Learning to DJ (w/ the 3345 Team)

Starting to mix : mixing the two tracks : example 2 mixing progressive records

Lets do a bass-led mix in now, which is the typical style of mixing applied to progressive and trance tracks.

Assume that record 1 is playing at full volume. Start by setting the equalization on record 2. For this method, a little more care needs to be taken.

For example, if record 1, currently playing, has about 6 periods at the ending of the track which are rather quiet in terms of treble and mid-range, then your equalization on record 2, must also try to adjust to this quiet sound scene. Following on with this idea, lets assume that record 1 is fairly dry and there isn’t much at the end of the track apart from beat and some bass.

Now, what about record 2, is record 2 noisy right from the beginning or does it tend to build up (typical of progressive tracks). If record 2 starts off quite, similar to the way record 1 ends, then set equalization on record 2 as follows: Highs –2dB to –5dB, Mids to about –5dB and low to –12dB.

We assume here that track 1 has 6 periods in its ending and track 2 has 6 periods in its start, so that in total we have a 6 period overlap window of mixing opportunity.

Lets fire-away.

1. Listen to record 1 as it approaches the start of its first cue point. 16 beats before this happens, start jerking your turntable as in example 1 or just get ready to slam the play button.
2. When it’s time, hit the play button and quickly attain the correct sync by braking or accelerating the plate of record 2. (Don’t touch record 1, remember record 1 is still on the live mix).
3. As soon as you can, preferably after the end of one mixing period (5 more to go), start cross-fading. During period 2, go only ¼ of the way with the cross fader (and make sure your cross-fader curve is on FULL). Listen to the sound, is it clashing, or does it still stay true to form and smooth?
4. Assuming the latter in (3.), during period 3 move the fader to the middle position.
5. Now, leave the cross-fader half way, and start gently turning up the bass on record 2, while with your other hand, start cutting the bass on record 1. To achieve the best sound, try to cut less bass from record 1, then you are adding on record 2. In simpler terms, if you are adding +8dB during one period on record 2, then only cut –4dB on record 1.
6. At the end of period 4, you should still have the cross-fader in the middle, but the bass on record 1 at –4dB and record 2 at –4dB. You can start to also cut some treble and mid from record 1, but only if you think it’s appropriate.
7. During period 5, start moving the cross fader gently towards record 2, and boost the bass on record 2 to full volume (0dB). As you do this, also lift the mid-range and treble of record 2 towards full volume. Don’t worry too much about continuing to cut highs and mids on record 1, as they automatically cut as you cross-fade away from record 1.
8. In the final stage, you should travel the cross-fader completely on record 2, just as period 6 ends. Make sure that you have also boosted highs and mids to full volume before you finish this step.

And so, it’s done. We have done an articulated cross-dissolve style mix, appropriate for most progressive tracks and some progressive trance tracks.

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3345, the Vinyl Records Home.