Hi,

I have made some mixes in which the beat matching is very good IMO, tracklisting is good IMO but i had one question.

Lets say the i's below is the waveform of my mix for example:

iiiiiiiiIIiiiiiIIiiiiiIIiiiii

The capital i's is where the mix comes in and obviously there is a volume rise, it doesnt sound too bad when you listen to it, sounds like lots of good bass. However, when i put some pro dj's mixes into the wave editor it is mostly the same waveform patterns all the way through.

Now here is how i mix...lets say below is the cross fader:

A B

xxxxXxxxx (the capital X being the middle)

Lets say I mix from A>B, I usually slowly gradually start progressing the cross fader to the 4th x, let it stay for awhile, then when the point Track A starts to die out and track B starts to liven up, a quickly cross fade to the 6th or 7th x and then slowly fade out track A. So im guessing you either start playing around with either volume levels and bass levels but at one point on the cross fader do you turn down/up the volumes...any help would be appreciated...thanks.

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might wanna try using the channel volume levels instead of cross fader, I find it easier to control.

and if you don't want that big gain in sound, eq the bass down to like 1/4 or less and notch the mids and highs downa bit....I raise the channel up to about 75% er so. then move the volume up and eqs up whenever I feel like it, and do the opposite for teh other channel...just chank those eqs down.

As was stated, try using the channel faders instead. leave the crossfader in the middle. might seem awkward at first, but gives better control. EQ everything in your headphones to get a rough idea to match levels. once you bring in a new track, there's always adjustments to make live.

IT's Ture what havebeen said


Before I used the crossfader,but now I always leave the crossfader int he middle, and bring the new track with the EQ (High, Mid, Bass), you will get a better sound.

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My advice to you is to do what pretty much everybody on this board that been spinning for a while has done. Practice every type of transistion you can think of. I used to think there was a certain EQ formula that would make my mixes sound awesome but that's bollocks. I mix each song like I think it needs to be mixed at that moment. It all depends on the song and the flow of the set.

That being said I do have a generic EQ formula I usually start out with and then tweak it to fit where I need it. I strictly use the up faders and start with my incoming bass killed, mids at about 8-9 o'clock on the knob and the highs between 9 and full on. I then work each element in every 32 beat interval. Remember though. This is just a generic mainstay set-up I use. I rarely, if ever, totally replicate it in a mix.

The bass thing you described is most likely due to you not EQ'ing the lows. If you drop one track's bass full bore right on top of another you will get an audible rise in the bass usually making it sound all thuddy and, IMO, horrible. You can avoid this by trying to make each track's bass share a portion of the 100% mark. Meaning that if track A is at 70% then track B should be at 30% and if track A is at 20% then track B should be at 80% and so on and so forth.

What everyone else said. Leave that crossfader in the center, use the channel faders and work those EQs.

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Iv only used 2 other mixers before but that was a while ago so its hard to compare but my dxm mixer feels like everything is realy sharp. So i always use a combination of the crossfader and the channel faders.

quote:

Originally posted by Wraith My advice to you is to do what pretty much everybody on this board that been spinning for a while has done. Practice every type of transistion you can think of. I used to think there was a certain EQ formula that would make my mixes sound awesome but that's bollocks. I mix each song like I think it needs to be mixed at that moment. It all depends on the song and the flow of the set. That being said I do have a generic EQ formula I usually start out with and then tweak it to fit where I need it. I strictly use the up faders and start with my incoming bass killed, mids at about 8-9 o'clock on the knob and the highs between 9 and full on. I then work each element in every 32 beat interval. Remember though. This is just a generic mainstay set-up I use. I rarely, if ever, totally replicate it in a mix. The bass thing you described is most likely due to you not EQ'ing the lows. If you drop one track's bass full bore right on top of another you will get an audible rise in the bass usually making it sound all thuddy and, IMO, horrible. You can avoid this by trying to make each track's bass share a portion of the 100% mark. Meaning that if track A is at 70% then track B should be at 30% and if track A is at 20% then track B should be at 80% and so on and so forth.

So if i have 2 tracks for say with mids @ 50% each, it will be the same volume as 1 track with mids @ 100%?

Maybe im thinking 2 mids @ -12 db vs 1 at 0 db.

I didn't think it was liniar like that. I could be wrong though.

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provided you have the gains set so the input volume is roughly the same on each , then yes it will be 50/50 in the scenario described.
Obviously not absolute but very approx.

Not as critical with mids and treble where clashing and it being muddy is the problem, but certainly for bass

quote:

Originally posted by Freak provided you have the gains set so the input volume is roughly the same on each , then yes it will be 50/50 in the scenario described. Obviously not absolute but very approx. Not as critical with mids and treble where clashing and it being muddy is the problem, but certainly for bass

yea ive noticed that, definately with the bass.

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