How to DJ - Advanced DJ Mixing

1. Intro - Advanced DJ Mixing Course: Hi, my name is Brin and I'm a professional DJ. This course is advanced mixing for DJs. And in this course we will be going into how to mix between different genres, had a mix between different APMs. And also advanced techniques in learning how to mix using vinyl scratching, mixer effects and other different techniques that will help you create smoother transitions and have a more enjoyable set. I look forward to seeing you in this course. And please, if you have any questions, don't forget to ask in the comments. 2. Mixing Different BPM's - High & Low BPM - Advanced DJ Mixing Course : The first thing I want to go through is how we mix different BPM, especially when they're completely different to each other. Now I've selected to track cl, one is IT, and one is a 160. Now the good thing about this is that they are completely different, but at the same time they are still going to hold the sign kick and snare hits. Even though the track on the right might be a 160 and might have more kicks overall and more snails happening. They are still happening at the same four-by-four Bay timing. So what I'm gonna do is I'm going to play you the intro of this track and then also play you the intro of the other track. And you'll be able to hear that they are actually in time with each other, even though there are completely different APMs. And this is because if you were to times 80 BPM here, you would get a 160. So we can use this strategy to actually mix very different BPM trucks together. So we've got the song playing here at the moment on the right, and that's flying through. Now, if you were to start the other truck, you will notice even though I obviously do that on the fly. So I'm not being a 100% accurate, but you can tell that the two songs are actually playing the same time the case strikes and the kicks us still happening in of sine four-by-four paid. So with this knowledge, what we can do is we can use tracks that are 80 BPM with the a 160 BPM tracks and mixed them together. So say another track, we get another track which is not exactly 8060 together and there's a little bit off. We can still do the same thing using the tempo and master template on the bottom right-hand side corner of the city j's. 3. Mixing Different BPM's - Wide Tempo - Advanced DJ Mixing Course: But what can we do if the track on the left doesn't match the speed as the track on the right, whether it's halfway or it's doubled. Well, what we can use is we can use the tempo wide function. Now, already, I assume that you've already started to use the tempo to try and match the BPM of the tracks together, to mix them together. What we can do here to match different high levels of BPM or low levels of bpm is used a wide function above the master tempo. Here you'll have another button called tempo, and underneath it will have the different settings in terms of the sensitivity of the template slider here and how much you're moving a template by. If we move it to the wide function, it means that you're able to have full control of tempo of the track all the way to 0 to 340 BPM. We can use this function to match different tracks, depending if they're just well out of sort of that APM range that you're used to say you're mixing from 90 to a 128. You can use this function to mix between the tracks seamlessly. In order to do this, though, it does become quite tricky. What you must do is you must leave the track and then slowly over time, push the fighter to where you want the BPM TBI, and then press play on the opposing track. You will never be able to mix two tracks together if you're always moving the tempo slider of one track and then try and keep the other tracking time. It's just too difficult. So what you wanna do is you wanna make sure that you are playing, pressing play on the other button when you're at the tempo that you want to be at. Unknown to example this now. So here we've got two tracks, one on the left, which is at 93, and the other one at a 131. So we're gonna mix these together and get them to where we need them to be for the sake of making it easier for demonstration purposes, what I will do is I'll be looping the back end of the track aparts to the start. So we've started on loop. And now we're going to select the White function on us. Any Jive, slowly increasing the tempo. So it's not too which when we're ready we bring in the next track. So as you can see, it is a smooth transition. You don't need to worry about trying to keep things in time, trying to change both the tempo slide is at the same time. It's cheap and easy way to mix between two completely separate APMs without using a transition track or any sort of produced track that's already been used. So yes, we can use these both in two different ways. We can go up the scale of bpm scale or down the BPM scale. So you can either go up or down using this method. It all depends on how you mixing and how you want to do it. If you don't have a transition track, this is a perfect way to mix between and try and get your, either drop the energy of your crowd or pick up the energy in the crowd. In this case, where we're going from 93 BPM track, all the whites were wanted 31 baby, I'm track which is obviously going to have a much quicker bait and will increase the energy of your dad's for 4. Mixing Genre - Bass - Advanced Mixing Course 15: This is going to be a very brief overview of how to mix ice and dump trucks is going to always be very difficult to mix these top music together simply because usually that I'd have introduced, unless you have an infrared as being a previously mainline, the one I have on my left channel here, on my right channels attracted, hasn't got an introvert. And this is what it sounds like. Nothing really mixing. And it pretty much goes straight into the buildup of the drop from here. Now, this is actually a common style for dubstep music in particular. Now this is not necessarily a bad thing by any means. However, it does make our job as a DJ a lot harder. So how do we mix these two genres? Genres