Learning to DJ (w/ the 3345 Team)

Starting to mix : mixing the two tracks : example 3 mixing chillout records

We’ve done a treble led mix in, we’ve done a bass led mix in, now let’s try a midrange-led mix in. Generally speaking this kind of mix in is appropriate not so much for a particular genre, but rather for tracks with particularly long and accentuated intros. For example, some tracks start with an atmospheric sound-scape and stay that way for a good 2 - 3 minutes before we ever hear the first beat.

Now, as you may know, the beat of the song is there, as the tempo of the song is never changed, but it has been simply muted by the producer to create a more defiant introduction and probably also to push DJs into playing the song at the start of the mix, rather than in the middle or at the end. A good example could be:

• Sarah McLachlen - world on fire (Junkie XL re-mix)

The way we start the mixing process is by firstly recognizing that we are NOT going to skip the intro and find the first beat, because mixing 3 minutes into a track will present numerous problems with interference of mid-range sounds and vocals.

So let’s do it. We assume that record 1 is playing, and we want to mix in record 2 which has an extended ‘intro’ period with no beats and mainly escalating mid-range sounds.

1. Set equalization on record 2, by keeping in mind that this is a difficult mix-in and you will be spending most of your time attaining and maintaining sync between the two tracks rather than adjusting knobs. Generally, adjust the treble to -2dB, the mid-range to 0dB and the bass to -4dB. Try not to worry too much about these knobs till the end of the mix-in.
2. Assuming that you know that record 1 has about 1:30 minutes (say) of ‘outro’ and it’s running at 130 bpm, then we have: 130 X 1.5 min = 195 beats / 32 (beats/period) = 6 periods. (Always work in periods and not minutes. Use the minutes to approximate the closest number of periods. Songs rarely have half periods and almost never smaller fractions than that.)
3. Go to record 2, listen how many minutes the intro rolls for. Assume here that record 2 has about 2 minutes of ‘intro’. (If you don’t have time, estimate the approximate ‘intro’ time by skip-listening with your needle.) Make sure you determine which is longer, the ‘intro’ of record 2 or the ‘outro’ of record 1. Assume the ‘intro’ of record 2 is longer for this example.
4. Once the beats start to sound on record 2, use them to quickly acquire a sync with record 1. Now, make sure that your sync is close enough, so that track 2 can stay in sync at least about a minute.
5. Now here’s the real hard part. Bring the needle on record 2 right at the beginning of the record. Find the point at the very beginning of the track. Usually there will be some form of distinctive beat-like sound, like a clash or a single beat.
6. Put your headphones on, set head-phone cue for record 2. Hold the vinyl in place with one hand and start deck 2. The plate is now spinning and the record is not.
7. Remove one ear phone and start jerking record 2 forwards and back across that starting point in line with the beat of record 1 (which is playing on the live speakers). Jerk for 4 or 8 beats and then release.
8. Let the tracks play and listen to see if there are any asynchronous sounds. Clearly it is hard to tell whether the tracks are in sync with the lack of a beat on record 2, but it is usual for producers to include some kind of a periodic sound during the ‘intro’, for the very purpose of extracting a beat.
9. If you’re not sure whether sync exists or not, then nudge record 2 a bit forward and listen. Is it better or worse? If worse, break record 2 till you feel that the sound of record 2 rolls with the beat of record 1.
10. So, you’ve convinced yourself that you can synchronize the two tracks, so now return the needle to the beginning of record 2. Leave it there.
11. Half a period (16 beats) before the start of the last 6 periods on record 1, start the plate on record 2, hold the vinyl in place and remove one ear-phone just like before. 8 beats before the start of the mix-in, start jerking record 2 and feel the beat of record 1 sound with that initial sound on record 2.
12. Release record 2 at the right time. Take your time and listen for a good 1 - 2 periods whether the sync has been attained, make minor adjustments and keep listening.
13. Sync has now been attained and you’ve spent 2 periods in doing this (approx 30 seconds). Start crossing gently towards the middle position over the next 2 periods. 2 more periods to go.
14. Start lifting the treble on record 2 to full volume over the next period, while crossing the fader to ¾ mark (towards record 2).
15. Finally in the last period, you can use the bass knob on record 1 to keep cutting bass to dry out the sound, while lifting the bass on record 2. (Record 2 does not yet have a beat, but lifting the bass will give the sound more authority and will drown out the sound of record 1).
16. You may also achieve a similar outcome as in point 15) above, by simply crossing the cross fader all the way, rather than leaving it at the ¾ mark.
17. Now, there are 2 more periods till the beats on record 2 sound. Use this time to lift up the equalization of all frequencies to the +0dB mark, if you haven’t already done it.
18. Sit back and relax. Don’t forget to also cross the fader all the way or mute the corresponding channel fader of record 1, or you may have a nasty surprise when you start sampling the next record.

And it’s done. We have achieved a rather unorthodox mix-in and you have risen to the challenge that the producer has thrown at you; namely, the lack of a beat.

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