Explaining how to make a mash-up for your DJ-set - Fruity Loops | Mr. Belt & Wezol | Skillshare

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Explaining how to make a mash-up for your DJ-set - Fruity Loops

teacher avatar Mr. Belt & Wezol, DJ/producer duo from the Netherlands

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (23m)
    • 1. Introduction

    • 2. Mash-up or edit?

    • 3. Find 2 (or 3) matching tracks

    • 4. The mash-up

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About This Class

Making a mash-up or edit is a great way to spice up your DJ-sets or performances! We always make sure to have at least 20 mash-up's with us when we perform and it's a great way to switch things up during your set. In this course Sam explains how to combine 2 (or 3) existing tracks into one for a good harmonic mash-up. 

In this course we'll talk about:

  • What is a mash-up?
  • How to find the right key
  • How to match 2 or 3 existing tracks¬†
  • How to make the actual mash-up (with intro and outro)

Meet Your Teacher

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Mr. Belt & Wezol

DJ/producer duo from the Netherlands


Often described as the Netherlands' most striking DJ duo, Mr. Belt & Wezol stand out both production and appearance wise. Hits like "Finally", "Boogie Wonderland" and "Let’s All Chant" have an old school house and disco vibe, twisted with Mr. B&W’s characteristic dynamic drops. While their sound is easily recognizable among the other Spinnin’ Records' releases, there's also another piece to the cake that makes this act special: their videos. Always spot on between humor and originality it often makes the fans eager to not only listen to the next track, but also to see the next track.

With their packed festival schedule there is a big chance you will see the guys in real life. 2018 marked their debut at Tomorrowland and Wish Outdoor Mexico. Shows like those on Ki... See full profile

