The History of DJ Equipment

Little Intro

The development of DJ equipment in the past century has been huge. From single deck DJing set-ups to as many as four or more decks at once. The advancements in technology allowed the turntables to develop to such an extent that DJ would be able to produce new and interesting music just by a few quick finger motions. New technology such as samplers and drum sequencers allowed DJs to easily manipulate their music to a really wide extent causing a massive

Pre-DJing (19th Century - 1930s)

A man in 1857, named Leon Scott, invented the phonautograph, the first device to be able to record sound. Soon after Thomas Edison invents the phonograph, which starts off the history of DJing because it is the first device to allow playback of recorded sounds. The first ever DJs soon appeared on audio radio broadcasts playing vinyl disks (now more widely known simply as records.) The first ever Disk Jockey was Ray Newby at the age of 16 in 1909. While being a student in college he regularly played records on a small spark transmitter. It was able of producing radio waves which could then be sent to a local radio station. The transmitters were not capable of creating strong enough to be carried very long distances so they were limited in range. Another thing about these transmitters is that the signal they produced could be easily disturbed by other radio frequencies and in rainy conditions transmissions were made impossible because of how weak the technology was then. DJ's would play songs and would then have to change records to play the next song most likely doing an announcement of the next song using a microphone before hand. Around the 1910s it became very common for radio announcers to be know as Disk Jockeys because of their role in the radio station but the first person to actually take on the the term DJ was a man an American radio commentator named Walter Winchell. At this point in time the equipment that DJ's used would be limited to a single deck and small, low range and easily disreputable transmitters.

Early DJing (1940s - 1950s)

A late 20th Century record turntable

In 1943, Jimmy Savile was the person to make the world's first DJ dance party and in 1947, he claimed to have become the first DJ to use twin turntables for continuous play of songs without stop. This is a rather big development in DJ set-up from the earlier single deck playing. If we look back at the earlier single deck set-up, the DJ would have to announce the next song by using a microphone and change the record after making the announcement. This makes is much slower than having two decks at once because if you have two going at the same time you can simply prepare the song beforehand and play it as soon as the other song finished. This is more time efficient

During this time radio DJ's would tend to not use a live drummer or other live players and would mainly play records of pre-recorded music.

Development

Some More DJing (1960s - 1970s)

So whats with all this turntable stuff..?

Turntables were the instruments of the DJs. They played them and used them to their highest possibilities and limits to try and create new and exciting music. The Art of Turntablism was just around the corner. The most popular turntable in the 70s was the Technic SL-1200. A direct-drive turntable that was perfects for DJ because it was more durable than a belt drive and had a faster response and start up than the belt drive turn tables. The belt drive would have a plate on a spindle and a belt that would be connected to a motor to cause the plate to move a bit like a bicycle chain but with the chain always going unless you stop. The belt drive turn tables had a bit of a delay when pressing play and would stop if you held on them for too long or too hard where as the direct drive turntables would keep spinning but you would just hold the record to prevent it from moving.

Technic's SL-1200 Turntable. The most popular turntable that let the future happen.

The basic features of a turntable are a play button for obvious reasons, a pitch fader, usually a small slider on the right side of a turntable that would be used for beat matching song together for smooth transitions, a 33.3 rpm and 44 rpm setting for how fast the motor should spin depending on different records, a plate to put the record on and a tone arm with a stylus or needle.

The basic features of a mixer were a cross fader, a slider in the middle of the mixer that would allow the the DJ to change which deck is playing out of the speakers, High, mid and low EQ knobs to allow the DJ to cut out certain frequencies to create certain effects such as suspense or excitement. More modern mixers would allow for much more than just these simple features. Things such as sample loops, EQ effects such as delay or reverb and filters would be implemented into mixers to give DJs the ability to be more creative and for other DJs to be able to DJ more efficiently.

