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Is there a proper way to do transitions in dance music (especially in house and trance?)
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| Mattsanity |
| Beatmatching and key mixing are no-brainers, but what about the other aspects such as when to cue in and cue out? I've heard how Paul Oakenfold caught flack for his transitions back in the day but from the naked eye, they didn't seem too bad. |
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| miamitranceman |
| There are definitely the moments where it’s the typical transition point but you don’t always have to transition at that particular point. As long as you’re in the correct phrase, sometime a little earlier or later is better. And even if you do use the Typical point, there are many different ways to actually achieve the transition in terms of working the EQs, filters etc. That’s the fun of mixing electronic music! |
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| Mattsanity |
| Tru tru. The point is to have fun. |
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| SYSTEM-J |
If you know how to DJ, you can figure out what most DJs are doing just by listening to them mix. It quickly becomes obvious that every DJ out there mixes slightly differently and programmes a set slightly differently, and from that you take the things you like and try to replicate them in your own sets.
For example, I don't like DJs who cut the bass between every transition because I think it's boring and predictable on a dancefloor, but it's a very popular style of mixing. I don't like DJs who mix out very early but some DJs love it. You need to find your own style and not give a about what's "correct". |
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| Guest |
| Yea many different flavors. My only preference is that the dancers be considered. If you're causing them frustration something's probably wrong. |
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| miamitranceman |
| quote: | Originally posted by SYSTEM-J
If you know how to DJ, you can figure out what most DJs are doing just by listening to them mix. It quickly becomes obvious that every DJ out there mixes slightly differently and programmes a set slightly differently, and from that you take the things you like and try to replicate them in your own sets.
For example, I don't like DJs who cut the bass between every transition because I think it's boring and predictable on a dancefloor, but it's a very popular style of mixing. I don't like DJs who mix out very early but some DJs love it. You need to find your own style and not give a about what's "correct". |
Yes, that’s why I find big room house boring for the most part. I love when you hit the bass swap, not cut, at just the right point. |
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| keithos27 |
| Pay attention to the phrases... different energy levels depending on which phrase you mix in/out of. |
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| the-sixth |
| quote: | Originally posted by Mattsanity
Beatmatching and key mixing are no-brainers, but what about the other aspects such as when to cue in and cue out? I've heard how Paul Oakenfold caught flack for his transitions back in the day but from the naked eye, they didn't seem too bad. |
Enjoy :eyespop::haha:
7:55
12:55
15:08
21:32
https://soundcloud.com/pauloakenfol...fold-radio-1-32 |
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| miamitranceman |
The comments popping up during the train wrecks are hilarious. But seriously, ouch. It sounds like he just slamming the faders up and barely eqing. If you’re gonna do that you better make sure you’re properly matched and the bass isn’t clashing. |
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| Mattsanity |
I forgot about this. He's a legend though, let's cut him some slack. |
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| Dj Pluviose |
| Having a mixture between long transitions and short transitions is good too. Can't have them all one or the other. |
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| SYSTEM-J |
| The issue with Oakenfold is less that he shanked transitions (although he did) and more that he clearly had no confidence in his beatmatching so would never hold long transitions. He also tended to mix out right at the end of tracks to make things easier. As a result, a lot of his old sets sound like the tracks are very barely glued together. There's very little layering or blending. It's functional, but not much fun. |
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