Well what i usualy do is put the incoming track with lot of bass at about 25% and my usualy have my out going track at 100% and when i switch the bass eq's I put the incoming track at 50% and the outgoing at 75% and this sounds okay...

but thats just me

Thanks mate ill give it ago!

It's all a matter of personal preference, but here's what I do:

Have the outgoing track at full volume, incoming track with bass killed, crossfader at 0% (so you can't hear the incoming track).

When the chorus ends on the outgoing track, slide the crossfader across to 25%. 16 beats later, slide it across to 50%.

Now you have the bass of the outgoing track (which usually doesn't have any melody) with the treble of the incoming track. If the incomer has a good hi-hat or melody then it sounds good.

32 beats after the chorus ends on the outgoing track, kill the bass on the outgoing track, while turning the incoming track's bass on.

This doesn't have to happen at 32 beats, but it usually sounds right then. Now with the crossfader at 50% you will have all the incoming track, with some of the outgoing track.

16 beats later, slide the fader to 75%.

16 beats later, do a funky something and slide the fader to 100%.

This whole scheme takes 64 beats to execute, and sounds pretty good when you get the whole thing to work. If you get it perfect then the incoming track will have a big transition right at the 64 beat mark, which means that as the outgoing track ends (and you flick the line/phono switch quickly or do something with the FX unit or backspin it or something) the new track draws attention to itself and the crowd is much pleased :-)


To make this easier I marked the time of the major intro transition on my favourite tracks, so cueing them is easy. As a general rule 64 beats takes 26 seconds, so if you go 52 seconds before the major transition then that's a good spot to look for a cue point (CD decks rock!!). You've then got 64 beats to match the beats correctly before doing the 64 beat transition.

Hope this helps!

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it really depends on what genre of trance you are spinning...
melodic tends to work best when you gradually introduce the bass, while lowering the bass of the other channel.

i spin hard trance, and it works best when i introduce my track with the bass killed. then at a certain point, i simultaneously bring the bass of my incoming track all the way up while killing the other channel's bass. sounds really sick . but only when the incoming bassline is just as loud (or better yet, louder) than the other track. if it's weaker, than i might bring in the bass at the same time as i kill the other track competely, or gradually replace it.

but i dont' like to have both bass knobs turned up, because then the bass wavers and sounds awefull. could just be my mixer though, i know lots of other djs who mix like that.

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MissCreant.com

have to give a big thanks for everyone for sharing their tips!

to dknylady-

yeah, mixing hard trance with both bass knobs up is the worst thing you can do...

what djs have u seen do that, and what style were they playing?

oh, and i agree... it definately depends on what style your playing

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huh?

not only does it depend on what style you are playing, but on what songs you are playing.

every song mixs different with the next. the most general method i have found to work well with alot of songs, is to start the new song (song b) with the bass cut all the way, the mids cut to about 25% and the highs cut to abou 60-70%. i'll slowling bring up song b about one measure after the last break down (depending on the song) and hten slowly bring up the highs. after about 16 or 32 beats, depending on how wlel the songs work, i'll switch the highs. bring song b highs to 100 or over an bring down the highs on song a (the song playing). then i'll wait another 16 or 32 beats and then bring up the bass on B t oabout 25% and bring down the bass on song A to 75%. then i'll mess with the mids for the next 16 or 32 beats and then slowly bring up the bass on b and bring down the bass on A. eventually after a measure i will kill the bass on A and bring the bass on B to 100.


it all depends on the songs. just keep practicing every mix until you can get it to sound perfect

well acid john, a few friends of mine (one hard trance, other hardstyle) keep the bass up the entire time. hahah when i saw them do this, i questioned it, but hey, if that's what they like to do, then who am i to change them.
but yeah, when the basses are both up, on any mixer it will tend to waver, this is because the frequencies are canceling eachother out i believe....

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MissCreant.com

You get constructive and destructive interference....

Which is why you can hear some bass beats very prominently, and then, for example you will harldy hear the next few.

generally speaking, Both channels having bass up is a bad thing.
Sounds bad enough in a bedroom or home setup- far far worse in a club....

I think that there are really two points to the responce in this post.

First, you need to be able to select tracks that go well together. If you cannot learn how to do this, then you can't expect to just shove two tracks together and hope that there is some magic trick to making them sound better. There is no magic trick. The key is to find two track that have similar bass beats, or at least some type of common melody that you can blend together.

The second point is that if you are good enough to find to tracks that are still in the same key but have pretty different sounds or bass beats, that you can use the equalizers to blend them together so that they don't sound bad. This can be done in a couple of ways. You can do it slowly or quickly, and both can sound good. If you do it slowly, you are very slowly turning the bass eqs to slightly decrease the live bass as you are increasing the cue bass. Or, you can do it quickly, so that you switch the bass beat all at once in between one beat.

either way, you MUST do it so that it is in phrase. Make your change overs on beat 1 of 4, beat 1 of 16, beat 1 of 32 and beat 1 of 64. This takes a lot of talent and time to master.

equing and track selection.

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When you dance, the DJ takes you on a journey, but he or she is usually not the focus of your experience at a club or festival or wherever you hear the music. Dancing is. Music is.