How To Mix Better?
| Good [+1]Toggle ReplyLink» basdini replied on Sun Jun 18, 2006 @ 1:06am |
 Coolness: 145155 | Originally posted by FISHEAD...
How genre affects mixing styles is a pretty interesting discussion.... especially if you play around with a lot of styles and apply techniques learning with one sound, to an entirely different sound... I remember someone telling me that certain 'tricks' (a word I kind of don't like because it implies that an act is some kind of subterfuge, and not a skill) couldn't be used for certain styles... In specific she was saying that double copies of a record wouldn't fly with the 'complicated melodies used in psy-trance' (her words - not mine).... I asked if she happened to have two copies of anything and start ghosting the records she handed me... playing with the offset to create pitch variations in effect. ya for sure, turntablists have been doing this for years...you can do it to breaks and certain types of electro,,,it's weird cause it sometimes has this strange jarring 'heartattack' feeling to it.... |
| Good [+1]Toggle ReplyLink» fishead replied on Sun Jun 18, 2006 @ 10:08am |
 Coolness: 75625 | Originally posted by BASDINI...
ya for sure, turntablists have been doing this for years...you can do it to breaks and certain types of electro,,,it's weird cause it sometimes has this strange jarring 'heartattack' feeling to it.... I didn't mean to imply that I'd done something really new, just that there are a lot of ways to mix a pair (or more) of records together... and that there are some people who seem to believe that most of them only work with hip-hop or only work with techno or whatever. At any rate, there is a lot to be learned from watching old (and new) DMC videos and such... although I've never really bothered with body tricks. Kentaro's set from the 2002 worlds is one of my all-time faves - especially the bit where he starts working things with the decks powered down... |
| Good [+1]Toggle ReplyLink» rawali replied on Mon Jun 19, 2006 @ 5:39am |
 Coolness: 140640 | about the overlapping bass thing... I tried it on a couple of psy tracks yesterday and the result was pretty variable... On dark-ish tracks it sounded good, considering there is no melody in the bassline and all... in more full-on tracks it really did sound horrible... If you were to try and overlap bass in full-on I guess you would have to find two tracks in the same tonality... anyways I'm sure it is somehow possible but it sure as hell aint as easy as having double highs... |
| Good [+1]Toggle ReplyLink» basdini replied on Mon Jun 19, 2006 @ 3:20pm |
| Coolness: 145155 | Originally posted by FISHEAD...
Originally posted by basdini...
ya for sure, turntablists have been doing this for years...you can do it to breaks and certain types of electro,,,it's weird cause it sometimes has this strange jarring 'heartattack' feeling to it.... I didn't mean to imply that I'd done something really new, just that there are a lot of ways to mix a pair (or more) of records together... and that there are some people who seem to believe that most of them only work with hip-hop or only work with techno or whatever. At any rate, there is a lot to be learned from watching old (and new) DMC videos and such... although I've never really bothered with body tricks. Kentaro's set from the 2002 worlds is one of my all-time faves - especially the bit where he starts working things with the decks powered down... i did last night i did it with two copies of some harcore drum and bass record it was odd it sounded like a symphony.... |
| Good [+1]Toggle ReplyLink» nothingnopenope replied on Mon Jun 19, 2006 @ 5:31pm |
 Coolness: 201180 | you're not supposed to rest |
| Good [+1]Toggle ReplyLink» basdini replied on Tue Jun 20, 2006 @ 9:56am |
| Coolness: 145155 | break downs are kind of a pain in the ass i hate mixing on top of them, too unstable. |
| Good [+1]Toggle ReplyLink» fishead replied on Tue Jun 20, 2006 @ 10:10pm |
| Coolness: 75625 | pain in the ass or no, you should try to learn as much as you can - not just the things that come intuitively. |
| Good [+1]Toggle ReplyLink» basdini replied on Thu Jun 22, 2006 @ 1:57am |
| Coolness: 145155 | Originally posted by FISHEAD...
I didn't mean to imply that I'd done something really new, just that there are a lot of ways to mix a pair (or more) of records together... ... i think this comment was interesting, i would like to try to have two decks with the same track overdubing with the same track and third one with something else, it might create some very interesting combinations, though it may get a bit 'busy' sounding if you know what i mean... |
| Good [+1]Toggle ReplyLink» MURDOCK_ROCK replied on Thu Jun 22, 2006 @ 1:37pm |
 Coolness: 83830 | since we are on the subject...
