I never totally remove the incoming bassline because, for me, that just makes it that much harder to make sure things are beatmatched and harder to make a seamless transition. I use the channel sliders to mix, not the crossfader. As I start to increase the volume on the cue track, I raise it up to about 6 or so, then as I increase it to 8, I lower the bass volume on the live track one or two notches. Then as I increase the cue track to 10, I lower the live track to 8, 7, 6 etc until I fade out.

The key thing to remember is to always make a move in-phrase. I slide the cue track volume up pretty quickly right on beat 1, then each of my volume adjustments go along with the beat. It is very possible that you won't have a "seamless" transition, but it will still be a good transition because everything is moving to the flow and beat of the music as you adjust each of the volumes.

Just remember, as the Dj, you know what both tracks sound like and so it is very easy for you to pick out which instruments are from which track. The whole key is to make the transition so that others cannot tell which is which!

___________________
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.

quote:

Originally posted by Dj Flesch I never totally remove the incoming bassline because, for me, that just makes it that much harder to make sure things are beatmatched and harder to make a seamless transition.

you should always take the bass out as much as possible, even if there is no bass because 2 kickdrums hitting together sounds nasty on a proper system and deafens the listeners. and clashing bass aint really noticeable on a loud system but not really ideal especially as it sounds absolutely wank on anything under 60Db.

Another tip, especially if you struggle with the beatmatching (you should have it beatmatched b4 u make the transition ). Mix with the treble, especially useful when mixing breaks, it also eliminates the error when there is no bass, it gives a much tighter lock because perc samples are tighter and shorter than kickdrums

___________________

w: www.luketerry.com

quote:

Originally posted by Project T you should always take the bass out as much as possible, even if there is no bass because 2 kickdrums hitting together sounds nasty on a proper system and deafens the listeners. and clashing bass aint really noticeable on a loud system but not really ideal especially as it sounds absolutely wank on anything under 60Db. Another tip, especially if you struggle with the beatmatching (you should have it beatmatched b4 u make the transition ). Mix with the treble, especially useful when mixing breaks, it also eliminates the error when there is no bass, it gives a much tighter lock because perc samples are tighter and shorter than kickdrums

that's some good pointers Project T, i will surley try that, however i tried before but never really fully tried so ill give it a go.
thx again

___________________

http://www.myspace.com/housessive
http://www.housessive.com/
Housessive Blog


Housessive now on Beatport!

nice tip
project t, good job!

i do simular what you do
but without, the bass fully cut
i usually leave 25% bass open on incomming (90% of the time, when i mix)
sometimes full 100% bass cut on incomming

quote:

Originally posted by DJ Mikey Mike anyone have any tips? This is definitely my greatest weakness. I get both tracks nicely matched, and i bring in the second track on a kick so that both tracks are playing at full volume on the main speakers. I may even turn down the mid of the track im bringing in to reduce clashes. Ok so all is running smoothly, and all i got left to do is swap the basses and fade out the first track. But this is where i fuck up. I like to go for that subtle bass change over, but i cant seem to pull it off. One trick ive been taught by a friend is to totally remove the bass 4 beats before a kick, and then on the kick bring in the bass full on the new track. This can sound mint if pulled of correctly, and is very aggressive yet effective, but only works for certain tracks that are full of energy and pace.. So pls share any tips u may hav on how to do a good bass change over

I think the key to a succesful bass changeover is having to tunes that actually go together so u don't get that awful sound as the two beats clash.

id agree it helps if the 2 tracks sound kinda similar but doesnt always have to be the case as long as you can either be
A) creative when mixing
B) decent at mixing OR
C) me

___________________
This was a place of fun and madness that is sadly long gone now

All the best to all the UKTAs

08/01/16

Big Dave/little Dave

quote:

Originally posted by big dave id agree it helps if the 2 tracks sound kinda similar but doesnt always have to be the case as long as you can either be A) creative when mixing B) decent at mixing OR C) me

___________________
Trance is a drug, once you experience it, you're addicted!!

quote:

Originally posted by Project T you should always take the bass out as much as possible, even if there is no bass because 2 kickdrums hitting together sounds nasty on a proper system and deafens the listeners. and clashing bass aint really noticeable on a loud system but not really ideal especially as it sounds absolutely wank on anything under 60Db. Another tip, especially if you struggle with the beatmatching (you should have it beatmatched b4 u make the transition ). Mix with the treble, especially useful when mixing breaks, it also eliminates the error when there is no bass, it gives a much tighter lock because perc samples are tighter and shorter than kickdrums

Personally, I've never had a problem with "deafening the listeners" and I don't think that there are any "should always" or "shouldn't always" techniques in djing. That is the whole point isn't it? To make your transitions original? I don't have a problem with beatmatching, but for those who do, and have to adjust the tempo during the transition...which I have to do sometimes...it makes it harder to hear if you eliminate the bass completely because you usually also eliminate part of the midrange too (due to the large frequency range that is eliminated with the bass eq--depending on what mixer you have). Again, this is just my technique and it works very well for me.