In 1973,DJ Kool Herc, widely regarded as the "father of hip-hop culture," performed at block parties in his Bronx neighbourhood and developed a technique of mixing back and forth between two identical records to extend the rhythmic instrumental sections also known as the 'break' This was a big and important development from other techniques such as simple beat matching because now song weren't just being mixed into each other with a cross fader. It became much more than just playing the songs that people like.
It became a friendly competition to see who could do really amazing techniques or tricks to then be proven wrong by someone else. It helped change the Bronx neighbourhood into a less gang violence filled place and more of a great big family united by the art of Turntabalism and DJing

In 1975, hip-hop DJ Grand Wizard Theodore claimed to have invented the scratching technique, by accident. It seems almost crazy that one of the most influential and most used technique in DJing, at the time, was invented by accident. He was at home practising on some decks like any normal DJ would. His mum came in the room because he was playing too loud and so while she was shouting at him he was 'scratching' the record back and forth by hold the recording. 'Scratching', the most used technique we know and love in this hip-hop era of DJing, was born. He experimented with it at home for a couple of months to perfect his technique to then show it to the rest of the world. His accidental invention would soon become one of the most important points in Turntabalism which is the art of using turntables not only to play music but to manipulate sound and songs to create original music and mixes.

CDs And More 1980s- 2000s

With technology going further and further each year, vinyl would soon start slightly dying out. A new way of storing music easily and more cheap was created. Compact Disks. Compact disks got on the market in 1982, a new, cheap and easy way to store over 60 minutes of music on a single little disc. At first CDs were only able of being burned only once but soon after rewritable disks and specifically designed discs for other purposes such as storing video, media and photos would be made to keep them at the top of the market. Heavily advanced technology would appear near the 2000s that would change the progression of music genres and create new ones at the same time. More possibilities, more music, more history for DJing being made.

So how did this affect the DJ world?

First of all, a new way of storing music meant people started wanting to be able to store their favourite vinyl records on a small, easily portable and easily storable disk. DJs could hold more music but having to carry less stuff. A new set up for DJing was created.
Using new decks that would allow the manipulation of mp3 files like using a turntable deck would become the next advance in DJing technology. This was a real advancement in technology because more music being stored meant DJing became more simple. Soon anyone would be able to learn the basic fundamentals of DJing. It was only a matter of time now. The first digital DJ system came out in 1998 it was called "Final Scratch"
"Traktor DJ Studio" coming out in 2000 and Serrato in 2004.

Traktor Pro 2, the latest version of Traktor right now.

Quick, easy to learn but difficult to master programs, became and industry standard incredibly fast. They countless possibilities to manipulate data using MIDI controllers became the future. Millions of songs easily accessed through the vast amount of music sharing websites and other sites to buy music from. Sometimes causing a fight between what "real" DJing was. With the huge change from analogue to digital some people were left confused. At first most DJs didn't embrace the change but as time past famous people such as David Rodigan who would originally play vinyl's embraced the change and got a whole new audience out of it. New interesting styles were born from all types of genres. Lots of

Conclusion

At the end of all of this, both analogue and digital set-up have the ups and downs. The analogue having a unique sound of the needle gently pressing on top of the vinyl and the rich and ambient sound that comes with it as well as being cheaper by a huge load at the current time. But analogue set-ups having less freedom and creativity in them.

Digital set up being more expensive, the sound quality being amazing but still not the same as the natural vinyl sound. But allowing the user to manipulate the music to unlimited ends. From simple EQ's to difficult special effects being made by the most masterful. Another problem with modern digital DJs sometimes is that they become lazy. They become used to the technology so much that if a sync button breaks they become lost of what to do.

For me personally, I'd want to use and have both. To have the unique sounds of the vinyl's and the ability to improvise and manipulate freely just like an mp3 file.

Only the guys behind the scenes who are making the software and hardware that DJs use know what's to come in the next decade. I'm sure the next decade will be even more crazy.

Bibliography:

"Scratch" A Feature length Hip-Hop Documentary made in 2001 and Directed by Doug Pray
http://en.wikipedia.org/wiki/Technics_SL-1200#Features
 
http://www.residentadvisor.net/feature.aspx?1909
by Jordan Rothlein Published onWednesday, 21 August 2013

http://www.djtechtools.com/2011/02/11/the-history-of-traktor/
http://www.discmakers.co.uk/history-of-the-compact-disc
http://www.dawsons.co.uk/blog/evolution-of-dj-technology
http://iml.jou.ufl.edu/projects/fall09/bein_k/history.html
http://www.djtechtools.com/2010/08/25/future-dj-a-brief-history/
http://audiojunkies.com/forum/blog/4483-turntable-basics-beginners-guide-turntables-vinyl-records.html 
The images used in this are not mine and are used for educational and research purposes only.

