Creative Guide To DJ: From Start To Finish Part 5 | Costas Papa | Skillshare

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Creative Guide To DJ: From Start To Finish Part 5

teacher avatar Costas Papa, Costas is a Dubai based sonic artist.

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (1h 20m)
    • 1. Session 5 Intro

    • 2. Song Structure

    • 3. Looping + Slip Mode

    • 4. Vinyl Mode

    • 5. Using Delay FX

    • 6. Using Echo FX

    • 7. Using Ping Pong FX

    • 8. Using Spiral FX

    • 9. Using Reverb FX

    • 10. Using Transgate FX

    • 11. Using Filters

    • 12. Low Mid Hi FX Control Settings + Timing Options & Settigns

    • 13. Setting Memory Locators in Rekordbox

    • 14. Summary & Performance

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About This Class

This class is perfect for those that would like to learn the art of DJing. The content is specifically prepared and structured to give you the fundamentals beyond the knowledge, experience, confidence, understanding and the ability to DJ. 

This is a traditional hardware course, where attendees will develop, hone and master their skills on the industry standard Pioneer CDJ setup.

Here are some of the controllers you can follow this class with: 


*Applies to any Rekordbox / Serato Controller 

These sessions are highly practical and are heavily focused on the hardware; and developing the skill-set required to qualify as a DJ. 

By the end of these sessions, you will be able to gain a better understanding in the art itself. Be comfortable using an industry standard hardware DJ setup. Ideally, all attendees will be able to mix songs of their choice and develop their musical repertoire.

This creative journey is an 8 part series.

Follow Costas on Skillshare  for regular updates

Lastly, please leave a class review, let us know how we are doing.

Meet Your Teacher

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Costas Papa

Costas is a Dubai based sonic artist.


Costas is a Dubai based sonic artist, music producer and consultant. He’s an expert educator with more than 10 years of experience and the founder of Granular Academy.

Costas Papa is an educator, sonic artist and media business consultant. Costas currently makes dark minimal techno with dub undertones and is continually reinventing his sonic identity while keeping an eye on developing trends.

Costas has designed and conducted courses and modules since 2007, in various disciplines such as electronic music production, synthesis, recording, sampling, DJing, and mixing and mastering, as well as performing with Live.

Based in Dubai, Costas provides music production training for industry professionals, beginners and hobbyists alike. The programs consist of technical... See full profile

