TDJ Workshops
WORKSHOP 1 – Technical Aspects of Sound Reproduction
Marcelo Oscar Castelo – as a TDJ & Milonga Organizer
Professional Profile:
With more than two decades of experience organizing milongas, my career in tango has developed mainly through my role as an organizer of milonga spaces. Although I have also worked as a TDJ, my approach to music programming is characterized by a perspective that differs from that of the traditional TDJ.
Training and Musical Background:
My technical training as a Systems Engineer and electronics technician, together with my early experience as a nightclub music DJ, has provided me with analytical and technological tools that are uncommon in the world of tango. This background allows me to approach music programming from a functional and acoustic perspective, focused on the dancer’s experience and the sound quality of the environment.
Approach as a TDJ:
Far from stylistic purism or a repertoire limited to the great orchestras, my musical selection seeks to optimize the flow of the dance, adapting to each type of milonga and audience. I believe that the role of the TDJ is not only to select tandas, but also to design the atmosphere and facilitate the dancers’ emotional connection with the music.
I believe that the future of tango needs TDJs who are more aware of the acoustic and technological environment, the audience, and the social role of music on the dance floor. From that standpoint, I contribute an integrative perspective that combines technology, musical sensitivity, and organizational experience.
ELECTRO-ACOUSTIC CHAIN: Analysis of its characteristics. ADC-DAC conversion process. Typical electro-acoustic chain setups in milongas. What is the DJ responsible for?
ALL ABOUT CABLES: Balanced vs. unbalanced cables. Types of connectors, advantages and disadvantages.
CHOOSING THE RIGHT DAC: Audio interfaces, controllers, and mixers: technology, types, and characteristics. Choosing according to each specific need.
TECHNOLOGY IN MOBILE DEVICES (laptops, tablets, and cell phones): What is the minimum equipment required? Mac or PC? Laptop or tablet? Are there differences? Advantages and disadvantages.
CHOOSING THE SOUND RECORDING: FLAC, AIFF, or MP3? Are there really differences? What are they? How can the quality of a sound recording be verified? How can I improve the quality of my files?
SOUND REPRODUCTION AND SOUND QUALITY: It is not all about hardware. What software should be used for playback? Adjustments to sound files. Backup equipment.
RECAP AND QUESTIONS.
WORKSHOP 2 – MUSIC SELECTION CRITERIA FOR TDJs
Workshops are often offered on how to build tandas; however, the most important aspect is frequently forgotten: “THE CRITERIA FOR BUILDING THEM.” In this workshop, we will approach the topics by first establishing clear criteria.
ROLE OF THE DJ: Artist or technician? What should their main characteristics be? Should they be a dancer? How should they learn?
STEP PREDICTION: Definition and approach from neuroscience. Comfort as an unconscious aspect of dancing.
DANCEABILITY: When do we say that a tango is danceable or not? Defining the layers of musical complexity and their different degrees: the author’s theory. Tempo: fixed, variable, fluctuating, and its application in the construction of tandas. BPM and its limitations.
REDISCOVERING THE IMPORTANCE OF CORTINAS: The usefulness of the cortina and its different applications, from advertising to buffet sales. Timing, selection, conversion from cortina to tanda, danceable or non-danceable, and much more…
BUILDING TANDAS: Criteria as the basis for construction. Understanding the “ONDA” system. Composition of tandas: orchestras, styles, instrumental pieces, sung tangos, etc. Tandas of 3 or 4: what is the criterion? The importance of volume, BPM, and equalization.
RECAP AND QUESTIONS.