DJing with Traktor 101: Navigating to Your First Mix

1. Intro: What's up, guys? It's professor sense of the welcome to the intro to deejaying with tractor over this course , we're gonna be talking about some of the basics. The layout. What makes a basic mix with all of these windows and sections of the screen means, But before we dive into things too deeply, I wanted to make a quick point to talk about equipment. When it comes down to D drink as a tractor, D. J. I will say quite candidly, that it's still not the number one format seen in clubs. Usually, when I show up to a venue, they have a Surat Obey set up or see DJs. So as a result, if you do want to take advantage of the fun things that tractor has software, you will have to invest in some equipment. If you want to use hardware, you're probably have to bring that equipment with you, so keep that in mind and you're making your purchases. If you want to spend with vinyl, you'll need something like the tractor Z two mixer. Um, and you'll be bringing that in tow. Handle all of that. If you wanted a controller, they have all in one controllers now, like the tractor s five or the tractor s A. I think those were the best starting point right now for someone that knew is they want to do this professionally and they don't wanna do anything but by controller, um, for the entirety of this course, I'll be using the most basic modular set up just to show that this really can be done on anything. So this is a tractor Z one, which is a two channel mixer, gives you control of the feeders and the e queues of each of the decks. There's a headphone for queueing that's really important. The main thing that you need out of mixers to be able to cue or preview records in your headphones before you drop them into a mix is R C A output. So you completed those in streets of the house, and the other side of the equation is the control X one mark two, which is used for, you know, play accused viewpoints effects. And this touch trip is used to nudge the records and so forth. So it's a really basic set up that I actually bring out to give quite a bit for bars for smaller venues for smaller shows, and you can get it for probably about 300 bucks nowadays. So you don't have to invest that much money if you're just getting started. If this is a hobby for you, for example, or if you're not sure tractor is the software for you. But even with the set up like this is very forward thinking, and you can use it to gig if you decide you like the software. So we're gonna take a look at the main screen, some of the layouts and get you on your way to mixing your first recording. 2. Browser: Okay, first up, let's talk about the browser section on. The browser is where you will find most of the navigation for your collection. The track collection is what houses most of your tracks. You can also have access to your iTunes library, but I recommend using a dedicated track collection. That's another folder on your hard drive somewhere that will make it a lot easier to move your collection if you have to transfer to a new computer. And in case there's any weird updates and iTunes in the future, you don't have to worry about all of your deejay tags and things getting messed up. If you do this method, so use your dedicated track collection. You can expand upon that and then limit your search to different types of files. For example, if you work with samples and just want to load up your samples, you can click here. Um, you can also see things sorted by legal genres, etcetera OK, now below the track collection. We have a playlist section, and your playlist can be thought of as your creates or an organized idea or theme that you kind of How is your songs around? If you view Spotify or iTunes. You know how platelets works. But these air really useful as a deejay because they save you time while you're in front of a crowd. If I'm playing a dancehall record, for example, and it goes off really well, since I have a best dance hall section, I can just pop that open and quickly browse through this playlist. I should also mention that if you don't have enough screen real estate on your playlists or in any part of your collection, you can hit the space bar, and that will expand the screen for you. Hitting the space bar again. Well, then collapse that if you're using one of the tractor control controllers, um, you can used the browser knob, and that will allow you to scan up and down a list and will automatically expand the list when you're on it. When you let go of the knob, it will then collapse that list so it's really nice, built in feature of the control Siri's controllers from Native Instruments. Now let's talk a bit about search. You can search for things by clicking right above the track collection. Um, it's important to note that whatever you're highlighting currently is what gets searched. So if you're accidentally on playlists or within a certain playlist while you're deejaying and you're looking for another song that's not within that playlist, it will not pop up. So always make sure that you're in the track collection. If that's what you're looking for, all right, and it's cool because you can also search by title artist keywords comments, which you can add in for any song. So if