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1. Session 5 Intro: Welcome to the second level. In this session, we're going to discuss song structures and analyze the capital and understand the many similarities that are crossed songs and genres. We'll find out the best points to mix in and out from will also discuss how to prepare a deejay set based on some structure analysis. This level we're going to slowly start to depend less and less on the technology with our ear training sections. We then continue with our CPJ features and revisit the looping function and expanding it with Luke Carter buttons and the different ways to go in and out of luck. We also learn about the slip moat and the Bynum Haute. We then move on to a mixer and explore the first part off our beat effects. Then we move on to record books where I show you how to add memory locations to your music . 2. Song Structure: all right. Before we get into mixing, I would like to talk to you about song structure. So every song follows a 30 to beat song structure, so it usually starts at a certain level and then it goes higher. Then lower them back to that certain level, perhaps, and then hire lower and then slowly and the song. So usually most songs have four. We call on intro right here and an outro very simply put. And then the middle part is called the middle section with some low sections and then some high sections. So that's one track. It will move on to this here. This has a very quiet low intro. Then it has a quiet outro or ending. And then the middle section has some high points and low points and against him high and low points. And that alternates. So all songs are most songs. Follow that again. This is another song here Quiet intro than builds up, breaks down, builds up again and breaks down, builds up, breaks down on builds up and right about here is the outro. The last see 1/4 of the track is the intro The first quarter of the truck is the intro and middle half for 2/4 are your main section. What that enables us is tohave the last quarter off the strong, which is usually the outro to be mixed in with the first quarter of the next song, which is the intro and a low level in Outro and a low level in intro blended together would give you, ah, middle level of energy. So we don't really need to drop your level when or your energy level when you are mixing and transitioning from song to song. So you better keep maintaining that level to write about the midsection or the buildup section off your next song. So you stay consistent and you don't drop up and down in levels. Now in saying that, for example, this song is six minutes and 14 seconds. The first play that section there go forwards So right about this section here, a minute into the truck. That's the intro from a minute. All the weights to about five minutes or a minute remaining. Yeah, is the outro, so it gives you a minute to mixing. Announce with that song, so songs are usually usually not perfectly symmetrical. So right there in the middle point. How the song started and reached the middle point is also the same way how the song ended and reached the middle point. So it's almost like a mirror image of itself, not super symmetrical, but it's always a good visual indicator to see what kind of structure the song house. So, for example, this song here has one by one low energy intro is born, Uh 16 bar. 16 bits break in between. Then another main break in the middle of the track on a super small eight beat break in the middle again and the second half of the middle. You also have about two phrases or 64 beats off a break, then back into the main section and another small 16 beat break right there and then right here, onwards after the break iss the outro. So if we look at another song, for example, let's take this song right here. We have a very short intro. Let's just hear that as we speak about it. So a very short intro one music Oh, phrase that was the main section here. We're building up and right about within a minute like clockwork. It's more break and into the main section again. So that's all that considered it as an intro. Then we have the main section for about another minute and then maybe for 10 seconds we have a quick break. So the energy drops. Then another minute, minute and 1/2 off remained energy. And then we drop for 30 seconds, give or take, and then we pick up again from three minutes 45 seconds all the way with a small drop here and another mediums drop size there to find. And we have a minute 30 as our intro to mixing on mixing our next truck. So considering this song that its total length is six minutes 40 seconds. If we remove a minute off intra and a minute and 1/2 off Outro, it really is just four minutes long, right? So for about four minutes off length, this song is going toe play unmixed. So always consider every song. Just as a rule firm. This is seven minutes. Think about us five. You always remove a minute of entering a minute of outro because that is going to be blending with the previews and the next song. So as these trucks tell us now, they all start at a certain level again. They go up, they come back to that certain level they started, the might even drop lower, and the minds pick up higher and continual the way to the end. This is also what we call the structure or the micro components off a song which directly reflect to the macro components or the long term components off, a deejay said. So if a deejay said is about, you know, to our for our innate our set, it will actually reflect these up and down off energy levels through a known Peter of time . So in an eight hour set, you start with some warm up tracks. Then you build up toe like main floor or like floor fillers, bangers. And then you bring the level a bit down for like an hour for the crowd to relax, and then you bring it up again and then down again. And then maybe you might decide to slowly and your eight hour set with some, uh, low energy tracks or middle energy tracks, depending who is going toe pick up after you So you also need to consider