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-- Typical EQ Routine during Transition

Typical EQ Routine during Transition

I've a suggestion.. why don't we all gather our individual transition techniques in this single thread? Maybe it's already been done before, but I haven't seen such a thread around so just take it as I'm starting a new one, ok?
My question is: What routine do you typically go through on your mixer when you are doing a transition? As for me, I have a tendency to start with the highs first (not sure if this should be the correct way to start). I start by mixing in the high of the incoming record such that it equals the highs of the outgoing record, at the same time reducing the highs of the outgoing record to half its original. Then I work with the mids and do the same. With the bass, I will drop the bass of the outgoing record to half its value every 4 beats, such that it is reduced to zero by the time the bass of the incoming record reaches the original value. I will end off my transition by slowly fading off the highs and the mids of the outgoing record (it was still at half its value, remember) until all the knobs end up at zero.
Is this wrong? What should I work on to improve my EQ technique? And most importantly, how do you guys do it?

I think everyone gradually develops his own style when it comes to EQ control, of course this is true for every aspect of DJing, not much is considered to be either correct or wrong.

Still, it would be nice to hear the opinions of some experienced DJs.

Hi there..

To tell you the truth, I dont think there's any rules at all when playing with the EQ.
Usually, your main target is to make a smooth transition so just cut frequencies that seems to be too noisy, boost others... play according to your feelings..

You feel some frequency needs to be altered - then just alter it

I would agree, but there MUST be some sort of "general" sequence; I hope I'm correct to suggest? I'm sure even big-name DJs have their favourite routine or prefered way of doing the mix.. that's why I asked for opinions.

I like that my incoming track have only the bass not cut....

i mean that i cut the hi and med when i insert the track because then you have deep bass drum and it's sound good

I like to listen to both mixed in my headphones and set the eq the way I loke it. THen I"ll bring in the new track while lowering the old track. And depending on the traks lower certain levels. If the track I"m comming in with is really high hat bassed, then I"ll lower that untill the old track is gone, then I bring the high hats in like a storm as the record was ment to be played. If you don't set yourself up for only one style EQ mix in, then you can lay the same records to the same crowds and it will sound like a whole new mix.

i think it really depends on the two tracks being played. maybe i'll have one of my friends upload my demo cd so i can explain things better. but as someone pointed out the eq technique should vary in order to achieve a seamless mix. first of all i try to see what is going on with the record i'm bringing in. if it has a lot going on on the record then i'm more likely to cut the highs and lows and bring the record in and then fade in the highs and lows as it fits. but if there isn't a lot going on then i'll just bring the track up and usually fade the bass in. on a fade out it also depends on what's happening in the track you brought in and the structure of the record. for examples when mixing from way out west-intensify (peace division remix) to kelly d-tribalism (tribal drum warfare attack mix) it was rather sticky going from standard prog house bass to tribal bass which has a lot of sub-bass. so for that transition i brought in kelly d with just the mids running then dropped the highs and waited for this swell on the kelly d record to completely swap the basses of the two records. this left kelly d running with the vocal refrain of intensify over it. it sounded pretty good imo. also another quality mix imo was going from fsol-papua new guinea (satoshi tomiie main path) to lovesky-drums 4 better daze (16C+ rmx). there i had everything on lovesky running as i would play it. then i waited til the second break of fsol and when the break ended there was this slight pause and i just threw lovesky into the track and it flowed pretty well. i was at the ferry corsten show and swedish egil mixed it the same way (fsol into ??? not lovesky) so i was quite pleased with myself. anyways the point of this long post is that there is no standard but you just have to call it as it comes. hope this helps in some fashion or another.

lost

It all matters what 2 tunes I'm mixing, but most of the time I put the bass in first and the highs in last...but most songs that have vocals I put the highs in 1st and the bass in last...I always use my eq's...never my kill switches...they take too much out a lot of the time...

I'd appreciate more volunteers to come in and give their version of how their mixing is done, coz we're all here to learn from each other, aren't we? Thanks to Lost and the rest for putting in effort; I think I'm gonna try out DJ Inferno's method tonight.

EQ techniques really vary based on the genre of music.

I mix mostly hardtrance and hardhouse myself... the style of EQ control in this genre tends to involve hard cuts on the break... so you've got two tracks lined up on measure, generally what I do is cut the bass of the outgoing track real quick while bringing up the bass of the incoming track quickly... if you line up the measures right this usually works out really well. i'll usually drop the outgoing track into a 4 or 8 beat loop towards the very end, with a simple repetitive sound, leaving the treble not cut. then when the incoming track breaks down, i'll cut the outgoing with the kill switches.

mixing trance is a different thing, you have to be much more aware of synth rifts and whatnot rather than breaks and measures..... i love trance, but it's weird like that.. hehe

-mer

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