here are some other things you can do with doubles.. looping: this is probably the first thing a dj should learn to do, but suprisingly enough i don't think that many "electronic" dj's bother with it cuz its usually accociated it with juggling and hip hop.. so ya... looping... 1st. mark your cue point with a sticker or digital cue marker (cdjs) so you can see it... you wanna do this in the same place on both records or cd's. then you wanna push your x-fader to one side and play 1 bar. at the end of the bar flick you fader to the other side and play the same bar on turntable 2 while backspiningto your original cue point on turntable 1. flick the x-fader again... rinse and repeat. this should "extend the break" you can also create new build ups by not playing the whole bar... like just the kicks, half the bar or whatever sounds right. it works with different records too, but you gotta have em playing at the same tempo. another cool trick is "walking" records, or "strobbing". this involves 2 copies as well but the x-fader remains open the whole time and there is no backspinning... with both hands cue both records and put the fader in the middle... for example to make it easy im gunna just say we got a flat out drum loop with just kicks and snares... your gunna wanna lift one hand and play "kick, snare, kick" on turntable 1... then stop the record with the same hand while at the same time lifting your hand off turntable 2 to play "kick snare, kick"... stop... lift you hand off turntable 1 to release the "snare, kick, snare"... stop and repeat "snare kick snare" on turntable 2 and get the process going all over again. for style points you can cross your arms or use your elbows... but i've yet to master any body moves. if you do it right you fall into a groove and its like patting your head and rubbing your tummy... but like WAY WAY WAAAAAY more fustrating and way more rewarding. lemme know how you do!! |
| Good [+1]Toggle ReplyLink» MURDOCK_ROCK replied on Thu Jun 22, 2006 @ 1:40pm |
| Coolness: 83830 | btw... lemmee know if you guys don't know how to mark cue points on records... and i'll post that too. |
| Good [+1]Toggle ReplyLink» TwinStorm replied on Tue Jun 27, 2006 @ 5:50pm |
 Coolness: 56770 | Beatmatching is one thing, Equing is the second thing, mixing is Beatmatching AND Equing... no equing DOES make the whole thing sound crap... and most of the times, a dj that lacks equing skills will have a hard time properly beatmatching... |
| Good [+1]Toggle ReplyLink» rawali replied on Tue Jun 27, 2006 @ 9:07pm |
| Coolness: 140640 | Originally posted by DAVESOB...
madforbrad.... Where did you get these rules from? It seems like your knowledge of mixing bass comes more from production experience and not djing. Its not always about having the best possible sound, it's about working with the tracks you have, and doing something interesting. I agree with Murdock, you can't say NEVER or 100%. Last week at a party I was mixing a track with a breakbeat and I threw a 4/4 beat ontop. I had both bass eqs full at 0, and it created a really nice galloping effect. Alot of the best djs I see don't really touch the eqs that much because it takes away from the sound of the track. Many of the big house clubs in NYC ad Chicago don't even have an eq for the individual channels, they just have one eq for the master out. As far as dj tips go: Whenever you use the eqs, you are altering the sound as it was intended to be played. Sometimes cutting a certain frequeny can really make the sound shitty. My personal rule of thumb is that I usually wont cut more than -12db, and thats what I do when I really want to remove the desired frequency. you mean something like this bitch right here? 
...btw anyone got... like 7000 bucks to lend? |
| Good [+1]Toggle ReplyLink» basdini replied on Wed Jun 28, 2006 @ 1:27pm |
| Coolness: 145155 | i have a problem...
sometimes when i mix i find i can keep it together better when it's not playing on the speakers but just in my headphones, then when i try to bring it in and once it has been playing for 64-128 beats i stop being able to follow the overdub, i can't realy make the difference out between the incoming and the outgoing track, so naturally i fuck and occasionaly i train wreck...it used to be better cause i had my head phones as right and left chanels (stereo) and that was good cause i would just headphone mix the whole bitch, but i can't do that now because most mixers don't have that function...i do alright tho, i just have to find some way to better deal with having either one or the other track in my phones or both tracks playing on both right and left at the same time (mono). Anyway does anyone have any suggestions for how to deal with this..my problem is never following the beat but being able to hear it so that i can calculate its deviations. |
| Good [+1]Toggle ReplyLink» MURDOCK_ROCK replied on Wed Jun 28, 2006 @ 3:26pm |
| Coolness: 83830 | i dunno about calculating deviations...
but if i were to guess... i'd guess that you might have your headphones too loud and just need to turn em down a little when you bring in the mix? that way youre monitoring your mix with the monitor and the headphones are just loud enough that you can hear your "click" on the track coming in. my general rule is to turn the headphones down a bit whenever i increase my gain. and if you wanna hold the mix even longer it helps to cue the track youre mixing out back into the headphones and fine tune the pitch on the outgowing track instead of just the incoming... |
| Good [+1]Toggle ReplyLink» AlienZeD replied on Thu Jun 29, 2006 @ 12:52pm |
 Coolness: 509515 | or just don't hold the overdub for too long... even it"s not really an overdub. At least in Psytrance there's rarely enough remaining from the outgoing track to keep it in for too long, so just phase it out. I find it takes a LONG time before the bpm's slight differences are noticeable, depending on the track. |
| Good [+1]Toggle ReplyLink» MURDOCK_ROCK replied on Thu Jun 29, 2006 @ 2:47pm |
| Coolness: 83830 | just outta curiosity...
is phytrance usually produced at a specific tempo? |
| Good [+1]Toggle ReplyLink» nothingnopenope replied on Thu Jun 29, 2006 @ 4:21pm |
| Coolness: 201180 | it's exactly 141.59265358979323846264338327950288419716939937510582097494459230781640628620899 BPM |
| Good [+1]Toggle ReplyLink» rawali replied on Fri Jun 30, 2006 @ 3:55am |
| Coolness: 140640 | Originally posted by SCOTTYP...
it's exactly 141.59265358979323846264338327950288419716939937510582097494459230781640628620899 BPM lol... yeah man! just like the bpm of the heart of a child right when he's born!!! psychedelic |
| Good [+1]Toggle ReplyLink» basdini replied on Sat Jul 1, 2006 @ 1:14am |
| Coolness: 145155 | and a direvitive of of pie! |
| Good [+1]Toggle ReplyLink» AlienZeD replied on Sat Jul 1, 2006 @ 1:01pm |
| Coolness: 509515 | psytrance is anywhere from 138 to 148... anything slower or faster really doesn't fit with the goa way, I've heard songs at 150 and it's a bit too agressive |
How To Mix Better?
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