your time slot the venue, the deejay before you and the deejay after you. And what were you book to deejay before? So all these little things will help you become better De Jing and analyzing your songs and understanding what parts off the song are what and which sections are good to mix in or out from, or which sections are good to loop on, Play them a bit longer and extend those sections over which sections are not so great and you could be jump out of them super quick instead of staying there for 45 seconds. You can just there for 10 seconds and get back to the good stuff of the track. So you have a Nordoff editing on the fly options to make sure that you're in control of what you play. So this is something I wanted to share with you and something to think about Onda hopefully taken into consideration. Use it into your analysis of your songs. So see you in the next video 3. Looping + Slip Mode: All right, So in this video, we're just going to a quick recap off, loping. And through that, I will explain to you what is a slip mode, right. And you can use that for slip loping us. Well, so what I'll do is just look this section here when we get off the mid energy level of the trunk and all years, my four beats button to create a full beats Inglis loop. And there we go extend up to 16 or 32. Even better now, looking, there's something that we need to understand, just in case we didn't get it just yet. While this song is slipping, this section of the song is looping When we exit the loop. The song continues playing from where we exited uninterrupted, right? So if I create a forbid look right here is going to stay in this forbid section and then whenever I decide to exit is just going to continue on playing right manually. Do that for four beats there. Continuous playing. Let me exit. There we go. So when we hit this slip more, this button goes read a rink in our joke goes right out swell and it's flashing because that's where my utility settings are set to and automatically. We get this menu right here on our screen and it's blue in color again if I get out of Slip and I do and look the new upsetting when you hear the color is in orange, right? So we go back into a slip again. This turns blue. Now slip looping is for the slip moments. It's very similar to looping, but if I'm going to be slip looking here to beats and I'm gonna keep holding my finger there, I want you to notice on your city player. The loop has this orange marker, and there is a white play head that keeps on playing and moving further and further away from your loop section as long as you're holding that. What this means is the main difference between slip mode and look mode is that look more will continue playing from here. But when you are in sleep mode, the song continues playing on the background and it moves forward When I let go of this menu here, this to beats is going to jump into the break, so we essentially skipped all this section off our son because we let the song slip playing on the background for us. The cool thing about slip more that you can't sort of doing looping mode is that you can sort of re trigger as supplies or cut your your beats together. So, for example, I'll do with a to beat, then going toe one all at the same time. The song is playing on the backgrounds, so you can tell here that the songs playing on the backgrounds and I'm going to release it right on or try to release it right on the first beat on the So. So while I'm slipping and looking the song, the song is playing on the background and resuming its normal time. There's a pretty 100 to when you wanna slip through a small section of a song you can be slipping for, you know, over like 30 seconds or, like 2040 seconds, or even like over a minute, is going to sound too repetitive to lower sort of stale. But that's a quick sort of patting section that you want to sort of implements, so we have to beat slip more right there. We also have a one beats how Porter eight, which is a bit too far since 16. Extremely far. Yes, I wouldn't recommend 16th or eighth on the other side. We have thirds and 3/4 and this is good for off beat. Music also works with House, but imagine hip hope Rob Trap now in something super important is this. If we're going to put a to beat sleep mode and we're actually at the very end of our song right now, and our job is displaying that and we're stuck between 13 and 14 seconds cause we're slipping this section now, it's very important that your long going toe slip modes at the end of your song because you might slip for too long and when you get out of it, the song ended complete silence. So that is something that you need to always remember as a precaution. Don't be slipping too long in the end of the song, unless you're mixing in another song, right, so slip more super handed. Creative too. You could sleep your tracks on, do some quick beat, mumbling as you go along and makes your song, and this is super super creative to use So that's another creative tool that you could use besides traditional looping. You can go into slip mode and slip looping and express yourself with that. 4. Vinyl Mode: So in this video we're gonna be seeing a new feature, cold, violent moments, and we just press the joke mode and in terms from C. D. J. Until vinyl. So far, we've been using City J, which is the standard digital version, and then vinyl simulator emulates on look four months, of course, with digital means. So if you are into one and modes you, the joke behaves quite differently, and there's a few other functions to one and more. But let's hear how vinyl works. So unlike before on C. D. J. Moore, when you place your hand on top off the jog, the song doesn't get affected, right? So CPJ moans, the song does not the act in any way, whereas on vinyl modes it's like us if you're stopping the record. Another thing that is different between vinyl and CD J most is that defining moment. You treat music, as are you a treats, a record, a really violent record. So on C. D. J. This slows or speed sub the song and nudges it back and forwards