you add a tag like party records to your comments, you can then search party records and track collection, and all of those will pop up to its very in his future. Now, if you look above the song list here, you see this section of favorites and favorites are essentially playlist that we've dragged over to these dedicated slots so that we have quick access to the to our deejay. So I tend to think about the couple of genres that I know. I'm gonna play the most in a specific set, and then I put them up on my favorites list so I can bounce back and forth between them really, really quickly in any of these selections whether you're in a favorite or you're in the entire track collection. You can come over and click on the headers in this list here and sort your collection by the header. So if you want to screw through things where artists click on the artist just like you would on iTunes, some of the useful, more useful sorting options that you'll probably use as a deejay are on BPM because it makes it much easier to find songs that are in the relative same speeds across the IT into and key. In case you wanted to harmonically mix and tractor makes that really easy. They have a built in system of checking the key of all your songs so you can mix harmonically really easily. The last thing I wanted to point out really quick is in our system preferences. Those can be access using command and comma, or you can click on the gear icon up here and we're going to go to this subsection of browser details, okay, and this browser details section allows us to include or de select certain things in our browser to make for more space. So if you want cover art to appear the lower left you can. You can change the font type and size for your for your selection. So let's see. You're playing in a festival set and you're kind of far away from your screen. You can make everything look a lot clearer. You change the row height. You can get rid of this favorites menu so on and so forth. And to me, that's one of the best benefits. The tractor. It's very customizable in terms of house laid out. 3. Mixer: So let's talk about the mixer and tractor. There are a couple of different feeders and knobs. The mixture section is basically the center of the console, and the most important thing that I want to talk about first is the cross feeder that we have right here. This cross fader basically determines how much of what side of the decks the listener or your audience gets to hear. If the cross Vader's completely to the right, they hear all of this deck. No, this'll my seem strange. But if the cross Raiders, although rates with left, we'll hear this that yeah, and if you have the cross feeder centered, you'll hear both decks at the same time. Played it randomly will probably sound like crap way. So our job as DJ's is essentially to go back and forth using this cross feeder and make the transition between these two sides sounds seamless throughout the course of a night. All right. In addition, the having this kind of master controller ratios for more finite control. We also have up feeders. Those up feeders are these. These two features that we have here is gonna be thought of as volume controls additional and more precise volume controls for the individual decks. So if I have this deck running again wow and come completely down on that fader, I've lost the volume completely Stuff thats is really helpful for transitions that involved really, you know, subtle volume changes, but also, if you're doing things with turntable is, um, different types of cuts. Proprietor, I haven't no the way of going up and down on volume, so having those up feeders helps with that. The last thing that you have to control volume when it comes down to tractor is this gain section. Here. You also see gain on a lot of hardware mixers to, and this is used to make up for really allowed or really low recordings. There's an auto gain feature built into tractor, so if your songs are really low, it will automatically adjust based on how low it is. But if you want to reserve lower the volume of a song on your own for the entire song without having to rely on the feeders, you can use this gain knob to that's really important in a live setting. Sometimes, you know, records just aren't the same volume Sometimes you have to fix things in the room, and those gain those gained knobs gonna really help you do that quickly. Okay, so we heard earlier to records playing at the same time to everyone in the crowd. It sounded really should be, and we would probably be able to go back and fix that as we were playing it. But we want to be able to make sure that all of these things sound good before we reveal them to the crowd. And that's done using a Cuban coca. So on the screen, the Q is indicated by this little headphone icon here. Depending on the hardware that you have, there will be a dedicated button to give you access to that Q two. That may also be on your mixer, and the Q is essentially a way for you to preview what's playing before he gets paid to the audience. So right now I have this Q engaged and I have headphones on and I can hear that in my headphones. You probably hear a little bit of the bleedin my microphone. We actually kill that, but it's not being revealed