Hear and Identify

1) The whole song starts by half a beat early. This is probably a bouncing issue. When the track was being converted to mp3 the selection of what should be converted was set by half a beat late causing the track to not start at the correct time. This could have been prevented by simply double checking what part of the song is selected and that all of the necessary parts are selected before converting the track to an mp3.

2) Most instruments are panned too much to the right causing an uneven balance in audio. This is a recording, mixing or mastering issue because the tracks must have been panned far too much to the right on the mixer or the sequencing program it self. This could have been prevented by checking the panning is set it to a more balanced panning before converting the track or by checking and setting it to a better panning before the actual recording has been done. The uneven balance in audio makes the track strange to listen to and is slightly uncomfortable because one ear is listening to a lot more than the other. This also creates a strange feeling of there being a huge space between the instruments or creating a room effect.

3) Background noise and coughing from 0:02 to 0:04 creating a messy/dirty vocal track. This is a recording and performance issue because the recording could have been started later rather than having it on through out. This is also a performance issue because the person who is singing should be prepared to start singing his or her part before the initial recording.
The background noise could have been prevented by starting the recording at a later moment in the song instead of having the microphone turned on all the time and could have also been prevented by being more prepared for the recording, by clearing your throat before the recording has started and not moving anything around during the actual recording process.

4) "And with a degree of independence" 0:20 - The word "add" isn't part of the lyrics and the phrase isn't sung in time with the rhythm. This is mainly because of the strange change of rhythm in the guitar but there is also an extra word added and it doesn't go with the timing. This could have been prevented by double checking the lyrics and making sure all the instruments are being played in time for the recording. This could also be prevented by having a click playing in a pair of headphones during the recording so the person playing or singing could hear the correct tempo which in turn would potentially lead to a better recording.

5) Rhythm problem at 0:18 - 0 : 24. The guitar changes tempo and becomes too fast causing a mess up of rhythm. This affects the vocals that are sung during this stage making them not in time with each other and making the song out of time. This could have been prevented by playing a click through a set of headphones that the guitar player could listen to and time the part better. Another reason why it could have been sped up is that in the sequencing program the audio file could have been sped up by accident and wasn't checked properly. To prevent this from happening a back up of the original recording should always be made in case of any destructive editing being made to the audio file so if anything does go wrong it could be restored with the back up.

6) The vocal sounds really muffled at 0:53. This is a recording issue because the there was most likely something in the way of the microphone that caused this muffled recording or the person wasn't in a position where the microphone could easily pick up the sound waves. This could have been prevented by checking the microphones polar pattern to make sure the person singing is standing in a position where the microphone can easily pick up the sound. This muffled could also be caused if something is in the way of the microphone and then person singing so it would be important to make sure nothing gets in between the microphone and the persons face to make a clear sounding recording.

7) "I'm sorry" at 1:04 - 1:05. "I'm" is sung too quickly in the main vocal. "I'm" is meant to be more emphasised for a slightly bit longer. This is a performance issue because the person singing hasn't emphasised the words on the correct notes and sung them quicker instead. This should have been prevented by checking how the words are sung in a certain part and where the emphasis goes on certain notes and how long they are meant to be held for.

8) 1:08 to 1:13 "The way it is~" The word "is" is sung longer than should have. The backing vocals and the main vocal are meant to both finish the phrase at the same time. This is a performance issue because the person singing the main vocal line either came in late or the backing vocals came in too early. This problem could have been prevented by practising the certain part or making a signal or action to indicate when both vocal tracks should come in.

First Recording Assignment

In the first weeks session we decided what we were recording and decided on grand piano and drums together for the first recording.