on vinyl mode. It behaves how you would, how you would deal with a real record. So when you're on vinyl mode and you have thesis digit 1000 Excess Tool or the D. D. J 1000. You can actually control the resistance or how heavy this joke is. And so far we've been using the joke a just as heavy heaviest. And that's really recommended. When you are on that C. D. J monster, you can feel exactly how much you're nudging the truck forwards and backwards with feels quite heavy on and when you are on final mode, it's the same feel, same weight. But you may choose to have, uh, not so heavy platter. So it's it moved quiet first, whereas when you are on super lights, it's pretty lights. That means when you spin it by can go longer or much, much further. They go for longer distance or much, much further, so the joke adjusts, always controls how heavy the platter is, whereas if this was super heavy and I do that, it only goes up to a certain time because it's super heavy and it's much, much more energy trouble further, whereas when you're in life modes, it goes quite a significant distance. Another thing, too. Not when we change from C D J so violent mode. Vinyl moment has this indicator on right here in the middle of our our jog. And when you press on its it lights up telling you that it's not Now how this movement interacts with the record can be adjusted by these two knobs. Here we have the touch and or the brake and the release or the start, and we have a very sudden touch and a very sudden release. So it suddenly stops suddenly starts suddenly stops suddenly starts when I move this all the way to a more gradual line. Both of them. When I placed my hands softly and oppressed down, it will slowly and progressively stop. And then when I released my hand is going to straws slowly and progressively start right, So slow Break fast. Start. Yeah, So slow break instant start. Another thing is, if you want to bypass this slow start and slow release, right so slow, start gently stopping it and gently releasing your hands. You want to bypass that? You just need toe slam it hammering a little stronger. So sudden stop and then release quite fast for a sudden start bypasses these settings here which are now gently stopping and gently releasing yes or another way that you could have a bit off both. Yeah, so most of the time he works. If it doesn't, you just need to at any time you can adjust thes and there going to be adjusted in real time. Yeah. So for rhino button to switch from into vinyl modes A Nope. Here to choose how heavy or how light you want your jog to be, and also whether you want to stop instantly or gradually, or whether you want to start instantly or gradually or anything in between, Right. So if you're going to be queuing your your truck using vining moments, it's quite interesting. Something to get usedto. So you're going to go back to the first beats and you're gonna move your hand back and forward. So back to the beginning of the beef forward to the end of the beat. And when you go back, you're going to release starts on the beat. Yeah, but again, you have to do it on time and on beats with your next song. So it straight up try that once more so you can get it on time not on the issue. Keep practicing to get on time, and also the sight's off the joke. Why don't vinyl mode they behave like a C B J so you can Actually, not just for words, imagine backwards from the sites. As usual, we cannot imagine from the top that's your vinyl platter. - So something to practice just to get your hands around it. And it's pretty interesting to use vinyl more as well in a more conventional way. And always adjust the joke toe the setting, whether you wanted heavy light or anything in between. Yep, whichever works for you. I Even with finding mode, I prefer to have it like 3/4 over the way. So it's not super light, and it's not super heavy, so it's a bit more responsive. If you want to do a spin back. Those willing to go fast forwards if you want to do a spin back using vinyl, go all the way lights and just you can spend it back and I'd like an effect to it. Let's try that again. This could be a coup closing effect at the end of your sets. You want to use that as an effect. Spin bark. So that was final moments. Yeah. Have fun. Play around with it again. The joke behaves differently from city J light and heavy And how to stop and how to start your joke Platter your vinyl joke platter. So I spent some time. Get from here with it and see you in the next videos. 5. Using Delay FX: All right, So now we're going to discover our effects right here. Not the color effects, but actually are effects section right here. All this is our main effect section. And our first effect that we're going to see is actually the delay. So here are all our effects so we can choose from, and we've set it up to be the first effect, which is our delay. And now our beat effects section, which is all this section right here is applied on Lee to General four. I can move this and choose journal three. I can move this and choose Channel two and Channel one. And I could also choose my microphone section here If I'm connecting a mic right there. And I could also choose toe, have it on the master. So regardless, however many trucks are being played, they all get affected because this is our master channel. Anything that goes through and onto our speakers will have that delay effect which shows right here. Also, we can also have what we call groups and groups be and that this is the cross fader. So you need to be using this cross fader here. But I am not using it yet, but just to show you, we could have Channel One and maybe Channel Two to be on Group A and Channel three and Channel four to be on Group B, for example. And I'm choosing cross fade there A. And it's kind of the these two trucks. If I choose cross fader be currently these two trucks, you could also assign a or B toe any number of tracks or everything can be all going on be or you could have maybe the 1st 3 on a and the last one on being on you just need to switch that