So the music signal from a turntable needs to go through an extra stage of amplification before it can be connected to the same inputs on your receiver (or powered speakers) as for example a CD player or a DVD player.įor this extra stage of amplification, we’ll need a phono preamp. The music signal from a turntable is super weak compared to a music signal coming from a CD player, DVD player, iPhone, etc. The first one address the problem where there is almost no sound at all coming from your turntable.
Vibe sound usb turntable plays too slow how to#
(PS! I also have an article on how to get more bass from your turntable were you will discover 8 ways to increase the bass from your turntable and stereo.)īut now, let’s go through each of the 5 ways to make your turntable louder in detail. Consider speakers with higher sensitivity Consider a more powerful receiver/amplifierĥ. Change the phono preamp to one with higher gainĤ. Change the cartridge to one with a higher output levelģ. Here are the 5 ways to make your turntable louder:Ģ. So, how can you make your turntable louder? We’ll look at several ways to fix that problem as well. The other flavor of problems is when the sound level from the turntable is decent, but not loud enough compared to other sources. This article will give you everything you need to know to fix that problem. The first flavor is when there is almost no sound coming from the speakers at all when using the turntable. And sometimes, way too low.Īnd we’ll address both of them in this article. A common problem many of us run into when setting up a stereo to play vinyl records is that the sound from the turntable is too low. Pulse(k, i) happen at time t = phase(k) + i. Given a seed of rhythm of lengh length composed of pulses, each of duration m, then: for each instance k of the seed, each pulse i, Principle: one seed, many transformed instances The maths to remote control a synthesizer or a drum machine or any MIDI setup, to generate actual sounds. The controls for the human player (or programmer) are therefore all about adjusting the deformations (transforms actually) to apply to each instance, and of course defining the seed.Įventually each instance is wired to a MIDI note, channel etc. The approach is to generate a “seed” of rhythm that is then copied a few times into “instances”, each instance being distorted in its own way. This is work in progress, and is shown ‘as is’ for the sake of getting feedback. This is not ‘yet another step sequencer’, but really a generative music device, that builds a real time MIDI loop based on an underlying theory described in a previous post. The idea is to generate rhythms, and perhaps melodies, from one rhythm seed, then use mutated copies of it to create something more interesting, all this in realtime using knobs and buttons. Thanks Lai for the beautiful b&w picture!įollowing my ongoing work on a theory of rhythms and a corresponding physical instrument using lasers, here is a version of the same idea implemented into an Arduino: a generative sequencer. Thanks all for joining us for this party, and see you for next time! One note about loops, either on the Kaoss Pad or in the MPC: if they help to improve the accuracy of the music (repeats perfectly each time), they also kill a lot of fun out of it since you only have to play once, record, and then you are done! On the other end, playing repeatedly the same thing (or at least trying to) helps to get warmer and warmer! The EMU Phatt is very easily rewarding, especially when using the Beats programs or other programs made of several sounds laid over the keyboard. The MPC is somehow harder since you must be rather accurate when playing for the rhythm to sound good. The microKorg, thanks to its sync-ed arpeggiator and its modulation wheel is also rewarding very quickly. Various circuit-bent toys were also pre-mixed and then fed into the Kaoss Pad as well, to get the best out of them.Įvery machine has its own appeal: the Kaoss Pad 3 is the most appealing at first, but then it gets more difficult to master. There were also a 49-keys Casio keyboard and a Yamaha SHS10 mini handheld keyboard, both used as MIDI controllers to drive an EMU Turbo Phatt. The machine set was primarily composed of an Akai MPC500 with various programs (drums, stabs, acapella chops, etc.), a Korg Kaoss Pad 3 with an Shure SM58 mike and a Korg microKorg, all MIDI clock-ed together, and all mixed into a Yamaha MG12/4 with a Boss SE-70 reverb send. Jam Session at home with friends from cyrille martraire on Vimeo. Here is a time lapse overview, unfortunately silent: It was amazing how everybody got into it! Some arrived saying “no no no I will never sing in the mike”, but ended up doing the mike to record voice loops into the Kaoss Pad… Other spent time to figure out how to play something musical from machines they were touching for the first time.