together is any songs together is basically the combination of a little bit of just switching the tracks like this and also having pre-made Q points. So for this particular example with the track on my right here, I would, if I was mixing missing, I would make sure that much you point for this would be set to the started at buildup. And I would actually look at first part of that build up there. So now that that's looping, I have something to mix. Nowadays, the boys in the sign BPM, this one's on 75, this one's on 150, this sign bpm, it's the other ones, obviously half that basically mix in the buildup of this tracking while the course of the other track is playing. And when this track gets to the end of each drop, these will go right into buildup of this track. So the energy level is going to be kept on a massive high level of post-war massive low-level. Well, again, dubstep is very hard to mix for some times because of this fact. And I'm also not mixing with my headphones at the minor data. I'm mixing this live so and they told him up in a little bit off there. But you get the gist of the idea of how you would mix these two tracks together. Your juice B, the buildup of one track and English training to it. If you're able to dive, sometimes if you have the opportunity of the track they are mixing out of having a massive low in its track. This can actually be really helpful. So as you can see, the waveform up here on the top tracker, tracker mixing out from. And you can see how there's just nothing there as a bit of a law. So what we can do is also add in a track that also has another law so that it sounds like it's just constraint into a breakdown of that of the track. Yes, that was a very much a case of doing this where the track is basically just being switched from one channel to the other. However, sometimes, especially with bass music and dubstep, it's a lot easier to do that then. Try and mix them in the traditional sense of mixing in a neutral naturally because a lot of abstracts don't have them. 5. Mixing Genre - EDM - Advanced DJ Mixing Course: In this lesson, we're gonna go through how to mix ADM, future house, and festival sounds. Now you shouldn't have to worry too much about the missing component of this genre because I usually have intros and outros. However, some tracks don't need Git client for the full four minutes. And also some tracks of half a massive, massive down pots or a lull in the track where there's not much happening, which you might not want apply because you might want to keep your crowd interested or the crowd and might not be at a point yet where it needs a break and it needs some hard-hitting sounds to really take them dancing, to relocate them writing. So what I'm going to go through quickly is a technique that you can use in your sets to keep the vibe of what you're trying to rewrite going without having to go into a law of another truck. What we're gonna do is we're going to apply the chorus of this drop. But we're also going to stop mixing the next tracking and during the drop. Now, what we're going to end up doing is basically we're gonna go straight into the buildup of the next track, soy, that there is literally no time for the crowd to recover and this still building up to another high. Right? So by this example, you can see how the energy didn't drop at all. There was simply just carried on into another drop. And it gives you another 30 seconds, 45 seconds worth of energy before you can drop in something else. And you can obviously go from this point into another track, or you can let this track play on that particular Q point that I've made here is towards the end of the track. So obviously you'd have to mix in new track, but if you were starting it right at the start and it was building into another the first drop of the track, then obviously that would work. This does require you to set Q points ahead of time, or at least have enough time to get the point that you need to before dropping it in. As with some of the other lessons I've gone through, you do have to plan ahead, and in this particular instance, I would recommend having your track 64 beats out your Q 0.64 beats out from the drop. It allows for you to have 32 beat's worth of mixing time, your headphones, 32-bits of bills before the drop, and then finally the drop itself. So it gives you the flexibility to mixing your track cleanly. But it also gives the crowd a chance to fill that build off the next track. Instead of just being slam striving to another drop, which I don't recommend because it's unexpected. People usually don't, even if it's a popular tracked people who don't respond to it in a particularly positive manner just because it's so unexpected and it doesn't fit usually into the vibe of the set if you just dropping one drop and then suddenly dropping in me into another drop without any builds or any wife for the crowd's prepared for the next drop. 6. Mixing Genre - House - Advanced DJ Mixing Course : Always recommend new DJs at Mick's house first before they start with any genre. This is because house has a consistent bait and a four-by-four bait. And it usually has an intro and outro, which makes it a lot easier for new DJs to learn how to mix. I'm not gonna touch to learning how to mix house music as I covered this in a previous course of mixing, how to mix one, i one. However, I will briefly go over it because some things might change a little bit. When you are mixing house music, you do have an intro and outro, so feel free to use it and get creative about how you're mixing. So let's start off with these two tracks. Now what I mean by being creative is just adding the different elements a lot slower than you would with the other tracks. So, so here we'd had in the highest first long connection, we're adding the theirs and emits. And it was adding in that row with my previous track. Ligand do all sorts of things with house mixing you can always use and different acapella jobs. You can mix in a lot more freely than commercial tracks, because usually house music and especially more underground sounds, you have the freedom to play around with those sounds a lot more. Because usually in clubs that played that music, not everyone's going to know what those tracks are. So you have the freedom of playing around with tracks, NOT getting people in noise. You're playing around with their favorite tracks. 