over to Group A. So right now we're no using this cross fader. So we have the third option. Instead of going A or B, we can go through only when you go through. That means you go through the cross feeder. This does not work is disabled. So now we have a bit more control on whichever Charles we choose. So play this and I'll have this on the master for now. And I chose delay and let me just play this song here. So this song goes to the master and I'm going toe switch on the delay effect, and I'm going to apply the level of the relay, and that was our delay right there. You can hear it's pretty short. If I make it long four beats, it's gonna pay for beats and then stop. So so that's forbids long. So switching on and on, on and off, the effects, the mound off the effects. Where do we apply the effects? What is our effect that we're choosing? And then you saw me play around with this section right here. This is our expert or touch strip here, and we can choose the length off the delay so I could also use these buttons here instead off using these tough strip, you know, and I could increase that to say, eight beats switch on the fact apply it, and it is going to stop right here. So those are eight beats off the delayed sounds for super interesting, too. Hear how the effect sounds on this case. It's a very long delay. So let me. She was, like 3/4 time signature delayed line change that to happen. Notes. Porter knows shorter and shorter eight notes and then 16th note sounds a bit too fast and graining. Yeah, and doesn't have enough time to delay itself. So as soon as the Fader is down, the delays down us well with it. So that's our first effect here again. Switching on enough. The effect. The amount off the effect where toe play the effect, the type off effect and are touched. Trip here, says DeLay. And we can have eight for to one beat. 3/4 have quarter eight and 16 not delays. Yeah, so that's our first effect. And then we're going to see in our next video a much better sounding echo effect, so stay tuned. 6. Using Echo FX: all right. Since now we're introduced to our effect section right here, we're going to look into the echo or second effect and hear how that sounds. I think it was a much, much better delay sound. So that's why we're so no effect. We're going to switch on our effect. Our level is too minimal, so we don't hear the effect just yet. We're gonna choose to beats on, I think, crease. Our effects has just wait for the beats so we can hear it much better. So our echo effect right now took two beats off duration and it progressively played it back with an echo effect or a delay effect and progressively lowered its level turn. It completely fades out. So I'm gonna put it back to minimum four beats, two beats, Warren courters court Have that's 8 16 again. It's a bit too short, Too fast. Sounds quite robotic. So keep it at 16th and then I use the beat Taro Goto. Eight quarter, 3/4 one to for AIDS. Super long echo. Yeah, So that's eight. It's super long. Yeah, usually to be. It's one big 3/4 and half work work really well, so 3/4 for short bursts. That's 3/4 have in quarter. So that was our war Echo in a not show. And now we're gonna move on to our ping pong, which is another delay effect. So we're quite spoiled for the day effects. We've got a traditional delay. We've got an echo with Just heard. We also have a dub Equifax right here in our sound color effects. So we've got a lot of variations of the same effect. It sounds quite difference also you in the next video. 7. Using Ping Pong FX: All right, So in this video, we're gonna be talking about our ping pong effect and insa plight right now to our masters . I'll just move it to this individual truck here, the depth or the level off their core is minimum, so no effect is applied. Anyway, the effects section is off. Let me just be jump to the beats. So switch on or pink punk and currently are one beats that's here. That's by eight beats, which is the longest it's doubling. The track was so long now the think Pong Andy echoed this lively sound similar. But there is one major difference between the echo in the pink punk. If your own headphones right now, the Ping pong takes a delay and sends it to the left speaker and then sense another delay to the right and then back to the left and then back to the right. And it's pink and punks between our left and right speakers. Whereas the echo, it's equal between the left and right speaker and happening at the same time. The main difference is that in our pink punk, the delays hurt once on the left and plans to the right then back to the left and then back to the right, and that sound slightly different. So that's here. Like a 3/4 from today. Quarter known Super Short. Eight. Even shorter sounds a bit robotic. Yeah, we kind of here is if we lower the level, but it gives some depth to their song and 16 super sport onto our notes. So these are our delay effects. Lay an echo in a ping pong. In the next video, we're going to move to a spiral, which is a known delay effect. It's an effect on its own, and we'll talk about it here with a spiral. Sounds like, so stay tuned. 8. Using Spiral FX: So let's hear. I understand what is a spiral effect, which is a new effect on the de jamon 100 nexus to mixer. So we're inspire on. I played only to China. Four. Right now we're going to switch on our effect section and we're going to start to apply our spiral effect. Our spider effect economies has one beats. So think Aspira us. Ah, delay effect on echo effect on steroids. It actually has a pitch control to it. So let's hear that pitch control. The pitch is a sign by this touch trip here pitch shifting it down. And as I move my hand to the left, it's pitch shifting. How upon the sounds? Quite robotic. The main difference is that the spiral effects takes a short sample of your sound so he could enhance a drop o R bill double rise up in a break section, as I just demonstrated right here. But it's a pretty cool, funky effect to to use right, so it's like a day on steroids. Best way took. Describe it