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More mixing techniques
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| DJ_Laszlo |
Another one of these threads, but I don't think this has been discussed yet...
Anyways, here we go...
I'm wondering about how you guys are "planing" your transitions when brining tracks in? I play hardtrance, so I don't know if this works the same way with more melodic trance and uplifting trance - either way when I'm brining in track B, I start bringing it in early, and then I slam it in when it hits the peak (or whatever you call it) after the intro, (usually after 128 beats), and when track B hits that "peak", track A should hit a break, or end, and I cut track A...somewhere in the middle of this transition I cut track A's bass, and bang track B's in...and play around with it sometimes when I think it would sound good, like swaping the two different tracks basses, bring on in at full, cut the other, and do this back and forth a few times...nothing revolutionary about that, I think...but who are using this technique?
I use CD's, so for me it's simple...before cueing up a track I find that spot where the break comes, and memorize the time that is left of the track, when the break comes, and if the next track that I'm about to bring in hits is peak after 128 beats, then I know that I need to bring in track B 50-55 seconds before track A hits its break...(depending on speed of track), but you can figure that out if you count 16 by 16 beats...
How do you vinyl DJ's do this? It shouldn't be that difficult if you only use 16 or 32 beats in the transitions, or if you just make a smooth transition, like fading track B in and fading track A out, without any binging ins, and cutouts...but I like long transitions, bit fast cuts, so it can be hard to match track A's break with track B's peak with vinyl, since you don't have any timer to go by...
This was a little bit hard to explain, so I got a little bit fuzzy, but I hope you got my message...If anybody could make it any clearer feel free to edit this message...
peace
EDIT: Also I'm wondering, do you usually play the whole 7-8-9 minute long tracks, or just the most intense parts of it, like 3-4 minutes..The whole set gets more intense that way...I always played the whole tracks in my mixes, but then I got a "complaint" from somebody that a set can be a little bit dull and boring with tracks that are so long, so now I try to play only the most intense parts of the tracks, with some sweet breaks in some of them...Although it's a little bit more difficult do make a nice transition if when mixing in a track that isn't in it's outro... |
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| Busy Child |
| if i were u, i wouldnt mess with the EQs so much. Just worry about the beatmatching being on point. |
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| raveanddie |
| quote: | Originally posted by DJ_Laszlo
I use CD's, so for me it's simple...before cueing up a track I find that spot where the break comes, and memorize the time that is left of the track, when the break comes, and if the next track that I'm about to bring in hits is peak after 128 beats, then I know that I need to bring in track B 50-55 seconds before track A hits its break...(depending on speed of track), but you can figure that out if you count 16 by 16 beats... |
Hi. How do you count the number of beats? .. i know how to count the 4/4 beat. but how many beats are there in a second? |
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| DJ_Laszlo |
| quote: | Originally posted by Busy Child
if i were u, i wouldnt mess with the EQs so much. Just worry about the beatmatching being on point. |
The beatmatching is just fine...gets closer to perfect everyday...but it doesn't really matter how good your beatmatching gets is if you can't use the EQ's properly...of course it's the same thing other way around...you could be Godlike when it comes to playing around with the EQ's, and harmonic mixing, but without being able to beatmatch like a God, your pretty much useless...There should be a nice synchronation between these two mixing aspects, at least as far as I'm concerned... |
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| mikefasssy |
| yes, with hard trance mix out of first breakdown if you can. there are so many technically perfect mixes on digitally imported these days that bore me to death because there is so much time between breakdowns. you want to keep energy moving so zip from track to track. |
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| JohnSmith |
yeah, but the part after the first breakdown is usually the best! many songs get really going after that part, and you miss the best part of the track if you mix there.
i guess you could start the incoming track at the first breakdown, that would fix the problem. then again, every track is different. |
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| 24K |
| Reading vinyl is much like reading a book,,, you can almost always tell when the proper time is to mix the next one in. And when mixing PROG you can sometimes mix though the entire breakdown and have nice layered mixes. |
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| Xavier |
who notice when mixing cds:
phrases are begin and end something like this
0:27
0:54
1:25
or...
0:41
1:10
1:36 |
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| Dj-Steve |
| quote: | Originally posted by Xavier
who notice when mixing cds:
phrases are begin and end something like this
0:27
0:54
1:25
or...
0:41
1:10
1:36 |
I didn't understand what u said dude! :rolleyes:
anyway, when mixing hardtrance just remember to go from track to track that has the same structure in the hihats. it sounds much better instead of the different structure which will give the effect of "trainwrecking". It's just an effect though, it's not real. It's what the ear receives as sound but you know that you don't trainwreck the mix. So keep my advice in your mind; remember the hihats :) |
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| chesco |
| i may be wrong but if you mix by the same formula time after time doesn't it sound a bit bland and uninspiring. why not try to experiment a little more. |
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| Breeze |
get to know ure tracks... i never counted beats , how da hell do ya?
just listen to carefully and feel the music within |
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| Dj-Steve |
| quote: | | Originally posted by Breeze just listen to carefully and feel the music within |
nice reply dude! ;) i believe there's a small talented DJ hiding inside you! :D |
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