7. Mixing Genre - Pop/Top 40 - Advanced DJ Mixing Course: In this lesson, we're gonna be talking about how we mix pop tracks and commercial top 40 tracks. Now this goes without saying, but the easiest way to mix in these tracks is to find extended edits, whether they are official extended edits or you find someone who is night and extended edit. If you have the production skills to do it, make your own edit so that you can give yourself an introvert for these radio edit tracks. Usually in the pop world, when they bring out music, however, they usually don't start straight into a vocal. There usually is a bit of instrumentals to begin with, as exemplified here. And here as well. These tracks, obviously two very different tracks. And they have a little bit at instrumentals that we can use to mix in. However, you do get those tracks sometimes that jump straight in the vocals, which makes it very hard to mix. So first of all, I'm going to show you how to mix tracks which do have a little bit of instrumental that the star. And then I'm going to show you how to mix tracks which goes straight into the vocals as well. So what we do first is we identify which part of the first track that we're mixing in has an instrumental. And what we're gonna do is we're gonna loop it. So it goes into the frontier. And all I do is I simple. Now you could either use an eight or 16 bait loop. It doesn't really matter. As long as you know, went to exit that loop site that the vocal start at the desired point, which is usually at the end of the chorus of the tropical mixing out from. So let's use this Slovakia and get into it would come across quite claim and quite a nice transition. The reason why that worked quite well, it is obviously because of this track here, happiness. It has this bright down right along here. I'll move the joke wheels so that you can see it better. So basically, the reason why that transition sounded really claimed was because it, there's this breakdown rod at the end here of that track which allowed these vehicles outside to come through a nicely. Obviously not all trucks are going to be like that and it always comes down to your tracks selection, knowing your tracks in knowing what mixes well with, with each other. If you've got tracks that you know that aren't going to work well together. If they just vocals onto vocals, then perhaps you might need to think about choosing a different track. What I'm going to show you next is how to mix two tracks together where it goes straight into the vocal first. Now, this particular track clarity, this version is not the extended version, it's the radio edit, and it pretty much goes straight into the vocals to begin with. It does have a little bit instrumental, but it's too quiet and non noticeable to really make a difference. And you also can't hear where the bait saw or collapse or anything. There's no reference as to the timing of the track. So you pretty much have to start straight is the vocals come in. So the best way to do this, select the track. Then you're obviously thinking a bit ahead here, but so let me attract before you drop clarity where you can mix clarity in on drug beats of the tracks that you're mixing out from. So I use this technique quite often if I want to keep the flow of the vein going without necessarily dropping this into a breakdown. This type of trick can be used not just on pop tracks with a vocal intro, but on any track where you want the vocals to come in straight away and you don't want the check that you will Mixing indigo straight into a, a LOL. You don't want the room to go into a log. You still have that kick in, that snare of the outro track, keeping the people moving and dancing. I've already made a key point and ready to go for the vocals for solid tigers could doubt Murphy from Captain. I could have kept that going for a while, perhaps had that algebra going, but you've got the idea of what I was talking about by having nice kicks and the outro of that other truck plying still while the vocal of this truck on breathing in is playing on the top of it. Keep that flow and momentum going in your set, opposed to having a drop-down, clarity itself is quite a ballad sometimes, and people like to sing that, so I wouldn't put that over something too heavy, but definitely having those kicks and sneers behind it sometimes will just kick that flow of your set going, opposed to dropping it down and having that very big LOL in your set. Sometimes you might want to do that to drop the energy of the energy has been too high for too long. Or if you are just taking out the energy of your crowd, you want to keep that energy going. You obviously would use a technique such as this to keep that flow the room going. Other techniques you can use to mix pop music or commercial music or radio edits in general, is to utilize the effects on the mixer itself. So you're spiral and your echo effects. On the last part of the course of the trapper you're missing out from. This will create a seamless or at least close to seamless transition as you can with radio edit. And then you can simply press on your track that you're mixing in. And it will be the cleanest transition you can get while mixing pop music. You can also utilize using the Von mode on the CD Js by doing a spin back, which you basically just spin the platter backwards and then drop in the next track. I wouldn't recommend doing this often as it does sound a bit repetitive and it sounds like you can't mix. However, once or twice during your set should be fine. You should also look at other ways and other options to mixing these pop tracks, such as working them into maybe a produced edit or something like that, mixing commercial music and top 40 music. All of these rules also apply to Mixing hip-hop and R and B, except you might want to utilize more scratching and hip hop R&B, and it's more ingrained in that sort of music and culture. One thing I will mention about R&B, Hip Hop because it is such a vocal heavy genre, is to make sure that you're not mixing vocals on top of each other. What this ends up doing is it ends up creating I really terrible mix where people don't know what the actual vocals are because you've got so many vocals trying to compete for space in the musical spectrum and then the frequency spectrum. You've also got people not knowing what to sing to you because you've got two vocals playing at the same time. It's pretty self-explanatory, but DJ's still do it and it does sound messy and sloppy. So trying to avoid that whenever possible. 