with pitch shifting control right here on our expat. So stay tuned for next video where we're gonna talk about reverb, which will really have a similar effect here in our culture section called Space. So stay tuned in for that 9. Using Reverb FX: All right, So in this video, we're going to talk about the river effect on its play or song. So river very similar to space. A few more controls here. So I'm going to switch on our effects section. And yeah, this is a massive room reverb. It just completely drowns your song. If you're all the way to the max. Sounds pretty OK between 10 2 o'clock. Now, besides the depth of the effect here, we also have our touch trip where we can choose a dark reverb. So a dark room or a very high right room. So here all the lows are gone. Here, all the highs are going right in the middle. IHS, where everything is audible, lomis and highest. We also have Think of it as the size of the room. 1 10 25 50 75 19 hundreds. It's a huge room here. Get smaller and smaller. Yeah, super small. Regardless, whether it's high or low frequency room. Yes. So depending on what kind of affect you want to have with your river, you may choose something extreme, like one or 10 or you can be pretty okay with 25. 50 and 75 again, 1900 out, a bit extreme. And just now here, the reverb That's 100. So our reverb on our delays here, some quite different from our space and echo for a lot of choices to play with. And next we're going to see our Trans Gates effect, which is quite popular and interesting to hear what it does. So I'll see you in the next video. 10. Using Transgate FX: all right, so in this video, we're going to move onto trance effect right here. So let's play a track mismo goat. Start with one beat of trance and that's trying and switch on the effect right on the beat . So Pete further again beat. So what's happening now is it's playing with the level off the song it was basically doing . That's for us with the fader on every beat when we moved to It's gonna be a longer silence . It was gonna be every two beats on a longer silence in between. A very slow if we're going to four. 123 12341234! 1234 So to bits would be silence to would be place if we go into eight. 1234123412341234 So that's AIDS. And then we go to 16. 1234567812345123456781234568 or eight beats. Silence eight beats music. So let's come down again. Proper 45678123456 Yeah, so obviously eight beats 16 beats a beats for beauty, even to bits is a bit off a long time. Yeah, to Trans Gate. But as one beat, it's pretty okay to start with. Or you can even make a shorter to have just a bit of a structure. Audio starter effect. We can shift toe one, but back to half and quarter Super Super Fast Quarter and eight even faster and 16 even faster. So succeeds eight and quarter again. Be too fast for most applications. Half one super good time duration to create a audible. Perfect. I press this button right here and it goes red. This isn't where we called Quanta eyes on the mixer. And it helps us by correcting any off our timing issues. So even without it still works, Right? But this is a good function. We're gonna took one about this later on toe have one tying his phone. It makes it makes it sound a bit more tighter. Also, the time bid to the one point. So now the week understands that transkei defect works and how it sounds Needless to say, when you put the fader down, music stops. So obviously this is not a delay type or a time based effect. It's 11 based effect does that for us. So practice with these effects here on get to I know a bit more about them where they could be applied specific, different applications or sections were off your songs on. Then we're gonna move on to our next effect, which is our filter, which is our go to D j effects in our next video, So see you there. 11. Using Filters: all right, So in this video, we're going to talk about our last effect for now, which is on where Filter. And this is a moving filter on dummy the most right down. So for our filter, we have our blank off movements between 16th all the way to 64 beats. And also we have our war car strip here where it can actually add some modulation thing about a string modulation, so it gets a bit more aggressive. So let's go all the way to minimal modulation. Switch on the effect. Let's do four beats and increase that. It takes four beats to go down four bits to go up before beats to go down before beats to go up. And this is what we call a moving filter living from lows toe highest back from hyeon to lows. So this is a static filter stops where we're sign it. This filter takes four beats to create one full cycle or wonderful movement. Now this is to it takes to beat, so it's quite fast. This is one superfast on beads and to oscillations or two full circles or two highs and lows movements within half a beat So it's sounds pretty fast and probably quarter so four times per beats eight eight times per beats was really aggressive and choppy and really wobbly here and 16 times per beats it out of control. One for AIDS. Super slow 68 beats on eight beats to go one full circle. 16. Super slow. I get 16 there another 16 here and 32 64 huge shoots. Length of time for the filter toe. Slowly open and slow the clothes. Let's go back to something we come year quiet, foster four beats and then we move the modulation for no more donation. Just a filter opening and closing every four beats. Yeah, the modulation modulates the opening and closing on the filters at some wobbliness even slow time frames. And to be honest with you, it's not a great effects. The modulation. Yeah, so very subtle on the shorter time frames because they are wobbly or soft modulating so it doesn't have a huge effect. Yeah, on the on slow times, you can actually hear it when you're, like, 3/4 of the way. So this is our filter. And in the next video, before we moving to the second half off our effect. I'm going to quickly go over this affect frequency, low mids and high section as well as this timing. No, right here. Right. So stay tuned for that video. 