We started off  by miking the drums with an Audix D6 for the kick drum on a low stand and positioning it to be directly pointing at the kick drum as well as the Rode NT-5 on a high stand facing towards the middle of the drums for the top drums. We decided to use an Audix D6 because it's a kick drum microphone specifically designed to give a good low frequency pick up.  Because the Audix D6 is a dynamic microphone it can handle much more louder noises and give a good recording of the kick drum which made our recording more better.

We used a Rode NT-5 for the rest of the drum kit to pick up the more roomy or ambient sound. Another reason to use a Rode NT-5 is because if you place it slightly further from the sound source it can still give off a nice recording because condenser microphones are more sensitive. Because the Rode NT-5 is a condenser microphone we positioned it slightly further away from the drums to make sure we don't break it since condenser microphones are more fragile than dynamic microphones. We had to use phantom power on the Rode NT-5 because it's a condenser microphone that requires external power.

We then set up a Shure SM-57 microphone for the grand piano on a high stand. We opened the lid of the grand piano to pick up all the rich sounds and positioned the microphone at an angle for it to be slightly leaning into the frame of the grand piano to pick up the more vibrant sound. The Shure SM-57 is a dynamic microphone so it can handle the loud sound pressure levels and still give a nice recording

We recorded drums and grand piano at the same time so to get a better recording we decided to set up a headphone mix for both people that are playing to hear the click and hear each other. We had some difficulties during this stage because we hadn't set up the audio levels properly and lost some time. In the end we managed to set up both headphone mixes so both the drum player and the piano player could hear each other and the click. This meant we had a better recording because if the piano player can hear the drum kit and the click it is much easier for them to get the timing right and making a better recording.

In next weeks studio session we decided to record a synth brass. We set up a Shure SM-57 facing towards the amplifier on a high stand. We also set up another headphone mix so that the person playing the synth could hear the recordings and hear the people in the studio. We used the Shure SM-57 to record the amplifier because it is a dynamic microphone so it can pick up loud sounds without breaking where as the condenser microphone is more sensitive to loud sounds so it could potentially break.

Smart Targets

Specific

Measurable

Achievable

Realistic

Time-Bound

1) Ask Chloe if she could recommend me a book related to the music industry that I could read to improve my knowledge of the industry.

2) Produce 3 Tracks by the end of the year.

3) Remix the "Honey Haze" song I made by the end of January 2014.

4) Learn 3 new scales by the end of the year.

Microphones Assignment

1) Dynamic microphones do not require an external power source, are quite rugged and reliable because of their simple design. This would make a dynamic microphone quite useful during a live show because if a microphone falls off its stand or is accidentally dropped there is only a small chance of it breaking. Since the microphone does not require external power it could avoid any power problems that might happen if you used a microphone that had to use batteries or alternate power sources. Dynamic microphones are also the best at handling loud volumes which makes them useful in a live show because However because of the way they are built they have a low output level and don't have even frequency responses so this could affect the quality of the sound you are receiving during the show.

Condenser microphones are generally much more sensitive, meaning they have higher output levels, and also have a greater high frequency response so therefore in a studio environment you would be able to pick up the instrument or sound that your trying to record much more easily and accurately thanks to the better frequency response. However, they are quite delicate so you have to be much more careful with them, require an external power source and can be quite expensive.

Polar Patterns

2) Omnidirectional (Omni meaning all), Cardioid (heart shape) and bidirectional (figure of eight) are the three main polar patterns used for microphones.

Omnidirectional microphones capture sound from all directions equally. Omnidirectional microphones are generally used for such things as recording ambient noise, sounds coming from multiple locations at once or record moving sound while keeping the microphone placement the same.

This is a basic diagram of a omnidirectional microphone. It shows the position of the microphone and where it picks up sound the best.

Cardioid, or unidirectional, microphones capture sound from mainly one direction that the microphone is facing in but also capture some sound from the sides. Cardioid microphones are mainly used to capture a single, specific and focused sound with some natural ambiance or reverb. Cardioid microphones are usually the most common type of microphones because of the many ways you could use them.

This is a simple diagram of a cardioid microphone. The lines show from which direction the microphone picks up sound from. In this diagram we can see that this cardioid microphone picks up sound from mainly the front but also some side ambiance and reverb.