8. Transition - Using Spiral - Advanced DJ Mixing Course: In this section, we're gonna be using spiral as a way to transition our tracks from one track to another without it sounding like it's just being dropped like this. And that's what we're kind of trying to avoid. We're going to try and avoid that sort of sounds where it's just going. It sounds like a DJ, she's doing that and you want the transition to be seamless as if it's one song to another or that it's the same song. So obviously this is a very high level of mixing that we're trying to do here in the end effect. And obviously people who are going to know if it's a well-known tracks such as reload or fuel so close that it's now a different track. But what would you want to try and do is just make that transition as sameness impossible and spiral will help us do that. So what we're gonna do here is we're going to activate spinal right at the end of this drop here of reload. So you can see where it's ending here at the end of that wavelength, that, and how fill so close to starting just to got here. So in the last 15 seconds of this track, I'm going to press play on philosophical eyes so that you can hear me mixing it in life. And then at the end of reloads track plane, I'll add that spiral function in a spiral effect and you'll be able to see the results. And so as you can shade, you get heat at spawn function really coming through at the end there. And you could hear that really just wasn't a simple cut like that. It did sound like it was a continuation of the railroad track and that it blended nicely using this spout function. Obviously you can try and add infill so close, more insular, the railroad track and mix that in war. However, with this example, I feel like it's standard the best when you had that spousal function added at the end to give that track just a little bit of continuing. So that there is that transition as seamless sounding transition. 9. Transition - Kicks/Snares - Advanced DJ Mixing Course: Another way to quickly and easily transition between two tracks is to use the kick and snares off the track that you're mixing into. Two basically preempt that you are mixing into a new track. So with this track here, it's not particularly the best way of mixing, but it is a way of mixing if you're under pressure side that you've only got less than ten seconds or five seconds left to sort of mix. And you are trying to go between BPM. This is more or less kinda of your only option to really make any sort of seamless transition. It's more of an emergency transition. So what we're going to have here, we're going to have a slow bpm truck. And we're going to use the other track by pressing the buttons on the other trauma. And it's going to be I snapped transition, meaning that we're just snacking between the tracks. The trick to doing this is that you just need to make the transition really quick and that the, the time that you're pressing the cube bottom may also have to be really snappy as well. Otherwise they're just going to sound weird because there are completely different APMs. Usually you try and only do this if your mixing between relatively simple BPM is. But I'm Connie using an extreme example here to mix between two different tracks, especially here where you can hear them. They are completely different. Let's not the cleanest transition, I know, but it's one of those sort of emergency transitions you can use when you're using the kicking the snare of the other track to kind of bridge the gap, at least somewhat between your truck on the left and then the tracking right. 10. Transition - Scratching - Advanced DJ Mixing Course: But we're gonna go into now is the basics of violence scratching. Basically, the concept comes from scratching physical vinyl back on turntables. And pioneer has replicated this with the city GI is the other part of function is usually like hated by the Chuck Berry ID here. Usually it'll be either offline that and turn it on. And blue ring will line up in the middle there. And you can see on this particular pie that winds up in the middle when the pineal mode is being activated. Now we can use this for two different reasons. One, if you get bored and you just wanted to be a discussion in Germany set to make it more interesting. You can do that. You can also use it to do transitions as well. So there's one way to do it, which just makes you a little bit more interesting, is just where you have your track playing and then you want to meet sand and you just basically scratch the first couple of Bayesian and start. Instead of pressing play, you scratch your YE instead. The next option you can do is you can also scratch your white out of a truck. So one, there's one of two ways to do this. The first is actually the scratch it properly. So and as I said before, I'm not a ten Titleist, so I'm not going to be the best at this. However, there is a simple technique to do this. So we've got both the tracks planning, they mixed in right now. We are going to scratch out the last bit of this truck. So say you want to leave a little bit allowing there to make sure you get Dyson, you're lowering sound as well. So that's sort of a very brief example of how to do scratch out mixing. So it basically just nice it a little bit less choppy at the end there. The next why'd you use violence question to transition between tracks is a cheap way to do it. You can do it maybe once or twice in your set because it is kind of a cool effect, but you should never be doing it every single transition because it just kind of perks that you can't mix. So say you've got this truck here. It's playing. Yeah, it's getting to where you want to get it out. And then you basically just color this. And then you press play on your next track, wherever that might be. So what we'll do, I'll do this in a quick form just so you can see how it sort of hear how it sounds live. So I'll play this again. Again, I don't recommend doing this all the time. It's just if you're trying to get between two different debate yams or two different genres. And you either run out of time to mix it and how you want to, or you're just trying to be lazy. And essentially it is a lazy way of mixing and play. And you play the next track, electrical design. 