Also, I find that because some of the mid range is taken out, that it makes the song sound very queer as one increases the live volume for the cue track. As I said in my original post, the less I adjust this, the harder it is to tell when the transition is taking place. Part of my technique is also to lower the volume of the outgoing track in addition to lowering the outgoing bassline volume, because if you ever have to cut over,then you cut over to a track that has no bassline! That is no good.

Again, this thread is all about making a seemless transition, and the more you turn your knobs, the more noticable it has the potential to be...Don't get me wrong, you can make a very good transition by cutting straight over, and I've heard plenty of djs do just this very well, but damn straight I know that the transition just happened.

___________________
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.

quote:

Originally posted by Project T i wonder which friend told u that i generally do that when picking up the pace of the set or when the tracks aren't perfectly in sync so u can concentrate on holding them together rather than swapping the basses as it allows u to do it with 1 hand free to correct. every track is different though, and you should use all 3 (if you have them, and 4 if u have them!) to make the tracks merge together as perfect as you can, DJing is not a science but it is nice to know what to do, but don't get too stuck up in technique. But for a general rule, try this, I just have this transition memorised in my head for some reason lol. This is for Eon - Pocket Damage to Gouryella - Tenshi... The is a little break b4 the melody kicks in again at the end of Pocket Damage, get Tenshi ready to throw in, and when the beat comes in throw Tenshi in. Make sure you use the channel faders to do this. Now i'll do this bit in bullet points so it's easier to understand... • Turn the bass EQ fully down on Tenshi, and the treble between 1/3 and a 1/2 down, and the mid about 1/4 down • Now you have a choice here... either fade Tenshi up gradually during the Pocket Damage melody or slam it in at about 7/8 on the channel fader • Gently fade the treble accross so that Tenshi treble is now reset to 0 and Pocket Damage treble is down to roughly where Tenshi's was previously. Also fade Tenshi up to 10 on the channel fader. • On the next crash following the melody, swap the mids over quite harsly and bring Pocket Damage down to 9 • Now on the next crash, swap the basses over, either like your friend told u to or however you want to. • Finally you have a choice how to take Pocket Damage out, either way Pocket Damage finishes when the Tenshi build melody kicks in (I'm 95% sure on this, not 100%) You can either fade Pocket Damage slowly down to 0 on the channel fader or you can bring it down to the 5 mark which, the latter will give a more distinguished end to the transition. Either is fine and is up to personal preference and the speed you are playing at and where it is in your set Hoped that helped Mike lol Luke

you no i never got round to doing this transition but im gonna do it now.. when u say:

"• Gently fade the treble accross so that Tenshi treble is now reset to 0 and Pocket Damage treble is down to roughly where Tenshi's was previously"

do u mean fade tenshi treble up in proportion to fading pocket damage down?

and i wasnt quite sure on where to queue tenshi.. if memory serves me correct pocket damage has a very short second breakdown.. shall i just queue it on the first beat? and what beat shall i start fading. im gonna go and do this rite now, but im curious to see if what im about to do is exactly what u meant.. cheers luke

Mike

quote:

Originally posted by Bryant Good job, Project T! The smoothess way to mix is it use all your EQs; highs, mids, and lows.

if i understand u correctly u mean to turn up every freq. at a time, well i find it really difficult cus u wont heaar anything on ur phones... i find the smoothest way is to do a "compressor mix", turning a track up to say 8 on ur mixer w/bass down a bit (or however u feel like it) and when u do the transmition u turn the incoming track to full on ur mixer and ur outcoming to 8... and also add a touch of ur hearing, u should hear if its good, allways trust ur ears!! its really easy to mix well and even seamlessly if u know what ur supposed to hear when u mix (=know ur tracks well and knowing how they sound when mixed)...

___________________
Music----is----universaL

Pay a visit good fella:

Xetro's MySpace

Xetro's Facebook page

yea i am too tired to look through all the replys so if its been said then forgive me. Try phrase matching. its the only way to make a smooth transition. when a new phrase or hell even every 8 beats bring in the bass a bit more. it won't go like this every time but practice phrase matching.

also most importantly just because you found a way to do a smooth transition doesn't mean you use it every time you mix in a new song. the crowd usually loves the dj when he is risky or unpredictable. what sucks though is that if you screw up live they remember your mess ups more than your amazing transitions so do be carefull!

Some good posts in here, very refreshing to know that im teaching myself the right moves when eq'ing

Please feel free to elaborate on this.