Bidirectional microphone capture sound from two sources and are generally used to capture a one to one interview or conversation.

This diagram shows how a bidirectional microphone picks up sound.

3) Dynamic microphones are generally built with a coil going around a magnetic rod covered by the diaphragm. When sound is picked up the coil vibrates with the magnet and makes an electrical current that carries the audio signal.
They are sturdy, reliable and least expensive. This makes this type of microphone most useful for general use such as simple vocal recordings or live sound performances since they last long and can take some accidental damage.

Freelance - Self Employed

Define Self-Employed (Freelance Work)

Self-Employed work means that you work for yourself and earn your living by running your own business or doing work for someone to get payed for your services instead of getting a certain wage by the company or business that has employed you. People who are self-employed earn their income by either doing a service, to then be payed directly, or by running a business. Being self-employed also means that you have to declare your income revenue to the government, paying tax on it and paying for your national insurance by yourself. If you are self employed you have no boss and you pick how many hours you work so if you're not putting in many work hours, you won't make much money.

Define Specific Income

As an example let's say I am a music producer and technician. I can produce music tracks, beats and I also have considerable piano skills. To earn an income I could provide services such as helping with setting up equipment in a studio, producing tracks for other people, producing beats or doing session plays. With these services I could charge different amounts of money for each of them. If I do a small gig and earn £300 from cash in hand, legally, I'd have to declare it but a lot of the time people don't because they don't have to pay tax on it.

If I come in to do a session recording I could have a certain amount per hour or an already arranged amount for the session.
There are a lot of ways in which you could potentially earn money from in the music industry but, more often then not, they don't earn too much which means you have to end up doing a lot more work.

Assess Income Tax Considerations

At the end of each tax year you have to declare your income and pay tax on it.
The tax rates are as follows:

Rate	2012 to 2013 tax year	2013 to 2014 tax year
Basic rate 20%	£0 to £34,370	£0 to £32,010
Higher rate 40%	£34,371 to £150,000	£32,011 to £150,000
Additional rate 50% (45% from 6 April 2013)	Over £150,000	Over £150,000

(Source: https://www.gov.uk/national-insurance/how-much-national-insurance-you-pay )

Let's say I've earned £34,642 this tax year. I have to pay 20% tax on everything up to £32,010 and then pay higher rate 40% tax on the rest of it from £32,011 to £150,000.
However, there is also a personal allowance that I am allowed to have that is tax free meaning I get to keep a certain amount without having it taxed. The personal allowance for this tax year is £9,440.

Without Tax Deductible

Basic Rate 20% Tax

32,010 - £9,440 (Personal allowance)
= £22,570 = How much I need to tax.

22,570 x 0.2 (20%)
= £4,514  (20% Tax) How much tax I need to pay.

22,570 - 4,514
= £18,056  My earnings after doing basic rate tax.

Higher Rate 40% Tax

34,642 - 32,010 (Already taxed amount)
= £2,632 How much I need to tax.

2,632 x 0.4 (40%)
= £1,052.80 (40% Tax) How much tax I need to pay.

2632 - 1052.80
= £1,579.20 My income after doing higher rate tax.

Total Tax =  £5,566
Total Income = £19,635.20

With Tax Deductible

When calculating tax there are certain things that you can count as tax deductible that reduce your profit meaning you pay less tax. This means that you get to buy certain things that count towards your work or business which reduces your initial profit but you get to use the services and the products. If you don't use tax deductibles then you're earning a bit more but you still buy those products and pay tax on top of them again meaning you lose more money later. These are the things that can count towards being tax deductible: cost of stock, payroll costs, premises costs, repairs, motor and travel expenses, finance costs, administration costs, professional fees.

Basic Rate 20% Tax

32,010 - 12,958 (£9,440 Personal allowance + £3,518 Tax deductible)
= £19,052 How much I need to tax.

19,052 x 0.2 (20%)
= 3,810.4 (20% Tax)  How much tax I need to pay.

19,052 - 3,810.4
= £15,241.6 My income after doing basic rate tax.

Higher Rate 40% Tax

34,642 - 32,010 (Already taxed amount)
= £2,632 How much I need to tax.

