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Originally posted by Rodri Santos i've never used the crossfader for mixing, it changes the dominancy of the track too fast to be smooth. I've seen some people using it on youtube videos but looks more difficult personally i mix with both faders up and use the eqs.

Mixing with the crossfader was a technique I learned as a kid. When I got back into djing many years later, I immediately went back to it. How I was doing it with dance music was mixing with the xfader and the pre gain. My live tracks pre would be at say one o clock, and my next track would start at around ten. As I would transition, I would slowly bring up the pre as the xfader would decrease. Using center of the xfader as my cut/gain point, the pre gain increase would compensate for the decreasing track. Attempting to keep it seemless. During all the process cutting/boasting eq at the sametime. The drawback is it has to be so precise when you think about the total db and keeping at the same level. One mishap can throw it out of whack.

But recently I started practicing as you described it and done away with xfader. It's tricky but I'm finding it to be easier now. That's why I was curious how he was working transitions since the xfader does present some affect on your eq.

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Originally posted by Nemesis44 EDIT - A crossfader is totally pointless for what we do as a general rule. Does depend slightly on genre, i.e. your Drum and Bass, Breaks and Dubstep guys might have a different opinion but for 4 to the floor EDM it?s not really much use.

Terrence Parker begs to differ:



(as do I )

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When im doing the eqing between bass lines i pull my ear away from headphones and listen to the main/house speakers. Try not to listen to the bass - feel it! Deaf ppl can mix basslines (if they were using a program with auto beatmatch).

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Originally posted by discobiscuit When im doing the eqing between bass lines i pull my ear away from headphones and listen to the main/house speakers. Try not to listen to the bass - feel it! Deaf ppl can mix basslines (if they were using a program with auto beatmatch).

Your theory could work if you're standing next to the house system. In most scenerios, it can be difficult if you consider delay. The time it takes the source to reach the pa. I would suggest using a sub in the booth besides a full range box. Also, not every dj booth is gonna set up in the ideal location.

My companies sound systems, you really can't feel/hear the subs from behind them. Only when you're standing in front of the them. Cardioid Subs.

Last edited by Brandt Slater on Mar-12-2011 at 00:05

it's true that when music is loud if you drop the bass or you change it you notice like "wind" it's a strange feeling but yes i suppose it works, it's like getting into the music, if you don't move your feet/head while mixing it's harder to beatmatch, i find it harder at least, if you are "dancing" when i press play usually is already on bit, i just have to move the pitch a bit.

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Originally posted by PivotTechno Terrence Parker begs to differ: (as do I )

Crossfaders are great if you want to scratch or cut it all up but it's bad to rely on them because nearly every club mixer I've ever seen, has had completely destroyed crossfader (crackle/pop/bleed etc).

You're better off slapping it in the middle (as long as it's an equal curve fader with both channels at 100% when the fader is at the half way point) and then using the upfaders to mix with.

I use the crossfader as it's perfect at home but always know in club, it's best not to risk it.

I hated faders. ALways wished there were kill switches. Using faders except when you intentionally want have a creshendo with one particular element you intentional want to increase gradually wreaks of lack of self esteem. I always remembered watching the hacks slowing inching the fader hoping it doesn't suck. A good dj will just drop it with the right eq setting knowing it is in phase making it appear like another loop to the track and completely intentional and less obtrusive. I always approached mixing like adding a loop. When you want to mix, have the eq right and the level right and just press on. Makes much more sense from a compositional aspect, it shows confidence and just makes more sense. I also hate when djs try to make it so you can't tell a new track has started. What a self defeating way to mix.

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Originally posted by djkatmaus Your theory could work if you're standing next to the house system. In most scenerios, it can be difficult if you consider delay. The time it takes the source to reach the pa. I would suggest using a sub in the booth besides a full range box. Also, not every dj booth is gonna set up in the ideal location. My companies sound systems, you really can't feel/hear the subs from behind them. Only when you're standing in front of the them. Cardioid Subs.

yeah.. the place I played at on friday - it was extremely difficult paying close attention to the club's sound system. It was very difficult to hear from where I was standing (telling wether my basses sounded good together) . but I suppose that's just tough luck for the dj - if you can clearly hear what's coming out from the sound system then take full advantage of that and check on those if your basses are sounding good together..

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Originally posted by utdarsenal Kind of I think? you know how when you're playing two songs with heavy basses at the same time, how the basses sound pretty bad when they're both going? well I know a lot of good dj's don't put the bass down on their upcoming tracks, they have it halfway or something or the mid's down a bit too, and slowly fix the basses to make the switch pretty unnoticable so it's not just complete bass switch.. it's kind of hard to explain .. but anyways it works really well on some songs, but on others it's a train wreck and the basses sound horrible, i'm wondering how you can tell if the basses are going to clash before putting the upcoming track on.. i've seen many dj's do it with no problems at all. I've tried listening to both tracks at the same time on my headphone on stereo before putting the second track in but it's really hard to tell.. do you kinda get what i'm saying? I don't know if I'm explaining good

i know exactly what your saying. I have not yet found a way to visually tell if the bases will cancel. What i like doing is keep bass neutral on both tracks, but as fading into the new track, take bass of the old track down at the same rate your cross fading, sometimes a bit quicker if you notice them to phase out