pretty much the only advice you are going to get is practice. There is nothing more to say.

yeah, practice and learn your own technique


thats what i did, and when other djs watch me spin , they get really confused as to what im doing and how im doing it

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Ride the bassline all night long

practice practice practice.

thats what paul van dyk tells tiest0r every day

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...I'll be back for breakfast

quote:

Originally posted by Basstard practice practice practice. thats what paul van dyk tells tiest0r every day

lol

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Pick two vinyls that you have, toss them on the decks. Then for an hour, mix using only these two vinyls. When I was learning, doing that resulted in my biggest gains in knowledge/ability.

Only downfall, by the time you are done, you will most likely be sick of the tracks...

First off, find out what the pitch resolution is on your decks. The lower it is the less work you'll have to do making corrections during the mix and if it's not so good, at least you'll be able to anticipate having to work during your mixes. When you want to make a correction don't touch the vinyl. To slow the record down just do a little drag on the platter with your finger to get it back into place. To speed it up you can twist the spindle a little or physically push the record forward a bit. Now bear in mind these are pretty crude techniques you can use while beat matching that, if you use live, might make a noticeable change in the song pitch. Now, if you feel up to it and want to avoid the possibility of mucking up the mix then you should try to learn pitch bending. This is using the pitch slider to bring the record back into sync (if you want to learn more about this then search these forums, you'll find alot of info). And lastly, practice the hell out of it. It's the only way you'll ever get it.

quote:

Originally posted by Wraith practice the hell out of it. It's the only way you'll ever get it.

Here's some things to work on:

1) cueing -- learn how to start the vinyl so the beats are right on top of eachother.. it's just a handtrick, really.. scratch over the first beat in time with the record that is playing, and let it go at just the right moment. you'll get the hang of it, practice practice!

2) pitch riding -- you shouldnt ever touch the moving platter.. not until your good at it, and in emergencies only. too little control. instead, use the pitch fader to speed up or slow the record down. when you get good at it, you'll be able to "drag" the record by slamming the pitch fader up or down quickly, then returning it to exactly its original position. when your good at it, it's really accurate and very quick.

3) level matching -- you've got to get the records at just the right level, so they mix smoothly. dont depend on your meters, go by ear! this is all done by properly adjusting the channel gain so the records are at a similar level.

LEVEL MATCHING
^ a way i find really good is putting the channel crossfader in the middle and using the channel faders up or down to adjust the sound intensity.
you can bring the volume up to what you want while trasitioning, this makes for even levels for a smooth mix. then i just enable the eq.
honestly i think eq and fader level are very important and some dont learn properly.

Is there any known disadvantage sound wise, having your crossfader in the middle? just a curious question

thanks for the positive feedback practicing ftw. a couple of quick questions maybe. I use Technic Mk'2s so i dont know abotu the pitch fader in relation to other tt's. I level the tracks by playing the incoming record in the middle somewhere and putting both channels on my headphones and matching it that way -- anyways, firstly, i find that when 2 kicks (kick drums) are mixed they seem pretty lousy,( hard to explain, do i kill one of the kick drums? ) second, i find myself touching the platter a lot ( i raise the pitch and speed up the record by pushing on the label at the same time so i could try to hit a kick from the other record. I dont feel pitch bending is anywhere near me right now although i have a good ear and i do understand the procedure. I found that its pretty hard to mix when the records have big BPM gaps, or start off really soft with a softened kickdrum. another thing haha.. i know theres no real way, but if you were to suggest a way of killing ranges when mixing, which would you kill from the record playing or and the incoming record. thanks for the long read and have a great day.

Last edited by bpm141 on Mar-23-2006 at 13:29