2632 x 0.4 (40%)
= £1,052.80 (40% Tax) How much tax I need to pay.

2632 - 1052.80
= £1,579.20 My income after doing higher rate tax.

Total Tax = £4863.20
Total Income = £16,820.8

Profit - Before tax
Income - After tax

National Insurance

Everyone who is self employed has to pay their own national insurance. If you are employed your national insurance gets done for you. Its £2.70 a week for national insurance.

£2.70 x 52 = £140.40 per year.

34,642 - 7,755
= £26,887 x 0.09 (9%) = £2419.83 National Insurance

This chart shows how much national insurance you need to pay depending on how much you earn. Because I go under the £7,755 - £41,450 band I only pay 9% of my profits as national insurance.

Annual profits	Class 2	Class 4
Up to £5,725	£0 but only if you get an exception	£0
£5,725 - £7,755	£2.70 a week	£0
£7,755 - £41,450	£2.70 a week	9% of profits
More than £41,450	£2.70 a week	9% of profits up to £41,450 and 2% over that amount

An example of an invoice

An invoice is a receipt for a service. An invoice is used to show proof of a transaction and as a request of money for a service. If I use someones studio for 4 hours at the rate of £100 per hour I would ask for them to invoice me so I can pay them.

On an invoice you'd have: the service that you've used or provided, what kind of service it was (e.g. Studio Work, Musical Performance), the units for it to show how many hours you've done or used, rate (per hour, per day), total, dates, contacts and bank details.
Here is an example of very simple invoice. 
There is a small problem with this invoice because it doesn't contain contact information other than the address which could cause issues if there was any sort of problem with the payment.

Professionalism

Being professional in the industry is a very important thing.
You need to present yourself well and make sure you keep good relations and contacts with people that have skills in different parts of the industry. If you keep a nice relation with the people that you've worked with they might come back again and you'll get more money for it.  If you are late, don't mean your deadlines and don't do the work  then people would remember you as a non-professional worker. You need to make sure your invoices contain the correct information for others and that you pay them in time too. You need to present yourself as a professional when working with people by just following completely basic things that make you appear as a nice person to work with. It is very valuable to have friendly and close contacts in the industry because both people will benefit from the work that is being put in. If you don't have trust worthy, friendly or close contacts in the music industry then you won't get very far because your choices would be limited.

If I am earning most of my profit from DJing in 5 years time then I need to make sure I maintain a certain standard of professionalism. If I don't then I won't get hired for clubs because who needs a lazy, always late or rude worker? If I want to have food on the table I need to make sure to get my invoices on time, my sets are done to a professional standard that is worth the pay that I'm getting and that my simple manners are up to scratch. This would increase my chance of getting future events at a certain venue or club and possibly get me to know people that I could rely on or could rely on me for future work. If you get to know people well enough you could eventually work for, or with, them with favours because you don't always have the cash in hand to do the job.
Sometimes problems happen that you can't control. If you get sick and aren't physically able to get to your event, club or venue then instead of just phoning in to say that you're unable to do the job you might happen to know someone who knows the set that you're playing or can do the same job that you do. This makes you seem more professional, brings your friend more work and most importantly your customer gets what they needed. If you just say you're ill and are unable to do anything about it then you won't get recommended by that venue, club or people who wanted you to be there meaning you lose out on work.

Another important part of being professional is taking care of your finances appropriately.
You won't always get a lot of money every year. Sometimes you might have not had enough work and therefore haven't earned as much. What do you do? If you haven't saved anything where do you go? You might end up in debt to someone for a while which could stop you from getting work done and put pressure on you that could have been avoided.
If after every gig, event and club performance you do you put 20% of it into an extra saving account you will always have a good ammount of spare money that you could use in an emergency sittuation. Invoice the people that you've done work for and make them pay you in time otherwise if you ask in a months time they would have either forgoten it or simply refused to do so.

Understanding Music for Film and TV

Diegetic Music - Music or sound that is happening within the actual scene. This could includes such things as music played on radio on the scene or songs being played by people in the scene.