11. Effect - Build Up Using Roll - Advanced DJ Mixing Course: One technique that you can use when you start using effects to influence your set and make it more dynamic and interesting is to use the role function. Now, every pioneer mixture is going to have different effects on them, but the role function will more than likely be on any topic mixing you use. I haven't got rid of the raw function in many years and I don't think there is any mixes out there that don't have it. In order to do this sort of effect, we want to basically press role as soon as we start doing that 32-bits out sloping part of the track. And then when it gets close to the drop, we increase the amount of times that the role will repeat itself in its loop. And we keep doing that until it gets really quick. So I'll exemplified here starting at i one by two loop here that you can see at the top of the display is one by two bits. And we will increase this as it gets close to drop, might get a bit fuzzy. And you can do this basically to increase the dramatic effect of the build. Now, I mentioned phasing earlier. What this means is when you try and put it on top of a loop or you're trying to put a track on top of a track in exactly the same instruments and every vocals and everything like that. What you might get is what's called phasing. And it's basically the audio trying to cut itself out as it's the sine piece of audio that's basically interfering with itself. In simple terms, there is more technical terms I could go into, but for the simplicity of this lesson, phasing doesn't sound very good because you're trying to play two tracks at the same time, had exactly in the millimeter at the same time as each other. So to avoid this, there's a couple of things you can do. You can put it slightly at a time so it stops phasing. Or the other thing you can do is not have the level upside much. This means that it's just not as loud. And then you can obviously increase the Bates as well as we were doing. There are certain tracks where you can do this and this effect and it sounds better than other tracks. This wasn't the best sounding track for this effect. However, one thing to keep in mind and matter what shock you do using it's not always the level all the way out here when you're using a role of back. Because if the role effect isn't at the right BPM, For instance, you pi or 128 track. But for some reason you model implying another track at a, another BPM and for, for some reason it's still at 74, obviously loop we're completely at a time and it will sound trash. So you want to try and make sure that that's at least a little bit down at quarter why there before you engage it. And not at the full 50% and definitely not at max. Because what will end up happening is it would just sound really terrible. The loops will be out of time and you won't get a very good buildup effect. So you want to start low and then you increment till. I was pronouncing that right. But yes, it just kept sort of moving up very slowly until you get the desired effect and obviously pull it out when you need to. 12. Effect - Build Up & Atmosphere Using Echo - Advanced DJ Mixing Course: What we're going to do next is we're going to use the effect that build up the track before the drops. So we're gonna be using the same trick as we did for the role. And how we do this is essentially the same thing. We start the echoes a little bit out. We make sure that the level isn't all the way up but enough that we can hear the effect coming through. We obviously change the effect. What effect we're using over here on this knob here. And we ensure that it's on the right channel. So just like the role function, it's exactly the same way as using the row function, except this time we're using it as a, as a echo. Now for echo is I like to start on the 1-bit, sorry, a complete one debate of the track. And then I drove from they're opposed to one over two, which is what I use for the role. Now as you can tell, the effect is not as noticeable as the role effect. And we still sometimes might get those echo, echo, echo. You might get those issues of phasing if you've got the truck repeating on itself. However, if you depending on the track you're using, this can be advantageous and can work quite well. We can also use echo to create much more atmosphere in a track. What we can do is basically affect the track and give it a little bit more atmosphere. Especially if the vocals are by themselves and the vocals are kind of dry and you wanna make those vocals a little wetter. And you can use this to varying degrees as well. Different parts like you saw there. I added it in more on the end of that vehicle that really give it a nice Thailand. But essentially what it does is it just keeps certain elements of the breakdown much more effect and much, it just gives it a lot more atmosphere where it might be missing. 