If you don't follow correct phrasing then DJs will have a hell of a time mixing your music. Hell, if you don't follow correct phrasing then you're an idiot.

(No offense.)

dont know what the correct phrasing is, i guess

quote:

Originally posted by technomonster dont know what the correct phrasing is, i guess

8, 16, 32, 64, 128 etc.

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Thats actually neccesary at all, as long as its in the same time signature, similar tempo and groups of at least 2, a DJ can mix the track if he knows it well enough, its just if hes expecting to have 36 then ony has 32, it might be a problem. Hopefully a DJ will not mix a track hes never heard before.

The most important thing is to maintain the flow of the track and sometimes breaking the 8/16 bar convention can keep more interest and get better flow.

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production forum guys

The most important thing is making a track that sounds correct, not a track that fits to some unwritten convention. If a DJ has trouble mixing it then so what - if it a good enough track he'll fit it in regardless and in the case of the bigger DJs they're earning plenty of money so let them work for it

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quote:

Originally posted by kitphillips Thats actually neccesary at all, as long as its in the same time signature, similar tempo and groups of at least 2, a DJ can mix the track if he knows it well enough, its just if hes expecting to have 36 then ony has 32, it might be a problem. Hopefully a DJ will not mix a track hes never heard before. The most important thing is to maintain the flow of the track and sometimes breaking the 8/16 bar convention can keep more interest and get better flow.

If a track isn't phrased right, it won't change at the same intervals as the track it's being mixed with. Elements will be introduced or taken away at different times on each track and your result is a messy transition.

EDIT: Although any track not phrased correctly is going to sound very weird to listen to, because it won't do things when you expect it to.

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i guess,

that if i did have 36 bars and not 32, then it would eliminate the one technique in mixing transitions - the one where the start of my melody at bar 36 is brought in at full volume from nothing, if you know what i mean.

because the phrasing of the previous piece in groups of 8 bars might not like the sudden input of the new at bar 4 of a 8 bar phrase.


i guess everyone can see that i am not a dj.

You really shouldn't give the slightest fuck what the DJ wants or is expecting. It's your track, do whatever you want with it.

quote:

Originally posted by SYSTEM-J EDIT: Although any track not phrased correctly is going to sound very weird to listen to, because it won't do things when you expect it to.

Quite a few 90's trance tracks have strange phrasing. One of my personal favourites, Philippe van Mullem - The Secret Folder (Part 1) is an example. Another quite random track Oakenfold used to play is The Blackmaster - Solid Tube.