to the audience at all, and while something is playing on this right deck to know your name. And you know how I would adjust the single news level that day revealed to the rest of the crowd. Okay, so that's why it's always so important to have some type of hardware that allows you to monitor things in your ear before you reveal, um, without some type of audio interface, I let you put on headphones and preview what's called a que you kind of have to juggle your records while everyone can hear them, and that's obviously not what you want to do. All right, so let's move on to the e que Section e Que or Equalization talks about the different frequencies in the record. When you're mixing records, it's often useful to be able to give it of the lows, the means or the hives, even just to make excitement in the performance. So let's just play this again. You talk about the different man's. I was to get rid of the lows. I take out all the base in the kicks with kind of the juices, makes that kind of dreamy dilla. But way can also adjust using the filter and performing. I think that's a lot easier. Normally dedicated filter knob on Most Control Council. We have this right here. If records playing it was called a high pass higher than that point passes along the way. Anything lower than this point remains anything higher than this point gets removed. This is a quick kind of one hand method of carving out of frequency. In the songs, you can mix another song, and if you have two records that have really prominent base, for example, um, good technique would be to filter out the base in one of them. So you have room in the 2nd 1 to bring it in. It's actually do a quick mix how that would sound. Maybe we can hang up whenever you want to. Just let me know, really Theo eso Using e cues air filters, you can carve out frequencies and make a room for songs that you're coming in with. Normally, we will drop those vocals on top of each other like we just did, but I think that's a pretty good example of a way to work with the accused 4. Decks: Okay, so let's talk about the deck layout. Well, what kind of reserved for time for the main things that you're gonna need to focus on it first, um, up in the top left, you get your track information and you can reorganize what you want to display and where. And the system preferences down here in the Dec's themselves, you have play buttons and Cubans, and if you double click the headers of these decks, you can change the size of the layout. So some folks prefer toe, have, ah, more focused on the way forms. I do this in a live setting a lot, Um, whereas when you're doing kind of file, set up and be grating, you may want to have these advanced tabs open. So So here's your play button. It's pretty straightforward That'll put your tracks right next to that. You have a Cuba and a que It. It kinda, in my opinion, was replaced by the hot cue option that tractor offers. But C D J users tend to like the Q lots, all going Teoh. A little bit of detail accuse basically a little marker that you can set down. So let's say I want to set a marker down at this point in the song and can hit this Cuban while the track is paused and we've now placed a little locator down. So if I continue playing and I want to jump back to that point, I can do that. And that's really good. For if you're in your headphones and you're trying to find a point to mix into on a record , you can place a really quick, temporary kind of like hold spot or like a sticker, Um, and then get back to that really quickly. Now I should note that if you use that same function and use this but next with a Q plate button, it'll jump back to that point and continue playback. And if you're snapping, Qantas settings were set up. I believe that will do that on a grid, too. So again, if you're coming from C DJs, that function tends to be really useful. I think personally, if you're coming straight into a digital background, the hot cues kind of replaced that concept. Tractor and hot cues are access in the advanced panels on these decks. You can see the mapped out here They're basically little temporary or not even temporary, their permanent cues that are stored in the data of your tracks. And you can drop those even if you don't have a controller. Um, if I have this record playing and I wanted to drop a cue point in two hours, it two on my keypad on the opposite deck that would do the same thing. You would just start from five. So five would be this first cue. 50.6 would be this one. So on and so forth, so e. And that was all done right from a key Pagis. By hitting that to button, most tractor controllers and most MIDI controllers nowadays will have a pad set up for you . Toe control cues, tractors, air really intuitive. There's, ah, a Knop Shinto drop cues and then delete them just by holding the shift button and then hitting that Q. So I could just find, you know, sections of a song while I'm deejaying and go back and forth between cuts, and that's a great way to do different transitions. All right, so you have up to eight hot queues at the bottom, Um, something that will talk about later are different types of cues because these were just standard cues. And we have multiple different types to choose from this grid markers so on