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quote:

Originally posted by Great Outdoors you realise that the nature of the basslines are so different that you feel more like Judge Jules than Sasha when you're mixing it.

that one is a funny but i think your problems is that you dont know your records well. The more you get to know your records you can picture the mix in your head and how it will sound.

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quote:

Originally posted by Great Outdoors Do you guys face these problems sometimes when you're mixing? Just wanna make sure I'm not alone.. You know the times when you're absolutely sure that this next track will link up perfectly with the previous one, and then when you cue it up you realise that the keys clash or just doesn't sound right.. then you end up spending the bulk of the playing record's time searching and cueing up alternatives. Or the times you're forced to compromise track quality with technical competence? It's like you have a perfect record to fit in after the existing playing one, same keys, same energy levels and everything, but the record itself just doesn't sound so good or it's really not your style, but you cue it up and release it anyway. Or when sometimes you're cueing up this great track which will sound perfect after the one which is playing, but you realise that the nature of the basslines are so different that you feel more like Judge Jules than Sasha when you're mixing it. Do you give up the track and search for another one?

thats exactly like me!!!

i put it down to the following:

- lack of experience (only been mixing for 2 months)
- havent got to know my records really well yet, so sometimes i am wrong in my assumptions
- not enough practice, havent quite got key matching yet

so basically for myself, i think it will improve with time and practice (as long as i keep learning and improving!). the thing i like about prog though, is that its extremely satisfying when you do do a clean mix, because the tracks are usually much more complex

Learn your records, that's the best advise anyone can give you!!! Best way to do it, is at home, turn down the volume and set all eq(s) at 0, and learn to LISTEN to your records, not just hear them, ie. learn the frequency of the tune and then you'll know which records go better together and which don't. IT TAKES TIME, SO DON'T RUSH IT.

Good Luck!

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Many thanks for the constructive input.

"Or the times you're forced to compromise track quality with technical competence? It's like you have a perfect record to fit in after the existing playing one, same keys, same energy levels and everything, but the record itself just doesn't sound so good or it's really not your style, but you cue it up and release it anyway."

What about this one? Do any prog DJs here play tracks they dont like just to make the mix sound nice? Which is more important; doing a clean mix or emphasising your style?

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quote:

Originally posted by Great Outdoors Many thanks for the constructive input. "Or the times you're forced to compromise track quality with technical competence? It's like you have a perfect record to fit in after the existing playing one, same keys, same energy levels and everything, but the record itself just doesn't sound so good or it's really not your style, but you cue it up and release it anyway." What about this one? Do any prog DJs here play tracks they dont like just to make the mix sound nice? Which is more important; doing a clean mix or emphasising your style?

it depends... what are u mixing for? if im mixing to a certain audience ill try to make them satisfied, but i will keep it in a frame, i wont for example start to play those cheesy house versions of mtv songs in my progressive set i will play more "happy" tracks tho if the crowd is getting bored from the deeper shit... if im mixing at home i keep it my style all the way, its fun also when mixing and stuff doesnt match (keys, etc..) just insert them correctly... u can insert a melodic track in a different key if the outgoing track had finished his melodic part, and u can do a fast bass transition if the basses doesnt match, just experience...

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try and get to know the record as best you can, for example, you know that the you'll really drop it after 32 bars, or 48 or 16 or whatever, and you know what it sounds like, you dont have to know the exact key it is in, ie A flat minor. just know what it sounds like and when you are mixing, just imagine in your head what it is going to sound like, you can even hum the two tunes together, or whatever.

A good way to get to know your records: download the full mix of them on mp3 and burn it onto a CD and listen to it wherver you go, it saves wearing your cartridges out by playing records for 6 hours a day

quote:

Originally posted by Great Outdoors but you realise that the nature of the basslines are so different that you feel more like Judge Jules than Sasha when you're mixing it. Do you give up the track and search for another one?

man everyone rags on Judge Jules at any and every oppurtunity they get

yeah i know what you mean.
but as everyone is saying, you just gotta know your records inside and out and which one's fit with others.
you also gotta work on developing a good ear for the keys and the melodies and being able to figure out which one's will sound well with others and so forth.
it takes just alot of practice and concentration.