13. Effect - Flanger Build Up - Advanced DJ Mixing Course: The phaser and flanger effects are used by nearly every single DJ out there. They are great for buildups. However, most DJ's falling into the trap of overusing them or just having them on for a whole minute of the track where it just sounds terrible. So what I mean by this is on this mixture here, I have the flanger, I don't have the phasor effects, which is a little bit different, which is on some DJ mixes and not another big finer effect, however, is almost DJ mixes. The best way to use the flanger effect is actually get your timing's right. It's like what we've been talking about before with 32 beats before the drop of the track and executing something before that. So with the flanger, it's the same thing. What we wanna do is we want to select 32-bits. So that is the length of time that effect is going to be implied forward before it starts the effect again, we can obviously increase this and decreases depending on how long you want the effect to run for. But I find that planar works the best when you are using entirely the music in terms of the bars of the music as well. So if we push our track here and we press this 32-bits out, roughly this will be B it here. And we have to write here. Now I've got this tender quite high so you can hear it. So obviously that it works quite well because it was in time. I'm going to give you another example of something that's not in time, which just doesn't sound as good. Singer was, just sort of sounds like a wave, a looping wife. It doesn't really, things that build up hill does is just adding a wavy mess and just rolling the track. To be honest, the effects are supposed to be used in order to enhance the tracks into night get a little bit different. So when you're using the flanger effect, make sure you're using it both in twice that are unique, but also in ways that are in time with the beats of the music. It's also as bad if you don't hit the on and off button at the right time and just activating it whenever you want. This pretty much goes for all effects, but you always want to make sure that you're acting guiding me effects in time with the music and not activating the effects when there is basically at a time. Otherwise the effects are going to trigger at a time that you don't want them to and it will just destroy your track. 14. Effect - Trans/Filter Build Up - Advanced DJ Mixing Course: Next we are going to be using the trends affect. The trends effect is an interesting effect as it docks out the audio depending on what time that you've set the bait to. So I usually set the trends effect to one over two as I find that that really gives it the best sort of effect for what I use it for. I use it for two things. I use it for effect build-ups and I use it for when there's something happening with the vocals that I think could sound cool with that little bit of a stutter effect when you have that pizza election behind them, one over, one over 41 over I, usually one over four. It's good for select startup vehicle effect. First of all, the IDE will explain how I use it for buildups. Now this is a little bit trickier because you're not only going to be using MI, trends effect, but you also going to be using the filter as well. So I'll get the track ready. And you want to use this affects staring with not too harsh. Who's still on? The tractor comes first. Crystal fills up. So we increased that up to one. In that example, you can do more but it just downs Y2 starter a body. And again, this is one of those folks that you want to try and ensure that you don't use too much on this in case you did not see I didn't increase it more than this on the level. The level didn't get passed 50 as I wanted to ensure that it wasn't too harsh. Because when you have it too harsh, it just sounds a little bit to chop it likely it by sight. 15. Effect - Trans Vocal Stutter - Advanced DJ Mixing Course: Now, as I mentioned before, you can also use this effect for vocals, non-vocal star effects. You want to get that to one over fourth year. And you want to try and keep this relatively high because if it's a vocal where it's only the vocal happening, then it is a lot easier to manipulate. Again, you don't want to overdo this effect. This is one of those effects that you want to use subtly and you want to use, well, maybe not suddenly, but just didn't want to have it on the whole time. Because if you have 30 seconds with a stuttering vehicles, I guarantee you people are gonna get annoyed and they can't sing along to their favorite tracks because all their hearing is a stuff very vocal. And they think that something's wrong with the decks. So you want to use it sparingly and you want to use it on the rock tracks. The other way you can use the trends effect is also to boost the vehicles in certain parts. So if you know that you've got an iconic vocal, you can always use the trans effect to basically boost the emphasis of those vehicles. So for instance, securing Chris the bait to one or two and you subtract site. We were walking. We well, we well, RockYou and you can use dyes vehicles. So it goes, we, well, we well rock or something like that. And obviously this is a very brief example of how to use that without showing you it in person. But that is another way you can use that effect to really night you. You're mixing stanza and tonight you're set, you need to get your tracks a little bit of your own personal flight or in spin. 16. Live Mashups - Creating Cue Points - Advanced DJ Mixing Course: When you're creating your key points for your mashups so that you can do them a lot quicker. I recommend placing the following checkpoints, 32 bits and 64 beats out from the drop as well. I'll exemplify that he'll do with cite that one ripe, then that's obviously false. Ok, that's not 32-bit. So it just gives us the flexibility and the freedom to drop it in whenever we can. And don't forget, you can always just, you don't want to do 64 bits out, you just switch it around. It just kept moving at two, you find the place where you want it to be. 17. Live Mashups - Replacing the Drop - Advanced DJ Mixing Course: So what we're going to go into now is live mash ups. And basically what this means is we're going to match a track up live while we're mixing, whether we're replacing the drop or adding acapella has or adding instrumentals, whatever the case may