12. Low Mid Hi FX Control Settings + Timing Options & Settigns: All right, So in this video, I'm going to explain to you what this low made and high effects frequency dance as well At the very end. Our time? No, right here. So let's go and apply a ping Pong effect to this song. Best to 3/4 or 3/4. It was a bit off beat. So what can actually hear that people effects, as you can hear with all the facts, are we've so far discovered the fact is actually applied on the whole song. So the lows, the mids and the highs are being pink punked between our left and right speakers. If I was to switch off the lows and the mids and just keep the highest, the Ping Pong effect is going toe only be applying on the high frequencies off this song. So the beat and the melody goes through without any ping pong effect. Just the hi hats in the high percussive elements have that ping pong effect applied to them . So you can further sort off lay years with these three but sins right here to your effects . So let's just hear how the MIT sounds and how the media supplied so That's the melody. That's minutes. And this is the lows. Which is the base? Yeah, so it's just applied on the kick. You can't play it 22 combinations or not. Surely on all three fans of your music. So great fun to switch on and off the low, mid and high affect frequency, the next elements or no on a meter. We're going to talk about his time and let's move to an echo. And that's how this echo on one beats. Switch it on. Yeah, so you can actually hear that the echo is on the track. Now. It's gonna sound a bit horrible, but whenever we switch between one beats, two beats to 3/4 1 quarter, whether point eyes is on or off Sounds pretty okay? It sounds in time with our music. What if we want to go out of time? We can do that using our time parameter right here. So right now I'm on quarter notes on one beats and I'm going to move my time control and we can see here on the panel. It gives me time in really seconds. So it's going to sound horrible most of the time because it. Delays now are out off sync with. So if you want to go out of sync, what are some weird short or weird long late time you can do that? That's one millisecond. It's like phasing with a song. Maximum is 1,004,000 seconds, pretty long over time, duration. And then again, at any time you can't sink back by just pressing this past trip here, we're back to one beats regardless what our timing value is Waas One beats were back on sink quarter way can get out of 1/4 aids back into AIDS, like in the house, back in one beats. And this is our time parameter right here. So thank you for watching. And now we're gonna move on with our serious 13. Setting Memory Locators in Rekordbox : All right, So in this video, I'm going to show you how to create your memory locators. So that's all in the notes, but struck from the beginning. So this load of a truck, all right, so the few is our little orange um, triangle right here. What you need to do is click on memory if it's on hot kids or are in the air for top. So click on memory and let's say we want to create. So we want to create the location here. We're going to prosecute. So he was here, and we are going to sure we are queuing. Nope. Tamp and click memory. So right now we have our Q and our memory. Locator is always at the top with a red arrow and does the timing. So I was lying toe have actually the first kill of the song when the song starts. When the beat starts, I like to have done as my first Q on. Usually once the soul develops and basic seen way So cute Memory number two and then one Ryan up the last week before the break. So the beginning of the break, essentially, in case I don't like the breaker on a skip through its with any points Don't create another que memory location there. So we caught the beginning off our so one the bass kicks in our break. If you want to skip to work directly o r out of our big win if we want to skip out of it. Also, I like to have ah marker memory location. Towards the end of the songs, there's like 50 seconds left. And, as you can tell, Space is still happening here. And then here tells me that the based crops is just a till the end Hope money. So all right, so that song has AIDS memory locations up there. I noted a different song again. That's cute. The beginning that's que out of control. So that so the little eight beats to a bar break again, beginning off the break. I mean, this are like genetic locations. You could choose whatever locations you you like. Whatever makes sense to you. Yeah, so you could also make a note on the science. That's my intro. That's my beats. The 3rd 1 ISS money break. This is my main. That's my break. That's outro So entrar break main section break and outrun so great your memory locations throughout your tracks so we can quickly skip through them so you can do it this way as well. With the arrows on the city J a swell us in record box. Of course, you could always, um deletes Ah, memory location. Yeah. So next time you sync with your it was B, it's going to take also the memory locators and your cue points and update your us being. So when you plug into your city J or controller, everything will be shown on your display or laptop screen. 14. Summary & Performance: All right, So in this video, we're just going into a quick overview of what we discussed so far. So talked about different some structures and how songs developed over time and what to consider with our interests and our out chose. Then we talked The bounds are vital moments and the different. But I mean associate with I'm gonna use starting demonstration next. We also talked about the slip moment as well as a really cool, funky way to create some stuttering effects with your song. And then we went through the first half hour effects and jeans Gonna fix right here with touched Thank you are 11 time control and where we're playing the effect Someone put that all together into practice for you Win again. Follow through on ends. Practice on your side too for more comfortable and confident with these futures were discussed way