There is a certain class of technical problems that you may face while DJ-ing in various milonga venues, namely:
- You increase the volume, yet, people who sit close to the not-so-well positioned speakers complain that the music is hurting their ears
- You increase the volume, and something, such as false ceiling, or speaker’s cabinets, or stage itself starts vibrating
- You increase the volume, but the organizer tells you that you just cannot do it – the neighbors are going to complain or call the police, or both
- You play some “airy” orquesta, such as Biagi, and realize that the audience simply does not hear half of what you play, so you increase the volume and… any of the above starts happening.
This article is about a simple and effective technique for getting the best sound out of your tango recordings. More specifically, we are targeting the electric recording era, from 1926 to 1949. The technique defines a set of simple rules which allow to obtain repeatable results in any tango venue, on any recording, with minimal adjustments between the tandas. It was tried and tested in several milonga venues in Toronto and further improved with the feedback from the DJs from all over the globe. I strongly believe that it can dramatically improve your sound, and, at the same time, you would spend less time tweaking the equalizer, cursing the bad recording and/or inadequate sound system, etc.