Hey all i need some help please. ok here do i start. hmm ok here goes. Now i know it's programming that helps make a mix sound smooth. Lets sart by when u go to a shop and buy vinyl how do u know u have a track that mixes in with the one u are buying. i mean i recently bought tracks and i can't seem to find other tracks in my collection that woul fit the tracks i just bought. the reason i bought these tracks is cause i like the sound in them and the general feel of the tracks. How do u guy's mix? I also have alot of trouble with certain ryhthm's. is there a way to mark on a record the rhythm of the track. Please help me get sarted on the right track. i can beat match very well. i sorta understand phrase mixing but people can explain that to me aswell if they like. the only prob i have is finding right tracks to mix into each other and making it sound close to perfect. Thank's for any suggestions. also i have tried mixing certain tracks from different comp's and tried to work out why they work together so well but i just can't figure it out eg i would get 2 tracks from let's say digweed's gucd and mix them like he does and try work out why he places the mix where he does, certain rhythm etc. :D

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good question mate...I've basicly learned how to mix by mixing things that are not "clicking" together at first :) mixing is important but if you want to know truth some or most of the compilations are mixed on pc's (that I am sure made by dj was zabiela and lisle compilations ) anyhow the best way is to visualise how those will sound together and then mix them...working with eq is a key to success...another important thing is crossfader but thats a thing that each one of us had to learn by himself.Why they sound so perfect ? because mastering and sound engineers worked hard for each sound to be perfect :) you can do it at home just for your ears by hard working and trying to separate each one of the sound...now when i am mixing i hear not a song as a phrase but phrase full of sound which makes me mix track for minute or more...that is also important some of the songs are good only mixed by short way (just quickly move crosfader to the second track and you will know) and others are good mixed for few minutes hard to judge at first but you will do it in few years :) good phrase selection is success for you as a dj and for a listener of your set so...go and challenge this sound

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Johns I've noticed that digweed uses the filters on the A&H mixers instead of using the eq's. If you've ever tried it you'll learn that it controls the sound much more effectively since you are sweeping across multiple frequencies rather than what you are limited to on the individual eq knobs.

As far as programming, this doesen't always work well but does do about 90% of the time, try starting the first beat of your queued track just following the last breakdown in a song. Since this is where most producers start winding down tracks it makes for a great place to introduce the new one. Introduce the highs first and then at the right time (you'll know it) swap the bass over to the second track. Also another something that has helped me is what I call a one armed approach. Act as if you only have one hand to use. Instead of turning down one bass knob and turning the other simultaneously try turning the bass back on your outgoing track first (about a 1/4 turn) and then on the next bar turn the other one up. I've found this makes for a much smoother, less noticeable mix. Hope that helps.

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[quote=neoee]Johns I've noticed that digweed uses the filters on the A&H mixers instead of using the eq's. If you've ever tried it you'll learn that it controls the sound much more effectively since you are sweeping across multiple frequencies rather than what you are limited to on the individual eq knobs. [/quote]

Im not sold on this to be honest and i wouldnt recommend any dj to do this. Last thing you wanna do is have the crowd covering there ears because there is excessive hiss coming through on the mix. i have an xone:92 and this techique, it dont sound right! Its all about tweaking the mix. Use the gains and the up fader to make a consistent sound. bring the up fader in and use the gains to control the levels. remember, once it is locked the only thing most djs needs to do - is cut and bring in the frequencies. And if the tracks are right it works....

[quote=neoee] As far as programming, this doesen't always work well but does do about 90% of the time, try starting the first beat of your queued track just following the last breakdown in a song. Since this is where most producers start winding down tracks it makes for a great place to introduce the new one. Introduce the highs first and then at the right time (you'll know it) swap the bass over to the second track. Also another something that has helped me is what I call a one armed approach. Act as if you only have one hand to use. Instead of turning down one bass knob and turning the other simultaneously try turning the bass back on your outgoing track first (about a 1/4 turn) and then on the next bar turn the other one up. I've found this makes for a much smoother, less noticeable mix. Hope that helps.[/quote]

This i agree with mate. 8) Buy tracks thats sound like they'll fit, thats the keys... when im on beatport i'll think, warm up, peak time and ''just go for it'' kind of tracks.

make sure you post your mix on here for us mate... :) :CandyPop:

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[quote=BobbyJassi]Im not sold on this to be honest and i wouldnt recommend any dj to do this. Last thing you wanna do is have the crowd covering there ears because there is excessive hiss coming through on the mix. i have an xone:92 and this techique, it dont sound right! Its all about tweaking the mix.[/quote] You don't actually sweep the filter all the way to the right (when on high pass), only about mid way, enough to cut out the bass. Also have resonance set to the middle as not to add to the sound on either end (not that it should make a difference on the highs when in high pass). I went to see diggers in Vancouver one time and they had a camera looking down on him which they projected onto the screen above, thats exactly what he was doing and it sounded fine. I've personally used this on my 62 many times and I get much smoother mixes out of this than the traditional method. I don't know if you've tried it but next time you get a chance try it out. BTW nice mixer.

edit your still using the upfaders and xfader the way you normally would, this is only for the eq'ing bit.

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Thanks guy's i will try it tonight if i get a chance. i will upload my set to u guy's i don't think it will be any good but i will try. any other suggestions? Also when i do my mix how would i use say megaupload to upload my file. and does mega and u send it cost anything to upload a file onto?:p

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programming a set = knowing your records. No filter bullshit whatsoever: by knowing your records, you will be able to determine if the one you're holding in your hand is going to fit in nicely with the rest of your collection in the first place.

Your records are your instruments too: know them inside out, preferrably so well that you can mix them in your head...

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^^^^^^ good point

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I think it has also to do with the genre the records are.

For example, i find it more difficult to mix deep progressive than progressive house. In a set, when i go over to the more deeply stuff, it's hard for me to build up for 40 min. because most of the time, those records have such a specific melody that i hardly can mix together. For that i'm obligated to change back more quickly to the more housy stuff.

Don't you agree that the genres you are into play a factor?

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Ok guy's thanks for your help. but knowing your tracks how do u memorise them. what are he certain features or elements that are most important to remember? is it the bass line melody rhythm etc. sory i must soundlike a total mron but i would like some help. like i said i can beat match perfectly but my next step is just to make thosemixes sound really good. how do u guy's mix eg bass lines first than melodis etc. i guess if someone would be kind enughto give me some music lessons and how to build a track that would help alot and also some music theory. sorry bout all the pain guy's and girls but this would mean alot to me. Thanks :D

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[quote=Yao]programming a set = knowing your records. No filter bullshit whatsoever: by knowing your records, you will be able to determine if the one you're holding in your hand is going to fit in nicely with the rest of your collection in the first place.

Your records are your instruments too: know them inside out, preferrably so well that you can mix them in your head...[/quote]

Couldn't have said it better...

Johns, it comes with time. If one track you're playing has an ending of just drums, maybe the kick, maybe the kick and snare with a cymbal swell ending lets say, then your pretty free to have anything mix with it. If the track your playing has and ending including the bass and/or some synth line then your probably going to want to go with a track that only has drums as the intro until the previous song has ended or you've mixed out. If the next song has any bass or synth line that isn't in the same key as the previous song it's not going to sound good no matter how well it's beat matched.... understand what I'm trying to say? In other words I'm not going to take a song in a C key if it has a bass line all the way through to the ending and mix it with a song in D if it has a bass or synth line in the beginning so they'll overlap. I'm not saying it can't be done but I try and avoid clashing keys at all cost. The next song can be a different key but the main elements shouldn't be noticable until after the previous songs main elements have ended... Am I making any sense here? I starting to confuse myself and I've been doing this forever :what . So it really does come to knowing your music. I can play Piece Process "Synthsations" knowing it leads out with drums and the main "synth/bass line" and that the next track is going to have to have a lead in of only drums for it to "flow" well....

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^^^^^^^ how do you tell what key a song is???

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Hey there gooffgulley thanks for your help. i sortta understand what u are getting at. i guess i just need to know my tracks a bit more. how many times do u guy's need to listen to a track before u larn it fully? 5-8 times? and how do u guy's arrange your records. by bpm, key grener?:p

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"^^^^^^^ how do you tell what key a song is???

OK.... forget "knowing what the key is" and just know "the key is different".

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to tell the key of a song u ned a keyboard hooked upto your mixer. then play a track. wait for the bass line and melody. while that is playing press each note on the keyboard. when u hit a note that blends in best with the bassline and melody u most prob have the key. then u have to work out if u have a major or minor chord. major is root note+4+3 and minor is root note+3+4. Some lables like border community records actually give u the key of each of their tracks. it's a good way to c if u are finding the keys of your tracks properly. for example i would buy a border community track not look at the key and try work it out myself. once i think i have it then i will look at the sleeve. Any other record lables that have tell u the key's of their tracks. i know zero tolerance & debunk records do this. Any others u guy's have come across?