be. This first example is a commercial example of adding a different drop to the track. What we are going to be doing is we're going to be adding a different dropped to the end of this track, which I feel just doesn't really do it. It just doesn't have a very good drop and it doesn't really work with the crowd now. So what we're gonna do is we're going to, first of all, make sure that we've got our track ready to go. Both the tracks are ready to go. And we're going to set a cue point to where we need distract 2B. So on my right channel, this is the one that's going to be the one that we're going to be dropping in the new drop width. So I've already set a cue point here to know that this is a 32-bits from the drop here. And you can see by the wave table that it's increasing. And then eventually it drops in right about here. So we know that it's 32-bits out. So when we go to drop it in, we just need to, I press play on the track that we're going to be dropping 32-bits out before the drop on the trackway mixing out of. I will do this as an example here. So you know, what I'm talking about. What I'm gonna do is I'm going to press play on the track on the right-hand side with the new drop when this other track is 32-bits out from its drunk. Now that's a pretty clean transition there i, for any old music files or music files. And how are you gonna call yourselves there? Yes, I understand that they are not in k. One of them is in J, one of them is in a minor. For the purposes of life mashups, they don't necessarily have to be in k, but they do work a lot better when they are in K. So let's try a different example this time of how he would do this and creating a live mash up. And another way you can do it is basically just putting an acapella or on top of another track. 18. Live Mashups - Using Acapella's - Advanced Mixing Course: So here we have two tracks. We have a track that is a big room track. Everyone knows it's in my mind. And then we have another acapella or on top of it, put your hands up for each row, just for simplicity purposes as a track that mice people knowing. What we obviously want to do is make sure that the track that where we got behind it has an instrumental word or a part where it doesn't have any vocals, otherwise you have to glucose playing at the same time. Whereas also on the acapella side, we also want to make sure that it is in the sign BPM range and isn't assigned BPMN. So luckily, for this particular example, 12v for in my mind, one triangle which a hands up for Detroit, very easy to do. So let's do this as an example here. And this top International is very injuries and simple. As President biases. We know that somebody in Congress, he shouldn't be doing too much adjustments. Here. I can find. Now you can either decide to keep the acapella find on or you can just cut it there. It really depends on what the type of acapella you have going, and it also depends on what the style or tracking is. Now personally, I don't like to have the acapella flying over the drop when the drop hits because it just creates too much confusion, especially in this scenario where it's already built the crowd up and it doesn't really need anymore buildup. However, this moves us on to the next part of doing a live mash up, and that is using instrumentals in acapella. Now this next example of creating a live mashup is going to be a little bit trickier, unselected to track cl. One is cooling and the other one is how deep is your love? This acapella works a little bit differently opposed to the acapella of the previous example where you can just press play right at the end of the four paid bar. This one actually starts right in the middle of the 4-bit bar. So I will exemplify here. And you just, if you have an acapella like this, you just need to know your music and know that it starts a little bit beforehand. You can definitely know that it starts to be to add up out of sort of time when you listen to the original track and seeing where the acapella starts and the particular starts on the original track. When you take a y, the instrumental, and you're just left with the acapella. You still need to sort of follow the same rules, especially with tracks that are really well-known. Acapella is that a really well known because people are expecting to sing them to a certain beat in the music. So let's play this here and I'll exemplify what I'm talking about. So as I said before, you didn't have to the Press pi two beats before the actual Spaulding came in and made himself when it is, buy some red lines here in the right title. We can always do things like this are not emergencies. So yeah, there's always different options and stuff you can that the acapella play out for. Obviously for this example, I've just added an alloy randomly the edges to build it up. And you can always, I'm using a x DJI Rx2 sort of already have the yeah, loops here and paint loops here on different CDJ is you might have to use the Loop Out function. All I might have their own internal performance function within the display. And obviously I won't go into that because each city j is different. 19. Live Mashups - Creating Edits - Advanced DJ Mixing Course: You can also edit your track slide. Societal I want is down drop here. You can always just go back and make another tree point where you wanted to start off again. So if we load up this track here, sine, we don't want another part of the drop inside. You wanna get rid of this small little piece here. And you want to add in and just skip the sun alone. We can always add a cube point where we wanted and then adding facing issues then thats like NIH has alignment during such an example. So we've now gotten rid of the United States should be shrunk. Their tropical army. And the camera getting rid of that good chunk of information in song that you just don't want when you can change it to however you want to, depends on what fractured doing, what's drawn me applying in. But ultimately it's just another way to edit your tracks live to make your set more interesting, opposed to producing them all out in the