I dunno if ya'll remember, but PVD mixed out of space bros and into solid sleep club attack. He dropped the bass so perfect and thats something I've been trying to duplicate. Do you kill the bass on the incomming song then slowly turn the bass down on the song playing and flip the kill switch at the right time?

Im really confused as to when to use the kill switches, are you supposed to just match the bass up and then kill the outgoing song or what?

on the pvd mix notice the delay between when the bass stop and when it drops from the new song... I know its pvd im talkin bout but i wanna duplicate it and i know i can do it...

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He's talking about PvD @ Rosenmantag 2.12.2002

Sorry forgot to mention which set, but u all know what "dropping the bass is" it was a general question....

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quote:

Originally posted by b0bb0 I dunno if ya'll remember, but PVD mixed out of space bros and into solid sleep club attack. He dropped the bass so perfect and thats something I've been trying to duplicate. Do you kill the bass on the incomming song then slowly turn the bass down on the song playing and flip the kill switch at the right time? Im really confused as to when to use the kill switches, are you supposed to just match the bass up and then kill the outgoing song or what? on the pvd mix notice the delay between when the bass stop and when it drops from the new song... I know its pvd im talkin bout but i wanna duplicate it and i know i can do it...

I kno exactly what you're talking about, I heard 'im doing that in NY this weekend. Don't want to start shiet, but I think he borrows the technique from d'n'b. I'm not exactly sure how it's done, but find yourself a d'n'b DJ to question about it, or post on Dogsonacid.com forum. Don't mention trance tho Just ask 'em how it's done

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Thanks bro, ive been tryin to figure it out. I thought i just sucked...

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You cant kill the bass of one track and then raise the other because it will be to obvious.
What you need to do is to slowly let the next track in, raise its bass and the other Hi frequencies, then you need to turn the bass in opposite directions, so it will sound like you never even touched it and then you simply fade it off using some effect or the EQ, I like to use the WAH effect on my CDJ-100S to apply that.

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quote:

Originally posted by Scorchio You cant kill the bass of one track and then raise the other because it will be to obvious. What you need to do is to slowly let the next track in, raise its bass and the other Hi frequencies, then you need to turn the bass in opposite directions, so it will sound like you never even touched it and then you simply fade it off using some effect or the EQ, I like to use the WAH effect on my CDJ-100S to apply that.

Exactly what he said..
also what PvD does is drop the bass and raise the treble at the same time for like half a second..
When the previous track turns from high bass to its lower bass sound, PvD keeps the song coming in with bass low... so this keeps the beats on a low level, the after 32 beats, the new song raises its bass (or you do that) and it sounds quite good...

PvD is marvelous with the eq's..

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So what's generally the best way to introduce bass? Cut the outgoing one right off or slowly fade in the incoming one? The first one doesn't sound quite right, but the second one won't sound good (I don't think you're supposed to FADE IN the bass?).

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I usually fade in/out the bass gradually, but there certainly are other ways. Here I'm going to refer to the cued track as B, and the playing, outgoing track as A. One example is to bring in B with only a tiny amount of bass, then 2-4 beats before the end of a bar, turn the bass almost all the way down on A (this means that there aren't much bass at all, but only for about a second or two). Then drop in the bass fully on B while at the same time stopping (or just let it play without much bass) A. This can create some interesting transitions.

Hope somebody understands what I'm saying here

quote:

Originally posted by Great Outdoors So what's generally the best way to introduce bass? Cut the outgoing one right off or slowly fade in the incoming one? The first one doesn't sound quite right, but the second one won't sound good (I don't think you're supposed to FADE IN the bass?).

It changes between various styles and tracks.
If you got a like a climax where the bass begines to be really hard and strong in the incoming track, you cut the bass.
But if both tracks are solid you fade.

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PvD didn't drop the bass in the transition between Space Brothers - Everywhere I Go and Solid Sleep - Club Attack. PvD's rework of Everywhere I Go naturally has the high's dropped. The bass is still steady.

If you listen to Club Attack's beginning there is still a round bass coming from Everywhere I Go.

quote:

Originally posted by zapper I usually fade in/out the bass gradually, but there certainly are other ways. Here I'm going to refer to the cued track as B, and the playing, outgoing track as A. One example is to bring in B with only a tiny amount of bass, then 2-4 beats before the end of a bar, turn the bass almost all the way down on A (this means that there aren't much bass at all, but only for about a second or two). Then drop in the bass fully on B while at the same time stopping (or just let it play without much bass) A. This can create some interesting transitions. Hope somebody understands what I'm saying here

Hi Zapper, this looks really interesting but I can't really figure out what you're trying to describe; can you go into a little more detail, and possibly simplify the descriptions a little for dumb-asses like me?

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