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Beatmatching Question (pg. 4)
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| Jarvmeister |
| quote: | Originally posted by Nemesis44
Nope you are not retarted at all... if in doubt ask. Always best. :) |
Nem: The nicest guy on Tranceaddict?!! :) |
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| SebG |
| quote: | Originally posted by Nemesis44
Nope you are not retarted at all... if in doubt ask. Always best. :)
But you are correct, we do not use the crossfader.
It will seem a bit alien at first but if you try it you will soon work out why.
It opens up the EQ and gain control in a very different ways and the control you have over the mix and overall levels is infinately better.
Try it, trust me.
Cheers
Nem |
Okay so when you bring in the other song, how the hell do you mix it in? Is the cross fader left in the middle untouched and you just use the channel faders?
I understand the whole concept of using eq's and such. |
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| Zild |
| Push one channel fader up while you bring the other down. |
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| DJ RANN |
| quote: | Originally posted by Zild
Push one channel fader up while you bring the other down. |
Beautiful.:D |
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| SebG |
| quote: | Originally posted by Zild
Push one channel fader up while you bring the other down. |
with the crossfader in the middle?
i have a djm 600 btw |
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| pkcRAISTLIN |
| quote: | Originally posted by SebG
with the crossfader in the middle?
i have a djm 600 btw |
im not saying this is the ideal way, but this is how i do it (in the club, its a little different at home due to volume issues)
cue the incoming track
with the EQs, put the bass at around 8 o'clock
put the high and two middles to around 9 o'clock (your mixer has only 1 middle so its easier)
on the first beat of the next phrase, bring the upfader up 100%
then you fiddle with the EQs of both songs to enable a smooth transition. note, when playing in a club environment the most important aspect of EQing is the bass, because its the sound that fills most of the room. big bass changes should occur on the first beat of the phrase.
instead of using the crossfader to switch between songs, you use the EQs which gives you a much greater control over the mix. just practice with it and you'll be good in no time. its probably the easiest part of DJing (for me at least).
if you mix in key its even easier.
good luck and have fun :) |
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| CSB |
| quote: | Originally posted by pkcRAISTLIN
im not saying this is the ideal way, but this is how i do it (in the club, its a little different at home due to volume issues)
cue the incoming track
with the EQs, put the bass at around 8 o'clock
put the high and two middles to around 9 o'clock (your mixer has only 1 middle so its easier)
on the first beat of the next phrase, bring the upfader up 100%
then you fiddle with the EQs of both songs to enable a smooth transition. note, when playing in a club environment the most important aspect of EQing is the bass, because its the sound that fills most of the room. big bass changes should occur on the first beat of the phrase.
instead of using the crossfader to switch between songs, you use the EQs which gives you a much greater control over the mix. just practice with it and you'll be good in no time. its probably the easiest part of DJing (for me at least).
if you mix in key its even easier.
good luck and have fun :) |
8:00 is like practically silent on my mixer i dunno what ur talking about. |
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| pkcRAISTLIN |
| quote: | Originally posted by CSB
8:00 is like practically silent on my mixer i dunno what ur talking about. |
like i said, that the specific method i use in the club, where i like to bring the bass in all ninja-like. at home i might put it at around 9 or 10 oclock.
btw, there's no rule that says the bass has to be heard when it is brought in. i mix in key, so bringing it in all ninja-like allows me to do whatever i want with it once its in. normally i like a slow increase in bass volume punctuated with big changes at phrase points.
a subtle switch of basslines, say 12 to 10 for outgoing, and 10 to 12 for incoming works a treat when they're mixed harmonically. you get that wonderful "lift" in energy if its, say a -3 on the harmonics table. yum! |
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| CSB |
| quote: | Originally posted by pkcRAISTLIN
like i said, that the specific method i use in the club, where i like to bring the bass in all ninja-like. at home i might put it at around 9 or 10 oclock.
btw, there's no rule that says the bass has to be heard when it is brought in. i mix in key, so bringing it in all ninja-like allows me to do whatever i want with it once its in. normally i like a slow increase in bass volume punctuated with big changes at phrase points.
a subtle switch of basslines, say 12 to 10 for outgoing, and 10 to 12 for incoming works a treat when they're mixed harmonically. you get that wonderful "lift" in energy if its, say a -3 on the harmonics table. yum! |
i've always wondered about mixing harmonically. do you have like a table like mention aboved that says what keys work well together and which clash n what not? |
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| pkcRAISTLIN |
| quote: | Originally posted by CSB
i've always wondered about mixing harmonically. do you have like a table like mention aboved that says what keys work well together and which clash n what not? |
keeping things simple (there is much more to harmonic mixing than i am going to describe here, but imo its not that necessary if all we're talking about is mixing tune to tune). if you want more info, speak to someone who actually knows something! ;)
from the above wheel you can move between songs using this rule
0 (or same key)
+/-1
+4
+7
-3
thus if you're in 12A you can mix it with 12A, 1A, 11A, 4A, 9A 7A
please note that this is a general guide, sometimes songs wont work, but in my narrow experience in uplifting trance this is rare
you can also move between minors and majors of the same number, ie 1B to 1A. not sure if there are other major-minor rules, ask someone else ;)
if you increase/decrease the speed of a tune by 6% on a turntable, you have changed its key by one semitone (i think, i know all about theory) but on the wheel, its +7 if you've sped it up, and -7 if its down.
for the above rules to apply the tunes you are mixing between must be within +/- 3% (ie going more than 3% puts it closer to 6% than it is to 0%). thus if you sped a 12A tune up +5% on your deck, it wouldn't mix so well with the 9A at 0% (following the -3 rule) because it is actually closer to 7A.
i think that's all correct, nem if you're around feel free to correct me! :)
there is a really long thread here by nemesis44. search with "harmonic mixing" in the search bar if you have anything else :) |
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| tortoise |
| quote: | Originally posted by pkcRAISTLIN
from the above wheel you can move between songs using this rule
0 (or same key)
+/-1
+4
+7
-3 |
thanks for the tip i only knew the first two. |
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| CSB |
| so just wondering how do i translate it from like minor and major to flat and sharp. |
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