studio before you're set. 20. Live Mashups - Overview - Advanced DJ Mixing Course: So you've got three easy way to make life mashups. The first one I explained was basically where you put a Q point 32-bits out from the drop and in 32-bits out from the job that you, from the track that you wanna mix out of, you press play on the, on the track that you want the new dropped come in and you slowly use the Jews and filter. And then obviously the volume through knob here too, bring out the track that you don't want the dropping and then you bring in the new job there. There's also using acapella straight onto the non-vocal part of a track. And then finally, you also have, using acapella is onComplete instrumental tracks as well. Now they're obviously different examples and I could go into different examples for years, but for now, that should get you started as you make your own sort of style in your own life, mashups which work for you. One final piece of advice I would recommend when making your life mash ups is to not do this. Basically just going like this straight on the drop into another track. The reason why I wouldn't do this is because it doesn't sound right to, to listen out there waiting for the buildup of the other track and all the instrumentals. And since in other buildups for the other track, they've already grown accustomed to is when you're dropping this other track that has completely different instrumentals and sinth and it's completely different drop and just smashing it straight As the drop hits it. It just doesn't sound right to the listener. And that's not just for deejaying like National, that's also producing mashups as well. It's something, it's, it's one of those habits that you should not get into unless you are 100% sure it's going to work. And for live mashups, I just don't recommended. The other thing I don't recommend when you making life mash ups is to put vocals on top of vehicles or add too many layers. When you have a vehicle that's on top of another vocal, people don't know what to sing to you. And if you have multiple different things happening at the same time, say you have 3C DJs or foresee DJs with an instrumental of one track, the vocal of another track, drop of another track, and then some sort of instrumental loop on top of all of that. It sometimes becomes too complicated for the listener to digest and to dance to. And that's what we're here to do. We're here to make people dance. And when there's too many elements, trying to compete with each other, especially if they're well known elements like say if you have the calibre saxophone loop on top of a loop of, I love it by kinda pop the acapella of that. Then you had an instrumental by Martin Gehrig's and then you saw how to drop by diarrhea or something like that. It's too much for the listener to digest and to know what's going on. So just keep in mind that you want to try and keep your live mashups simple because they're easy to digest and it keeps people dancing. Also, one thing I wanted to quickly mention is one thing that you should keep in mind when doing live mashups is as long as you know that the mashup is going to work, don't worry too much about k's. You can if you really want to, but it's just too much added pressure. And I find I have more fun mixing Live stuff, especially stuff I haven't tried out before when I, I'm not stressing about whether it's in killing or because of the majority of the time. The paper on dance for aren't going to notice if it's a same INR with at G or a, you know, an E with the same line or whatever the case may be, it doesn't really it's not really going to matter. 21. Class Project & Conclusion - Advanced DJ Mixing Course: Thank you for watching this course in how to mix and some events, mixing techniques mixed between different genres and different APMs, utilizing the effects and using different techniques to make your site more creative. At the end of the day, while DJ might be a good payday for some, it is also something that you should enjoy doing as well. In this course, we've gone over how to mix between different genres, transition between different APMs. We've learned a whole bunch of creative techniques, and now it's time for you to put that to practice. In this course workshop, the project for use to create a 30 minute mic's not a 32nd, a 30-minute mix where you mix as many genres in his many BPM and using as many techniques as possible that you have learned in this course to create the most creative and the most dynamic set possible and to record it all for you to enjoy and to share with your friends. Don't forget that you'll mix needs to be between different genres and needs to pay between different TPMs. The reason why I say this is because it makes you learn and it pushes your limits. There's no point just learning one genre. You really need to learn how to mix in multiple genres. Even if you are only interested in sight dubstep running entrusted in house, you're only interested in our bay, doesn't matter really. You really need to expand your horizons and learn how to mix in different genres because it will make you a better DJ as well. It also means that you can bring in elements of other genres into your preferred genre set and make your set and more unique. This moves on to other possibilities as 19 live mashups as well in your sets using different parts of different genres to make your set, as I said before, more dynamic and more interesting for the listener, especially if you plan on playing our long sets. If you're going to be applying for two hours, three hours, four hours, six hours, ten hours sets. Very rarely can you get away with paying just one genre. So if you are looking to expand your skills, then that is your course lesson. And your course challenge is to learn how to do all these different genre mixins, BPM mixing using the lessons that I provided in this course and to create a 30-minute mix so that you can exemplify is the lessons that you learned in this course. As always, my name is Brin. Hope you have a fantastic day and thank you once again for watching.