other.
The Tape In should have its own fader/control pot. This will let you keep all of the channels in each mixer free. You should be able to daisy chain many mixers together this way if you need to.
Connecting two or more outputs of mixers can work but sometimes their outputs are not at the same level... You need to connect a separate piece of equipment, that has a analog or digital meters on them, to each mixer output one at a time and see which mixer has the lowest output - using a standard 1000 hertz tone for each mixer... And using a stereo variable resistor at the output of each mixer, attenuate the loudest mixer the most and set them all to have the same level output or your mixing levels could start to become confusing - i.e. - a singer on a mic on mixer 1 might sound louder or lower than the same type singer on another mic from a different mixer even after setting each mic level the same... good luck... BOB
Connect the main output of your sub-mix to Mix-Insert or 2-track inputs of main mix, not to stereo channel inputs! Use separate stage monitor or instruments amp for sub-mix instruments. This is the best wiring, all other is a compromise.
I have to make a player that can play two songs simultaneously.The problem is that the only module that I could find that supports every sound manipulation method that I need to use is Pygame.mixer.music. Unfortunately it only supports a single music stream at once.
My question is does anybody know a Python3 module that can play 2 songs at once and has the following possibilities: pause, stop, seek through the song, change volume and change speed of the song.Or does anybody know how to do this with the Pygame module.
Sometimes it's necessary to unmount the SD card I'm playing from.Since pygame still keeps the last played file open after pygame.mixer.stop() and pygame.mixer.quit()commands, it was not possible to unmount the card.
My issue is with this solution that python always hangs during the playback of the first music. There are no any exceptions or error messages, the playback just stops and the program doesn't respond any user input, even the Ctrl+C doesn't work to quit the execution from shell.
This hanging always happens at a random time, somewhere between 1 and 40 seconds after the playing has started.If I open the file directly with the pygame.mixer.music.load(myfile) command, not using the open/close solution, I never have any hanging, the program plays properly even for several hours long.
Before unmounting it, I open a dummy mp3 file not from the SD card, but from the local filesystem using the pygame.mixer.music.load() command. I do not start playing this dummy file, just open it.After that there is no any issue, the SD card seems to be properly released by pygame and I'm able to unmount it.
Canadian-born A-Trak has been a known commodity in the music and DJ industry since he won the 1997 DMC World championship at 15 years of age. Known as much for his prolific music production career as his DJ prowess, A-Trak has remained a staple in the DJ and electronic music scene for over two decades.
DJ Soo: As far as I know, Rane DJ has only worked with two DJs before to create a branded special edition. Grandmaster Flash had a special edition of the Rane Empath. Z-Trip, of course, had his own version of the Sixty-Two.
A-Trak: The scope of what I customize on the mixer is the design, materials, and cosmetic stuff. The sound curve was modified a little bit to my specs. Features like the fader effects were also something I suggested and tested in detail.
While I think that the standard Seventy sounds really great, I wanted to get even more of a nuanced response on the depth of the low ends. I played a couple of tracks with very detailed low-end and subs and jotted down notes on which tracks I felt maybe warrant giving me the depth of the nuance that I wanted.
For a long time, a lot of the innovation in DJ equipment was happening in the CDJ or house and techno side of things. It was interesting for me in those years, largely because it coincided with a point in time where I started playing electronic music myself.
In the mid-2000s, I started mixing electronic music into my sets, combining that with hip-hop and just experimenting. I started getting booked in events where house and techno DJs were playing electro and all the sub-genres that existed in those spaces. I saw DJs in those genres have access to equipment that was much more futuristic and forward [thinking] than the traditional style of hip-hop DJing with two turntables and a two-channel mixer.
The hip-hop and turntable setup stayed the same for a long time. But in the last five or so years, these new two-channel mixers became more up-to-date technologically. They had pads for cue points on software, key lock, pitch shift, or more effects that became available on both hardware and software. It felt like there was this burst of creativity that was waiting to happen.
Something about the last few years put both my brother and me in places in our respective careers where we felt like we could have a little bit of stillness to reflect on previous years and think about what a new project could sound like. In our own process as producers, we got to the point where we had something that we could each contribute to a record, as opposed to something that he might be doing with Chromeo or something that I was doing as A-Trak.
We realized that it would be fun to explore this because that was an era when we were first going to record shops. We needed to find the identity of Brothers Macklovitch and for it to be different from A-Trak, Duck Sauce, or Chromeo.
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