This is an example of diegetic music. People inside the scene can hear the clubbing music and is therefore part of the story. This makes us understand the scene a bit better because it helps us understand that the character is in a certain environment. This could affects our perception of the scene because if the music would be replaced with a song that didn't go with the raving atmosphere it would confuse us and cause us to have a strange and unclear understanding of what is going on.


This is another example of diegetic music from the Terminator 3 movie. When he enters the bar at 0:38 the people inside are listening to live music played on set. This is diegetic music because he himself can hear the music being played and it is part of the story rather than being added on outside of the scene for our own hearing.

Non-Diegetic Music - Background music not in the actual scene. It would usually be added for an effect or to give a feeling of a certain emotion such as happiness, sadness, excitement or anticipation.

This is a scene from the 'Matrix Reloaded' movie which gives a nice example of non-diegetic music because it clearly shows us that the music playing is not in the scene and is put in for our own experience.
The music in this example has a fast tempo so it makes the battle seem more quick and dangerous. It keep with the pace of the battle slowing down when a slow motion scene is played and speeding back up to make us aware that it is back to normal. This gives the viewer a more better experience and understand of the scene because the fast music
This another example of non diegetic music. It starts from 1:10. The character inside the film can not hear the dissonant and clashy music in the background played for our own understanding of the film. The music in this scene creates a feeling of tension and suspense for the viewer because it is slow, dissonant and clashy. This could make the viewer feel more scared or worried for the character inside the film because the music supports the feeling of distress that the character is feeling as she is being trapped by the grey children.

Foley Sounds - Exaggerated noise such as punching and kicking in a fight scene or the breaking of objects in a scene. Another way of explaining foley sounds is enhanced sound because it is a recording of emphasised sound usually recorded after the filming of the scene. It is used all the time to help improve the viewers understanding of the film and generally enhance their experience of it. The fight between Neo and Morpheus in the Matrix movie is a very good example of foley sound because you can clearly hear the exaggerated sound of the punches and kicks that they are throwing at each other.

Wild Track - A wild track is a recording of sound on set to record ambiance and natural sound that would be recorded in a specific location. A great example of these are David Attenborough's BBC documentaries.
From 1:25 you can hear the recording of wild sounds such as the birds, crickets and the lions themselves.
This was probably recorded separately before or after the recording of certain scenes by placing a microphone while everyone else would be silent for a certain amount of time to record all the sound of the natural habitat.

Temp Track - A temp track is a piece of music or audio recording that has already been composed or created by someone else and is used to help the composer for another film to create another original composition. The first clip is the opening to the movie 2001: A Space Odyssey.
The temp track was given to the composer but in the end the director decided that the original temp track was better and was then used in the movies real opening. The second clip is the version that was cancelled was the replaced with the temp track that is used in the actual film.

Composite Track - A Composite track is another term for soundtrack meaning all the music that is used in the film or a tv series.  An example of this would be when you buy a soundtrack for a movie that contains the songs used in the film.

None of these clips are my own work and are taken from youtube to work as an example and help support my explanations and points. All of the clips belong to their own respectful copyright owners and are used purely for research and analysis.

"Wara" The UK-Cuban Band.

Wara is the "New UK-Cuban musical revolution"
They play a mix of  salsa, jazz, funk, reggae, soul and hip hop but their main lean is towards a Cuban salsa feel.  They consist of 9 band members all from different places around the globe.
With a bit of a late start, the UK-Cuban band "Wara" kicked off their cheerful performance at the Chrisp Street Market Festival on Sunday at  6 pm with their first song "Somewhere land" from the band's latest album "Leave to remain." With the enthusiastic band members quickly making the locals more and more interested, they were able to work up a nice little audience.
Their performance was very enthusiastic and lively. The main three singers attracted the audience and motivated everybody to join in with dancing.  After their first song and a big round of applause the crowd quickly asked for more. With a brief thank you from the band members and an explanation of what's going to be coming up they again started spreading their cheerful attitude. Everyone was quick to break into another energetic dance with smiles all around from the wonderful performers on stage.

I really enjoyed their performance and I hope that I'll be able to see them again some time because they have a really cheerful and enthusiastic way of performing. They did their best to get more and more of the crowd dancing and have done so successfully.