and so forth. But we'll get into that a little bit moving on. I also want to talk about a really quick keyboard shortcut that you should commits memory really early on. And that's just W and s for playback. If you hit W, you start playback when your first sec. If you had asked, you start playback on your second deck. Okay? And with regard to those que buttons cube, ironically, is the cue on the first deck and a is the Cuba and on the second deck, cool. So another thing that you'll notice in this decker these numbers down here. These refer to your loops or your amount. If you have a track playing, you can live using those points. Most tractor controllers have this feature built, and I'm using the X one, and there's a NA dedicated now that allows you to change the length of a loop and also change the location of elite so you can scroll forward and back really quickly. But, yeah, looping is obviously really helping electronic music. You also have the option if you're coming from a CD J background to do manual looping within and out point. So we're running a track, Theo, because I have these snapping quant ties. Options enabled tractors keeping everything nice and a line nice and tights when I drop a loop. As long as the track is properly gritted and we'll talk about that in future lessons, you will get a perfect loop every time. It's really helpful to shuffle around. It's really hopeful again in the house music, but in all kind of transitions, having a leap that you can go back and forth ends, who really easily is nice. So the next thing on the deck that we want a food zone is the pit trader. A pitch feeder is what changes a temple of a song up her down. And that's essential for transitioning between two records. Because in order for that transitional worked perfectly, the temples have to match, so if they're different tempos, you need to adjust them to match somewhere in the middle. This can be done instantly, would sink, but I think it's really good to get in the habit of perfecting beat matching by ear. Just because if you're working with genres like Funk, Soul or anything that has live instrumentation, that sink option isn't gonna work because the speed fluctuates. And even if you're thinking about more modern music, a lot of times artists will do complete tempo changes nowadays, so it's good to learn how to manually beat match. It will also help you if you're digitally deejaying with final or see DJs, because you'll think about different ways to cut, since you know how to play with timing a little bit more. Um, so depending on your controller, you'll have some type your controller. You'll have some type of pitch manipulation for this feeder. You can map it to control. If you don't have one on the X one, there's actually an option. The whole shift and you are actually sank. Excuse me, and then you rotate that left or right encoder. Depending on the deck you're on. That will change your pitch. You can double click on that theater to reset it, and in the system preferences, you can change the range of that feeder toe upto 100 so you can do some really, really deep warping. If you're a producer, I think it's a lot of fun to play with. Those Temple extractor does a really good job by going up a lot of B PM's without losing the transient punch. But generally speaking, when mixing, you try to stay within a couple of be PM's of each other, so try not to move your fate or too much. All right, so the last two things that will talk about or, ah, the sink and master section and the nudge section, the Sink and Master section talk about tempo sinking and the master basically dictates which a deck is controlling the tempo at this current time, If you're using tractor as a set up by default, this will kind of concur to whatever track has been playing from the get go for the longer period of time. So if I run this record, you noticed that master immediately click. Then Tractor is saying this is the only thing playing right now. This must be the master, and that's important if you want to use sinking, because if I then click sink on this record, that is the master that it's sinking against. So without even. Ah, see without even going to deep in the detail here, we'll start this at 1 21 You'll see that this is the master will then sink to that master and bring in Ah, Blunt. So, Period, I noticed that temporal changed Russian mentioned If I stop playback on this first deck, the master now switches over to this current playing track. 