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Dropping Trance Tracks
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| Mark_K |
Hi Guys
Im fairly new to the mixing world, but am trying out this technique with trance music.
I hope i've used the correct terminology.
Essentially what im doing is rather than mixing in two tracks within each other, im making an abrupt change to a mix, as i find it can be a good effect if done correctly.
On a 1-2-3-4 count, on the second one, im dropping in the next track, however what i want to from the guys that use this technique is, do you cut from one track to the other using the cross fade, or do you kill the bass on track A whilst bring in track B from a cue point?
I've been doing the latter, in which im only killing the bass, with the highs and mids still playing in the background which adds a piece of layering to the now dropped track B, whilst eventually mixing out track A.
Is this technique still considered 'dropping' given i haven't cut from track A to B with the cross fade, and if so, which method do you guys prefer?
Thanks for your help. |
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| junkproject |
| For me, Pitch to match bpm. Find a good cue point, beat match and start all eq at kill. Than eq the track slowing in. For electronic music I never touch the crossfader , I leave it at center. Looping is also an easy trick to mix in a track. |
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| rubez |
woundn't call it dropping unless you bring in the full track at a key moment.
prime example, and one of the most fun tunes to do it with is - in the beginning, ferry corsten mix.
drop that sucker whilst making an instant compensation on the suddenly-outgoing track. fading this track in is lame. it should drop 100% right on the bassline (at the 30-second mark) as a surprise and provide a great reaction.
veracocha has a great mix point too. though you fade it in firmly, just a second before the bassline hits, to get that classic veracocha sound effect cutting through your mix, making way for one the dance music's best basslines.
people will instantly know what is coming up less than a second before the bassline hits :cool: |
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| Dykes_on_Jay |
don't play trance.
thank me later. |
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| Rodri Santos |
| with trance what i usually do is start playing the 2nd track in the drop after the breakdown which should be 128 beats from the end of the song, then you can drop it on the 64th beat, generally using a combination of fader + bass and having settled previously the mids highs on headphones. Timing with the bass is essential the rest depends on the track. |
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| Mark_K |
Thanks for the replies.
I definitely haven't been counting total beats of a bar or a section to date, more so just picking spots i think could work and practicing the count in my head and nailing the drop, which can be difficult at times if your timing is slightly off and you're not using the cross fade.
I don't know if this will help explain it, but im dropping in John O'Callaghan - Smokescreen (Sneijder Remix) at 1.49 of the track on top of Michael Jay Parker, Jan Miller - Shinowata (Paul Webster Remix) at around 6.51 of this track.
I like the energy and frantic vibe you get when playing at 138-140 BPM and you jump from an intense part of track A to the beginnings of face melting in track B.
I haven't used the cross fade on the following '1 count' as it sounds to sharp of a change.
With the above example, having Smokescreen setup already in terms of EQs prior to the drop, then killing only the lows on Shinowata makes for a nice layering with the outgoing melodic vocals, which you can hear in the back ground of Smokescreen.
I guess the reason im trying this out is because i believe i've heard the likes of Indecent Noise, O'Callaghan etc use it in their sets. Well, im assuming that's what they did. Trying to develop an ear for techniques and effects that are being used on sets.
Is this a commonly used technique in trance or is it more of a hip hop kind of thing? |
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