DJ Mixing Methods: Making Area To Add New Tracks-

DJ Mixing Methods: Making Area To Add New Tracks

DJ Mixing Methods: Making Area To Add New Tracksis a tutorial video to help as you start to learn to change into a disc jockey. With courses, superior tutorials, on-line movies, articles and likewise 1 on 1 non-public classes for individuals residing in or close to Vancouver British Columbia
DJ Mixing Methods: Making Area To Add New Tracks

video description
Ean shares just a few important mixing methods that he makes use of to make room for tracks when DJing – from quantity, to filters, to reverb, to superior bi-pole filters. He makes use of Traktor on this video, however the ideas apply to everybody utilizing digital DJ gear of any variety! Watch extra DJ tutorials right here:

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DJ Mixing Methods: Making Area To Add New Tracks

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  1. Traktor has the BEST delay-freeze of all the DJ softwares suites, no doubt. I think their effects sound so much better than Serato. And they sound really good in the mix. I use delay, delay 3, along with freeze, and the reverb effects most of all. Okay, so you hit all of the key points but I also use the gain to trim off the volume to help keep from clashing on the frequencies. I think I'll try using that Rane filter to see how it sounds, it sounded great when you used it. Thanks again for another great video ??

  2. a decent tutorial, although i want to add a few things. as far as classic mixing transitions go, a simple rule: in order to keep everything balanced, you should somehow replace frequencies and levels. so whatever new frequencies you bring in, you should equally take out from the previous track. a crossfade is a perfectly proportioned transition of levels and can therefore sound very natural (although i never use a crossfader for mixing, this is for the example). the effect of the crossfader could also be accomplished by mirroring movements on both faders. and, that same principle can be applied with frequency knobs, which is what you should be doing: replacing one thing with the other, so that glass at the end of the master fader won't overflow. also consider that if you make things louder and blow things up too much during the mix, there will be an inevitable loss of energy once the previous track ends. read that again and think of the implications. exactly, this is why you should try to keep levels even all the time. you could ignore this advice and turn the next track's gain up to compensate for your earlier stupidity, and then repeat that strategy, but how many times can you do that before your master starts distorting and the sound system says 'i quit' ??

  3. And… while i'm here, what resonance does it increase the volume at the frequency the filter is starting to cut at. In high/low pass it creates a little peak just before cutting, in a bandpass which you had at the end, it pretty much just boosts the signal a bit. On many filters if you crank the resonance, you get what's called self oscillation, which is what creates that squelchy sound on a 303, for example. It's essentially a sine wave at the frequency of cutoff. Sounds like that tracktor filter doesn't let it get that far, but it's not hard to find.

    Sorry if i sounded like an ass, those are still good tips.

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