Learning to DJ (w/ the 3345 Team)

Starting to mix : mixing the two tracks : example 4 mixing breakbeat records

One of the hardest mix-ins for most DJs is crossing from a regular track to break-beat. The problematic mix-in stems from the irregular beat that often proves a nightmare for DJs in the middle of a live mix.

Understanding the problem may help us solve it. Synchronization of break-beat with regular beat always seems to be the culprit to the problem. What is needed is a general framework for listening, choosing and preparing a track before the mixing happens. Crossing the tracks is the easiest part, but without the correct preparation, it just won’t work.

We can start thinking of a solution by remembering that any dance track including break-beat always has an underlying regular tempo. In-fact if you look into it, almost any music composition in the world will have a regular tempo that can be set and measured by a metronome. The only difference on break-beat tracks is that the composer has gone to great trouble at silencing some beats and/or adding a double beat somewhere else.

Let’s jump right into it.

For this example assume that record 1 a regular beat track, is currently playing on the live mix. Also assume that record 1 has 6 periods of mixable space at the end of the record. In addition, assume that record 2 is being prepared as a break-beat track with 6 periods at the start.

1. Equalization on record 2 can generally be set as follows: bass at -12dB mid-range at -4dB and treble at about -4dB. The treble and mid-range settings depend very much on the track. For example a track with little treble or mid-range can allow for the equalizer of those frequencies to be set closer to the 0dB value. The bass on the other hand should be kept nice and quiet for now.
2. Listen with your headphones to record 2 closely and determine the number of periods available for the mix-in. Don’t count beats, you’ll only get confused. Rather count the time and estimate the number of periods. If say you hear the ‘intro’ of record 2 go for about 1:30 and you think the BPM is somewhere in the 120 range, then you are looking at 6 periods.
3. Bring the needle of record 2 at the beginning of the track and or the beginning of the beats (the breaking beats). Remove one earphone, so you can hear the live mix.
4. Find the point on record 2, where the first beat sounds. Start deck 2, hold the vinyl in place with your hand and then start jerking (slip-cueing) record 2 across that first beat in sync with the beats coming on the live mix from record 1. Count 4 beats and release.
5. What you are looking for is the reoccurrence of that first beat, which will happen at a regular interval of (usually 4 beats). Let me clarify. If you took just record 2 and played it in isolation, while tapping your finger regularly with the actual tempo of the song (say 120 BPM), then your tap should always fall in sync with that one beat. This is all you need, to know you are in sync.
6. Listen to see if that one beat falls in sync with the regular beats coming from record 1 at the usual interval of a ‘bar’ (4 beats).
7. Adjust your tempo to keep that single beat in sync every 4 beats. Make sure that your adjustment of the pitch is close enough to stay in sync for your entire mixing window, in this case 6 periods or 1min and 30 sec.
8. Return the needle to the start of that 1 st beat on record 2 and pause it there. ½ period before the start of the last 6 periods on record 1, start jerking record 2 across that first beat in sync with record 1.
9. At the right time, release the record, and try to listen for sync in 4 beats time and then in 8 beats time. If you feel confident that you have achieved sync, at the end of period 1, start crossing. Gently move the cross-fader towards the middle position during the next 2 periods.
10. 3 periods have passed (1 for sync adjustments, 2 for crossing to the middle). Is the sound making sense ? Remember the bass on record 2 is heavily cut, so it shouldn’t cause too many problems.
11. Now, listen for the end of period 4 and prepare to do a cut-in on the bass. Just 4 beats before period 5 commences, cut the bass of record 1 down to -12dB and boost the bass of record 2 to full 0dB just as that first beat of period 5 starts. Do this cut-in quickly or it will clash.
12. Let the tracks play together during period 5 and start moving the cross-fader towards the ¾ mark. Start cutting mid-range and highs from record 1. Boost mids and highs on record 2.
13. During period 6, the cross-fader should be gradually taken to full volume for record 2.

And with a bit of luck, it’s done.

Remember that this is a general example. When trying to produce such complex types of mixes, great attention and care must be given to the songs to be mixed. Never try to avoid and/or overrun the general direction of the song. Instead we recommend trying to use the unique elements of each song as special markers or cue points to look out for when selecting the next track.

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