5. Final Look Around: Okay, so we're going to briefly talk about a couple of other sections. I don't want to go into too much detail in them because they're advanced features, and I want you to kind of internalize the basics before we go there. But it is important to know your way around the screen. If you look in the upper left in right hand sections of tractor right now, these air the effects decks you can have up to four these running at one time. I think two is enough for this demonstration, and they could be laid out in two different ways. If you look to the left, you have a single effect loaded up with really matter or really minute control over three features of that effect. So you can really detail in on a certain sound based on what that effect is to go to the right. We have a chain of three effects lots, and rather than having that really intense, detailed control, you have one macro that controls the main function or the me and parameter of that effect both very, very useful. If you're using one of the Native Instruments control Siri's controllers, it's a very intuitive process to play what effects. And I think that's what Tractor really gets right. That's why a lot of electronic DJs like it, too. Okay, so the next thing that I wanted to discuss is the different deck types. There's different deck flavors. As they like to say, Um, first of all, I should mention that we've enabled four tracks and that can be done in debt preferences in the deck layout section by enabling show C and D, and we have different types of decks down here. You can select different deck types by clicking that little carrot next to the decks label . In this case, I have a live input. There's also a stem deck, which will automatically live it up if you're using a stem file or remix set, which is what we have to the left and then the standard deck flavor attract deck, which is what we have up here. So alive in put could be something like a guitar player, a synthesizer or drum machine that you have midi Sync to tractor to play on top of your tracks and remix set economy looked at like able to live light. It's basically a collection of loops that will play and sink on top of whatever your master tempo is of your playing tracks. Or it could be one shots that you can trigger off with the controller again if using something like an S eight or even the tractor F one. Um, this becomes a really intuitive experience. Now, if you're doing this type of advanced mixing, you may want to take a look at your cross Vader assigns, and that's located down here. If you look at both of these sections, these basically a sign a debt to a side of the cross theater. So we want decade Onley B on the left side and beat only be on the right. Then we've selected a on this left side and be on the right of this cross bater Assign. Now, if you're doing the live production style thing where you want thes live inputs or the remix decks to play the entire time, just don't select them another deck and they'll be bypassed. Always play through. In that case, you'll be controlling their main volume using these volume of theaters here, okay, and the last thing that I wanted to briefly talk about is right up top to Snoop Recorder section. This is kind of like a sampler that you have in real time. You can hit the record button, and based on your selection here, tractor will record what's going on a real time. That could be the main, the Q and external input, etcetera, etcetera. You can choose the size based on this selection here. This dry, wet dictates how much of the signal you actually hear playing, and then you can actually drag whatever you record from your loop recorder to a remix tack . That's doing an error, since we didn't record anything. But basically, this becomes a live recording, optional loop recording option. Actually, use this when I'm just trying to jam out ideas on a synthesizer. I'll set a click or also to track. And then I'll run that live input and record from there so advanced features that we will discuss in detail in future courses. Right now, I don't want to get you too caught up in those things just yet. I just want you to know your way around the screen, so take some time, experiment with it a little bit, really make sure you know your way around the lay of the land. I should also mention these two tabs of where we go. You click here, you get advanced options like many sinking and different type of clock sinking options will discuss later. And also, if you're trying to record, this is where you enable your recording options will discuss that later, too. 6. Importing Music: Okay, so I want to briefly talk about importing your music and maintaining your music library. There's a lot of ways to do it. Like I mentioned before, you have the option of just spinning out of your iTunes library if you want. I really don't recommend it, But for a lot of folks, you do use iTunes for your playlist collection and just for getting your tracks together, there is a method. If that is the case that you can take advantage of, and that's by you. Load up your iTunes folder. You now have access to all of your playlists and iTunes. You can then right, click and then import to playlists or import to collection. And that will only import the songs and the playlists that you want in your tractor collection That will keep you from having your entire iTunes library loaded in there. I should also mention that if you're using Apple music, that streaming data cannot be spun. So this is only going to refer to songs that are physical MP threes or and whatever's in your iTunes library. But I think personally it makes more sense to say a dedicated folder and use an automatic important method when you're working with your tracks. I have a folder on my desktop that's called Tractor that has kind of main draw honors loosely sorted. And I, when I get a song that I want to include in my collection, will just drag them into their appropriate Jonah. And the way these air bought into tractor is an automatic process. If you goto command