My method:

Set cue on incoming track.
Whip it forward to noisy parts, match level with current track. Memorize this gain position to set it back if you need to mess with the gain to hear it better.
Set cue back.
Start beatmatching with both tracks cued.
If it's hard to hear, cue incoming track only, turn cue knob to MIX. This will set the incoming track a bit louder in your headphones but still bleed in some of the master.
Start pushin the fader up, working the eqs.
Depending on how well you can hear each track, move knob between Cue/Mix/Master to taste, but always be sure to check it in Master as you get closer to the cue being fully in.

___________________
www.misterfalconmusic.com

quote:

Originally posted by kadomony My method: Set cue on incoming track. Whip it forward to noisy parts, match level with current track. Memorize this gain position to set it back if you need to mess with the gain to hear it better. Set cue back. Start beatmatching with both tracks cued. If it's hard to hear, cue incoming track only, turn cue knob to MIX. This will set the incoming track a bit louder in your headphones but still bleed in some of the master. Start pushin the fader up, working the eqs. Depending on how well you can hear each track, move knob between Cue/Mix/Master to taste, but always be sure to check it in Master as you get closer to the cue being fully in.

For me (as there is no right or wrong way) It's This.

quote:

Originally posted by kadomony My method: Set cue on incoming track. Whip it forward to noisy parts, match level with current track. Memorize this gain position to set it back if you need to mess with the gain to hear it better. Set cue back. Start beatmatching with both tracks cued. If it's hard to hear, cue incoming track only, turn cue knob to MIX. This will set the incoming track a bit louder in your headphones but still bleed in some of the master. Start pushin the fader up, working the eqs. Depending on how well you can hear each track, move knob between Cue/Mix/Master to taste, but always be sure to check it in Master as you get closer to the cue being fully in.

Thanks for the share!

quote:

Originally posted by n3lly For me (as there is no right or wrong way) It's This.

Yep!
Still, bottom line. It seems like you just have to accept some volume differences in your headphones when moving between cue/master during your mix.

the only proper way is the one that doesn't involve you trainwrecking, trancen00b

one love

___________________
-> mixes & more @ maxwelldub.net : .
-> professional analog mastering @ deliverance-mastering.com : .

"A studio environment is there to be exploited. I don't really hold with these 'all live on 2 decks mixes'. If you want that, go to the gig." - Ben Watt

quote:

Originally posted by Max Thomson the only proper way is the one that doesn't involve you trainwrecking, trancen00b one love

Thanks for the very informative and mature reply. Spot on topic!

i play and match the other unst unst o the unst unst and crack a jesus pose

___________________
Tony Morello Dot Com
Soundcloud
Facebook
Twitter
The Drunken Monkey Podcast
The Mixdown Podcast presented by Tony Morello

The reason there's a difference between the cue and master loudness, is that the master is post the master gain(output) pot and the cue is just the channel gain.

I just beatmtach with the cue, then lower the headphone volume and switch to master for bringing it in. Once I've brought it in, I drop the headphones and work off the speakers. Headphones IMO, don't give a a precise enough representation of the relative gains of each channel, and on a large club system, those small differences can sound major.

@nelly - good for keeping it real with the Vestax. I used to love that mixer, and I;m still on a Vestax right now.

Saw Carl Cox on the weekend tearing it up on a Vestax PMC CX and damn did he work it. It was on a full Funktion1 system as well and it sounded so fucking great.

My prefered method these days is mixing in the headphones.

That said, when you play on a loud soundsytem with the main speakers right next to the booth and a crappy monitor you don't have much else choice. That is when quality headphones come into their own, i.e. the ones that have proper isolation from external sound e.g. Sennheisers or similar.

That said, I have seen fresh young DJs fail miserably at any method simply because they weren't ready enough on their technique or skill.

Some thing to note is that when you are playing on a loud system, minor corrections become a lot harder to hear, but if you make a big mistake then everyone will know about it. Giving yourself the edge (whatever that is for you in terms of cueing) is never a bad thing.

Mixing in the head phones appears to be a lot more acceptable these days. If you had popped the same question about 4 years ago, the 'Mixing in the phones is cheating' brigade would have flamed you to death for saying so.

The key to all of this though is to be so confident in your beat matching that you are able to pull it off no matter how you hear it and that folks is usually a bit more advanced than many think it is.

In my opinion there are two steps for the average DJ today. Learning the principles at home i.e. how the equipment works and then the second step, really learning how to DJ in a club environment.

Learn the principles and it shouldn't matter which way you cue or mix it as long as you get it right.

Cheers
Nem

___________________
https://www.mixcloud.com/Calvin_Karass/