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lol, same here man: I can't read keys and notes, but I damn well hear if something fits or doesn't fit at all...and my feel for that rarely fails me. Rhythm is also important...the best transitions are the ones in which the new rhythm hooks onto the old one and completes it, drags it along and then can slowly let go to make room for the new track: that can be sooooo sexy...

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hey yao how are u? yes i know what u mean by that. that's the problem i have is telling different rhythms mixing together but yet pulling in the right direction. how do u tell the difference in rhythm. is there a way to note down different rhythms or listen to a choon differently. cause when i hear a track i just hear boom clap boom clap. i know there's got to be more than just that but i can't tell. does a bass line have anything to tod with different rhythms?

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Setting aside keys for a minute, I find it is always best to alternate between "simple" and "complicated" tracks. Go from complicated percussion to a simple house track, or a complicated bassline to no bassline (which solves the key problem). Set aside your Heaven Scents and Cowgirls too. They are much more complicated than they appear, which is part of what makes them so great. You will go crazy trying to mix them if you are still learning. I still do.

Nobody else has mentioned so far that nearly all dance music (99.9999999%) is built around blocks that are 16 bars long. Listen for a big obvious cymbal crash, or the beginning of the bassline, then start tapping your foot and counting in your mind 1-2-3-4, 2-2-3-4, 3-2-3-4, 4-2-3-4. After every four bars you will hear something "new" introduced, like a change in the bassline or percussion, or the start of a vocal. Try to have your songs aligned at these four sections.

Live, Sasha and Diggers match 16 bar sections, so it sounds way better than most mixes. Most djs can't or don't do this kind of matching. (When you're ready to take it the next level....)

Hope that helps,

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Pappa has incredable mixing skills too 8)

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hey there pdowney i know what u mean by 16. i find that something new happens not after 16 beats or 4 bars but after 64 beats or 16 bars. would u call that a section in music not a phrase? eg 16 bar intro or somtimes even a 32 bar intro. u know when u have an intro nd all the high hat's etc are coming in would u call them a phrase or woul u keep counting till there is a bass lin or synth and count that other bit as a section? God u guy's must think i am a real dick :lol:

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lol, when you're always playing by feeling, like me, it's actually good to get the tech talk on front of me: makes me think a little more about what i'm doing. When I started I also counted, but along the way that faded: your feeling starts to take over, and after a while can tell when something's happening or gonna happen in a song without having heard it ever before...

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i have seen danny howells records with sh1t written all over them. you cannot memorize it, write it down... ie key, how many bars for intro and outro, how many bars untill the key element is brought in/taken out. hate to not be ready when the bass kicks in, or major synth line (and that frequency is not at the proper level). like if a track ends with the last 2 bars with just hats, you want to make sure the kick on the incoming tracks is at full when the tracks kick on the outgoing track is gone... this kind of stuff....you know what is necessary...

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[quote=johns]hey there pdowney i know what u mean by 16. i find that something new happens not after 16 beats or 4 bars but after 64 beats or 16 bars. would u call that a section in music not a phrase? eg 16 bar intro or somtimes even a 32 bar intro. :lol:[/quote]

We're talking about the same thing. I just count bars instead of beats, because I used to play piano and trumpet. For me it's easier to count bars, instead of individual beats.

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[quote=Yao]lol, when you're always playing by feeling, like me, it's actually good to get the tech talk on front of me: makes me think a little more about what i'm doing. When I started I also counted, but along the way that faded: your feeling starts to take over, and after a while can tell when something's happening or gonna happen in a song without having heard it ever before...[/quote]

y def

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Pay attention to your hi-hats. The most common oversight I've found in amateur DJ sets (sets like mine, to be sure) is the DJ will shift the momentum of the set erratically because they don't pay attention tempo of their hi-hats.

Other than that, the only advice I have is to practice your ass off and eventually you'll start to pick it up naturally. I've been DJ'ing for 4 years and I'm constantly learning new ways to improve my mixing and programming by practicing, watching other at clubs DJ's, and listening to the pros. It's a learning process that I don't think ever really ends.