|
In a usual straightforward mix I sort of use my eq's like filters, well I use ableton so I do just use filters, 2 on each channel, anywho...
once I'm ready to EQ my shit I am thinking of two things:
1) How much to supress the bass of the incoming track
2) How much to supress the hi-hats/snares/shakers of the incoming track
Most DJs worry 99% about the bass, but mismatched, or overpowering "highs" can be just as lethal to a transition.
But just for kicks lets start with the bass:
I cannot insist upon how much you need to know your tunes, you NEED to whore those bad boys in your cans day in day out until your ear begins to recognize a truly beastly bassline vs a subtler one.
So when eq'ing basslines you have a few options, depending on how dramatic you want to be.
If the track you're mixing into is just a straightforward "changes every 8 bars, significantly every 32 bars" type tune, I suggest for the most part a quick cut bassline switch, which Im sure you're aware of.
If the tune you're mixing into sort of spends the first 32 bars or 64 bars "building up" with it's bass, perhaps you'd like to slowly fade out the bass of your other tune, in time with the other track's building bass.
Those are two examples I can think of anyway, now onto highs...
What I like to do is take the edge off my highs with the incoming track because if you have conflicting hi-hats/snares/shakers it can almost sound like your beatmatch is off, which is insulting given the amount of time you may have spent syncing those two tunes.
My suggestion is to turn down your "hi" knob ever so slightly (well depending on your mixer) so that while the hi-hats/snares/shakers can still be heard, they aren't blatently taking over the transition and slapping people in the face. Also for the most part I suggest switchinbg basslines FIRST, then dealing with the highs rather sharply afterwards, of course switching the highs IN TIME, is essential seeing as how if you've correctly phrased your tunes you can often drown out the previous track's highs with your eq's as you bring in the highs from your incoming tune, I suppose I've just taken the basics of basslines and made a less dramatic version for the highs.
Again, know your tunes, if two tunes seem very compatible but everytime you try to mix them together you have blatent perc/highs/hi-hats/snare/shaker clashes, these tunes are as incompatible as a rap song and a celtic jingle 
As for the highs though, I usually do not encounter many difficulties with I'd say 90% of my tunes, every so often though there's a slip up and it can sound quite poop-like.
___________________
|