comma orders, hit that gear icon and open up your system preferences. Um, you can go to file management and found management would give you a lot of the the options with regards the importing your music. The most important for what we're talking about right now is down here this music folder section. I've added that tractor folder and all of those sub folders into this section, and I have enabled this option import music folders at startup. And what that now does is any time Tractor opens up, it scans that tractor folder that I made on my desktop for new additions. And if there's something new, it imports it into my collection. So your basic workflow that now becomes okay, I like this this MP three of downloaded let me drag this into my tractor folder and it's appropriate, Jonah, and that's it. The next time you load up tractor, it's there ready for you to use. To further make the process simple, I use analyzed new imported tracks and that Telus tractor. Whenever you import something new like that, analyze it. Find the BPM, find the grids. It's still good to check those, but I find that the leader versions a tractor, Really doing a great job of getting these beaker. It's right, Very impressed. You can also choose to analyze new tracks from loading into deck. That's something that I do as a catch, all just in case. But if you've had this check, you shouldn't ever have to worry about this. All right, so there's a lot of different ways to import your music, but I think that's the most consistent. Um, all of the tags that are written in tractor will write to those MP three. So if you want to go to a friend's house who has tractor, you can just copy your tractor folder to our drive and then take that over to their computer and blew it up and play like you normally would. I think this is also a really good way to back things up because I couldn't drag my whole tractor folder to an external. And I do that after every dig on that keeps everything up to date and make sure that I have a backup of all of my files because you will use them as a deejay age. It just happens. 7. What Is a Basic Mix: So what is a good basic mix? A good basic mix is one that matches the tempos and the phrasing of two songs, even if the songs don't overlap at all. While you're mixing, a good basic mix will maintain the rhythm of the floor seamlessly. So let's break down the two elements that we just talked about tempo. We know we talked about that before. That's the basic speed and pitch of the song be PM's as dictated in Tractor. But the other element phrasing is a new one. Phrasing is all about aligning with ones in the record. Basically, when you listen to a song in your day to day, there's an internalized account to that record you can kind of count along. 1234 in order for a perfect scene was blended to records to happen. You want those one on deck A to match up with one on deck B, and we'll actually showcase that mix in a second. But when you're trying to find a good basic mix, I think another important element that a lot of people ignore is finding the key spots in the songs. And that's really where knowing your music is important, and that's really were, you know, practicing at home and internalizing with those songs do and how they are arranged like that's really what helps but also based on your genre, your region and even the energy in the room. Certain rules tend to exist around where you should execute the mix, so you should study the greats in your genre that will go a long way Here, grab a mix and take note of you know what points in the song is your favorite DJs in the drawing that you aspire it a hit are mixing in club hit pop festival settings that moved to quicker cuts and slamming, for example. But if you're playing in the house and techno crowd, that's a more small room crowd. They may prefer a longer transition and a more laid back approach, so it's really about knowing your nuance. And that's just as important in the mix as how you execute that transition itself, All right, So just to illustrate what phrasing is, let's count in the ones on this record the single record. Then let's count in the ones on this a sap Ferg record, and then we'll talk about how we can get these two to match in and some basic rules that will get you to thinking about where you can mix in and where you can. So let's count along with this single record. 23 three. 1233 You noticed there was a change on the one there that tends to happen most records, so that's a great weight. Identify where the one is in a song. If you're confused way, I should also mention that if you want to set a perfect beat grid, the grid has to be aligned up to a one. So let's say we have a big, prominent one coming up here. That first drum change here, we know is a one based on our counting. I'm gonna delete my grid marker, and now this button here in the grid section of the decks can be hit. And that's telling tractor. That's a downbeat. That's a one. So that's how you perfectly line up your your phrasing and tractor. You're always trying to pit a downbeat on one and saying, This is that perfect one, and this is at 130 be PM's now this long is properly beat, matched. Now this a Safford record is 133 PM's. Depending on how you're listening to it, it actually can also be considered. It's halftime. Let me just fix this really quick. You can also be considered it's halftime. 