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1. Introduction: Welcome everyone to win you in this video, video and this time explaining how to make an edit or mesh up. And maybe I should start with why it's important to make mash-ups and edits for your DJ sets. Because I think mashups and edits are next to your own tracks. Of course, the most importance I catch her of your sense. Or at least I find that it's always entertaining if someone made a mesh up but weren't edits to a track, that's kinda lifted it to a new place. Or in our case, we have a lot of tricks that we think are cool in our sets, but they don't really fit there. So when we combine them into a mesh up or an edit or something, we find a way to do make them fit in our sets. For example, we play a lot of classic tracks which you couldn't really trillion Arshad's, if you will play the original. But if you try to win a edits or Michelle, or in some other form, you could read it, make it work, I think. So today I'm going to make a mess shop between two tracks or even three tracks, but it's going to have tricks. I want lowness team to be in the break of the mesh help and I want a tech house track to be in the drop. So don't AS team, you've heard it's it's a classic, It's district. So that track that I'm also going to use another virgin off that track, which is the Purple Disco Machine re-mix, which is almost the same but slightly difference. And then as the drop track, I'm going to use this trick by Rous. You'd go, Oh, so we're going to throw all those tracks in one big mesh up. 2. Mash-up or edit?: So I'm assuming everyone knows this, but to be sure, a mashup is a combination of two songs. So for example, the break of a certain song but the drop of another Shang, An edits. Dj edits is a shortens or slightly altered version of an existing track to maybe make it shorter or to, I don't know, change it up just a little bit to make it interesting or fitting to your sets. And yeah, that's yes. 3. Find 2 (or 3) matching tracks: So if you want to combine two tracks together, the biggest thing you're going to see that's not going to make it work is that they are in a different key. And you have a few tools out there like key finder, which is this program right here. And you can just drag tracks in here and automatically, It's the texts what key your track is. Another way to do it is to use B ports. You actually just go to the track that you want to mash up on before it, you can always find the key right here. Might be bought is in Dutch, as you can see, but this is the key. According to beat board, of course. Here's the BPM as well. Another way is to use Record box, which is like a staple. If you, if you're a DJ, you know what record boxes. But basically you can just throw trek in here as well. Wait for it to analyze, and then right-click and click the text key, which is don't sort the bacteria in Dutch. So then here you can see the key as well, because finding two tricks that are in key, we did shutter is such a time-consuming process. I always throw every trick I wanted to edit or Mesha up in one big folder. And I add the key of the trek to its tidal. So as you can see here, all these tracks are all tracks that I wants to mesh up in some way, but I didn't have time to do that yet. So this way you can easily match up tracks that are, that are in the same key. A lot of times it's not really clear what the key of a track is. So you really want to make sure what's the exact he's of a track. You throw it in FL Studio in my case, could be anything. And you just should just make it sync with the BPM for projects. And you also throw a true pianos or some kind of TNO plug-in your, your projects. So right now we have to track right here. And we have the piano right here. We just give it some notes. And we'll just drag it in here. So by altering the, the node statue or BNO is playing ads, you can really hear when the node clicks. So we're just gonna let the song play and altered notes of the piano until it clicks. So that's the G. So that means that's the root notes off this track is the G notes. And that'll show means that B ports and key finer and everything was all correct, is track is in G Minor. Sometimes you're gonna have a song that's in a major key instead of a minor key. In that case, you can always use the Capulets system, which is this thing right here. And you can easily match every key with a monarchy. So say for example, that your track is an E-major that sits well with D flat minor. So you can have a trek. And that is an imager and the drop of another track that isn't the Fed minor and that would not fight with each other. You know, that will not sound out of tune. So that's also a handy tip for making sure that your songs are in key would each other. Anyway, that's the key. For BPM. I always use the mics Meister BBM analyzer, but you can also use Blackboard record box, usually that's on points, so it doesn't really matter what you use here. 4. The mash-up: So a problem with this track, the original main makes of lowness team is that the main hook of the track, which is this part. That's also to drop. And it's like I said earlier, I wants this track to be the break and a tech house track to be the drop. So we can't really use the hook of this song in the mesh up. What I then did is I looked for other versions of this track that's had a slightly different arrangements that I could use in my mesh up. So what I then found is a Purple Disco Machine re-mix off this exact track. And if we then throw it at in mix Minister, we can see that it's 122 ppm data. So District is 124. This rank is 122. And we want to drop in ruses, don't know which is 123. So I always go for BPM that the song is going to drop in soon because else are gone. Stretch the drop, and that sounds bad. If I will alter this one, this track to the lowness team, bpm, it's going to be slightly slows or slightly sped up, which will make the notes in the song slightly tuned up or down. So I don't want that. So that's why I always go for BPM of the drop trek. Alright, so BPM of the project should be 123 because that's the BPM of the main track. The drops shrank. So we're going to change this to one twenty four. Twenty four. We're going to reset the pitch so we know it's exactly in key with G minor, and that's slightly up or slightly down. And this one was 122, corrects? Yes. I'm 22. So this intro is fine. So right there, I wanted to get into the actual just off the track. And I know in this remakes of Purple Disco Machine, it uses the hook of the track without its being the drop. So I think that's somewhere around here. And then right here we have, so right here we have the gist of the track without it being the drop off the track. We could use this as a break. So what I'm gonna do right here is just place this over where the break begins. The first drink. So that works just fine. Automate this baby. Balance, our excuse balance for violent dimension. So that happens. Pretty smooth transition to another track I think. So when making mesh ups, I always just imagine how crowds, what's react on this, you know? So I think this part right here is a perfect intro to the HUC off the track. You know, everyone on the dance floor would be all yeah. This is debt track. Okay. And I got I got it. General. This Bart's this part right here would be the full hook. And then if we listen to this regulator on, as already availed up, right there actually can be degraded use. So that's a drop of this track. We're not going to use deaths. And it's the rest of the TREC, not interesting, so we can remove that. So an advantage of this Purple Disco Machine remakes is that it already has a pretty solids built up, I think so. We don't have to do a lot about that, I think. So we can already start throwing in the actual drops wreck. So always make sure that it's insane. Quits your step sequencer right here. I don't know. You go. You go. So I'm just finding what Drop I should pick for this mesh out. You go, Oh, I think that's going to be the one. So I'm just going to cut it right there. Already know where to drop off to mesh up should be. That's right here. I'm gonna use some of the buildup as well, I think. So. Let's see if this works in Ms. Ross to its competitive, it's supposed to go home. So you can hear that that's fits really well in terms of the key doesn't sound out of key. With some changes, we can really let the strikes morph into each other. So that's what I'm gonna do right now. I true to drop track on a separate mixer channel. That's just start really simply by applying some volume automation through it. So it doesn't come in as hard to know when the actual build-up begins right here. So maybe something like this. And we wanted this to be a full volume right here. So it's little bit cluttered, so I think there's too much stuff going on. And I think one of the biggest contributors should add the ISDA low ends on the drop trick. So I'm just gonna throw in a filter right here. And that gets rid of most of those frequencies. All smoky. And if you don't know, and it's already a pretty big improvement. I think. I think another thing that we want to do is do the same with the high ends to exactly the same with the high frequencies of the lowliest team TREC, but the other way around. Okay? Volume automation because I think it's still a bit too much of a cluster fuck. I mean, miss so much of a mess. Okay, so I think that's pretty much the basic, the basic foundation of this mesh up. One other thing I noticed is that I should be like some kind of white noise Pysch there I think. Let's just add that. Maybe we can even turn a little uplifts are there as well. And so I would maybe also add like some kind of suction effects at the end. So because there's so much going on right here. For some people, it could be maybe hard to guess when the drop is going to be. So a way to kind of emphasize that moments. To use a reverse impacts or some kind of effect with also low ends on it. Which is reverse as you can see it right here. And that way you can, while you can hear it, you will observe that if you don't know. That sounds. I think let's just listen to what we've got right now. If you look here. But if you don't know, you know. Okay, I think that's working pretty well. As a last thing, I can also add falling motivation to the master channel to kind yet to make the drop impacts a little bit harder because, you know there's two tracks playing on top of each other, which gives the, your project a lot of volume. So if you just alter or lower to volume allele bits just before it drops and then take it back to their normal volume. On the drop itself. Dropped comes in a little bit harder. Which works on most of my projects. Like a charm you observed. But if you don't know, you know. Okay, so that works. I think that's the basic idea of this mesh up. The only thing left to do is what do you want to deal with the rest of this track? We don't really play songs that long. Armani one drop. If it's already. If it's a track that works really well, maybe, maybe two drops. But that means that we have to remove a lot of the rest of this track which dropped right here. And it continues on right here. Being here, being here. But if you don't know, we don't know the DO loop. What makes him. So it skips one bar, it's the last drop show. This will just be the entire altro more than enough time to actually makes out the trek. But now I'm looking at it. This track takes almost five minutes, so that's way too long, I think so we're gonna just jatropha doesn't really matter because you're just gonna mix it in earlier anyhow. But maybe we can skim off some of the intro right here. So I think that part of the parcel not necessary at all. And we can skip that thing. This this in it's entirely escapes deaths. So for now, move this entire projects to the left. Sorry, yeah. Now the entire mesh up is exactly 30 seconds, less than a long, I think. So that works. So luckily with these two tracks, I don't really have to add a lots. Because, you know, we can already use the full buildup of this drop track and the part of the build-up of the Lola steam remakes. But normally if that wouldn't really work, I would of course, adds snares or something. Nothing too too complicated there. I just have a couple of loops which just simply are buildup loops show. So I would just add something like dance and maybe some crashes and some white noise. And that way you could kind of create your own build up there in terms of effects and snares. I hope you learned something. I hope you had fun, and I hope to see you again in the next video.