now i know there isn't a one standard right way to eq every transition... but i was curious as to how you guys do it?

for example, i usually have track A playing and for the incoming track B i'll have the lows killed, and when the right phrase finishes i'll kill track A's lows and bring up track B's all the way instantly.

i find myself doing that in pretty much every transition because it's the only way i can get it to sound decent. what are some other ways that you people do it?

i could be doing it the wrong way but what i would is have the outgoing track play with all eqs at 12 (0 db)... ill have all my eqs on the incoming (while the faders are down) killed, meaning at 7 (like a clock))..... at the beginig of a new phrase ill slam the income faders up... wait for few bars and then i bring the high freq. eqsof the incoming to 12 at the begining of a bar... wait few bars and then do the same thing with the lows... and then the mid eqs depends on the track really.... after that i try to lower the eqs of the outgoing but it all depends again... i could be doing it wrong (if you wanna call it that) but it works great for me....

sorry if it was kinda confusing, im just trying to explain!

found this on youtube a while back.. it might help

http://youtube.com/watch?v=wcX_bWSvKMw

quote:

Originally posted by Hasneez i could be doing it the wrong way but what i would is have the outgoing track play with all eqs at 12 (0 db)... ill have all my eqs on the incoming (while the faders are down) killed, meaning at 7 (like a clock))..... at the beginig of a new phrase ill slam the income faders up... wait for few bars and then i bring the high freq. eqsof the incoming to 12 at the begining of a bar... wait few bars and then do the same thing with the lows... and then the mid eqs depends on the track really.... after that i try to lower the eqs of the outgoing but it all depends again... i could be doing it wrong (if you wanna call it that) but it works great for me.... sorry if it was kinda confusing, im just trying to explain!

that's pretty much how i do it, there's no right or wrong way - if it works that is all that matters

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i personally cant see the point in turning all 3 eqs that far down.

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I have 3-4 methods, but my current fav, since I have been mixing a lot of progressive:

1. Incoming track: turn mid and high to 0%, start it playing.

2. Push the fader slowly up on the incoming track, while slowly turning down the bass EQ on the current track, to slowly switch the bass lines. I try to do this in exactly one phrase, it sounds better.

3. Turn the hi and mid eqs up/down on incoming and outgoing tracks in short bursts of 10% or so at the end of every bar.

4. Slowly push the outgoing fader down.

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Mix archive | Melbourne club guide

I like to do this:

kill high and mid on incoming track

cross fade in new track while gradually killing the low on the outgoing track

when the cross fader is at halfway and the bass on the old track is gone or almost gone I start to fade in the high and mid of the new track as i finish the cross fade or kill the high or mid in the old song.

this gives a kind of...layer effect to bringing in the new track because it leaves the mid or high of the old song going while almost the whole new song has come in which I think sounds really nice and stops the weird empty feeling you get when the sound of the old song disappears in a plain corssfade and you know that you have just changed songs, if it sounds layered it seems like a natural progression of the song until a different set of vocals comes along

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i usually do what u do as well

maybe a few tweaks on other frequencies if needed






but i mess wit hfaders alot... not TOO much eq's

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I think when I started I eq'ed too much and it made my transistions sound weird. Now I barely Eq just control the volume mainly and maby lower the low-end and high-end to about 10 o clock and everything sounds fine.

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Spending more time with your girlfriend than you do.

What I usually do is match the gain levels. Then I beatmatch with the EQs at 12 o'clock and the gain matched. Then cut the gain down far enough so that I know when I pick up the fader it won't peak my gain structure. Then, I proceed to mix the tracks smoothly using mainly a combination of the gain knobs and a high pass filter on the outgoing song. I touch the EQs slightly to keep my gain structure tight or to boost/cut certain elements of a song.

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What I usually do is do what sounds good to my ears.

quote:

Originally posted by Hasneez i could be doing it the wrong way but what i would is have the outgoing track play with all eqs at 12 (0 db)... ill have all my eqs on the incoming (while the faders are down) killed, meaning at 7 (like a clock))..... at the beginig of a new phrase ill slam the income faders up... wait for few bars and then i bring the high freq. eqsof the incoming to 12 at the begining of a bar... wait few bars and then do the same thing with the lows... and then the mid eqs depends on the track really.... after that i try to lower the eqs of the outgoing but it all depends again... i could be doing it wrong (if you wanna call it that) but it works great for me.... sorry if it was kinda confusing, im just trying to explain!

nah, i understood it perfectly but doesn't having both of the tracks with the lows at 12 cause problems for you? Sometimes it sounds like there is just too much bass and it sounds bad imo, unless it's my speakers that blow. or maybe i just still have a beat matching problem (i'm still pretty new at this )