65 B. PM's. But in the sake of going across genres, sometimes it's easier to double that tempo so you can make two genres match better technically. So let's count in the ones on this for a record. Only your kitchen, they hope. Eat What does do something? His booking. Bang, bang, bang, bang, bang. All right, so grand. My, that's your one Here. That's your one here. What I'm gonna do is loop this section here and we'll talk a bit about dropping in on a one and we'll talk about freezing. I'm actually going to drop in the first record a little bit off and then nudge it ends so we can talk about freezing and matching the freezing. Okay, so let's play this loop three performing and your headphones. You cue up this river so you find your warrant on hearing some of the new the cross fade or censor just three next around will actually drop this person. And again, I'm going to drop it a little bit off so we can nudge record into a better. It's a little off. You can hear it dictated. Get it back. Bang! Bang My jacket. Kitchen, I hope. Work out how he turned out. Brenda. Help him, buddy. 8. Manual Mixing and Final Assignment: So in our previous example, we had two songs that were the same tempo, which makes the process a lot easier. Obviously, you can get two songs toe be the same temple using the sink and master option that we discussed earlier. I don't have a preference on that debate either way. I'm really about selection. You make a good record match another good record. We got a good party, but I do think it's important to also learn how to manually beat match and to at the very least, are toe wrap your head around with that process entails and how that works. So we're going to use a really straightforward example. We're going to use a loop and a song that is a completely different tempo, not completely different, but it's a couple of be PM's different. We'll talk about just bringing the tempos to a more manageable point and how you would actually do that while mixing. So on this left deck we have this Vince Staples record. We're just going to use the intro piano 23 for 125 BP EMS. You can see here. Over here we have ah, cashmere cat at it intrudes like this girl girl girl. Okay, And that's a lot quicker. It's at 1 31 So we need to get these tempos to match. We'll talk about some techniques and doing that in the night, actually executing mix. So the first thing that I always recommend if you're playing something like this and there's a huge gap like this, try to get them to meet somewhere in the middle rather than stretching one song completely the other way. So ideally, I would have this record actually running. I wouldn't be looping. This understood in this for an example. But over the course of that record running, I'd be raising this tempo just a bit. So I gets about the halfway point. Same thing would happen on the right deck. We bring in the tempo down. If you're using the X one, this is them again, holding sink and turning the corresponding quarter on your deck. Okay, now that we've got, um, at around the same Sampo So when you're practicing important practice, both styles mixing manually, going up and down in your tempos and then using the sink and master method, because sometimes you need to get out of a mixed really quickly, and that thing will save your life in a pinch if you need it to. But in either case, when you're doing your practicing, think it's really important for you to head over here to this record section and record any rehearsals that you're doing so you can take a listen of the mistakes that you're making and things that you're doing right and work on them will repeat them accordingly. If you had to system preferences and go to the mix recorder section, you can make sure that your sources internal and you can choose where you want that output file saved and again once you're done recording, just hit record again, and I'll actually show up in your audio recording section with the date and time stamped. So make yourself focus on taking the time to do these recordings and practice and study them and see what you're doing right and see what you're doing wrong and really approach it head on, because that's the way to progress for a final project. Once you feel comfortable, I would love for you to take that same process and record a good five minutes of you trying to mix audio, make mistakes, you know, send me the things that work. Well, some of the things I don't work well, Send me what you're comfortable with, and I'll do my best to give it a listen and give you some pointers is how to go forward and what you're doing, right? What you need to do A little bit of work on. So, until next time, guys, thanks for sharing the time with me. I hope you feel a little bit more comfortable with navigating around tractor. We're going to look at more advanced techniques, going forward, things like for deck deejaying, remix text stems. But also, before we do that, we're going to discuss room philosophy, psychology, crate digging. And I think these air the more important things before we get to really advance topic. So hang tight. This professor son signing off piece