What else do the top DJs do with their turn tables?
Once you can match the tempo of two records by
using the pitch adjustment on your turntables you will need to learn how to play them together smoothly. This is what the DJ mixer is for.
This page is for those who can DJ using their turntables. If you want to know more about DJ mixers before you read about some advanced techniques with them then click to my DJ mixer tips page. When mixing the main idea is to slowly bring in the cue track while slowly fading out the track that is currently playing. Since the drums will be overlapping in time this will sound surprisingly good.
I do all of my mixing with drum n bass and garage music so that my mixing style suits these types. Beat mixing is basically the same for all genres of dance music (house etc.) but you will need to develop your own style that suits the style you play.
Here are some important things to think about when you're mixing:
The tempos (BPM) must be matched (see Basic guide on how to use Technics turntables for DJing )
The cue track must be started at the right time to match up changes in the tracks
No big changes should be made in total volume when both tracks are playing
Introduce the different frequencies a little bit at a time, e.g. bring in the high-pitched sounds first in the cue track
Being tricky with your beat mixing, fancy cuts, fades and drops
What tracks are you playing? Can the crowd get down?
When to start your beat matched cue track:
Dance music is structured in 8 bar blocks. A track will change (drop a new sound in/take one out) every 8 or 16 bars. You will want the cue track to do this at the same time as the current track. This happens if you start the cue track after a change has just occurred in the current track. Say count 16 bars after a break down.
Since the 8 bar blocks will be overlapping, at the same time a sound will drop out of the current track and a new sound will drop in the cue track. The beats will be overlapping and the dance floor will have no idea that the song is changing. To those listening it will still sound like the same beat.
To be a pro you need to carefully monitor the total volume during the mix:
Even really good DJs often let the volume fluctuate during the mix. Often they are so intent on making sure the beats are "in time" that the volume gets too loud.
Monitoring the volume of a big system in a club is really difficult because the main speakers point at the dance floor not at your head.
At home you have no trouble because the speakers are pointed at you. This means that this problem usually rears its head the first few times you ever play out, when you're trying to make a good impression.
The best way to be prepared is to mix at home looking at the levels on the mixer. There should be volume levels on the mixer that light up green (low), yellow (high) and red (too high). When you set a volume on the big club system look at where this comes up to on your levels and don't let the little flashy lights get any higher. When the flashy lights are red the signal may be distorting so don't play out like this, okay?
Learning to watch the levels will make you a more flexible DJ as you will have less trouble adapting to a new system in a different club or at an outdoor venue.
Bringing in the cue track in a clever way:
Using the cross fader to slowly bring in the cue track and fade out the current track is one way to do it (the boring way). However there are heaps of different things you can do to amuse yourself and impress those in the know when you're mixing.
Clever Cuts:
When you've got two tracks in time you can "cut" between them using the cross-fader so that only one track plays for a few beats. This is best done using some kind of rhythm. Say cut to the cue track on the last few beats of a 4 bar pattern.
You could also cut to the cue track on the say the first beat of every bar for 8 bars. This is a fun part of mixing so practice up and develop your own cutting style.
Fades:
A frequency cut works like a volume cut example you could kill the bass (bass Eq on the mixer) at the end of a bar or before a break down. Any frequency can be toyed with so see what works well in your mixes. I tend to keep the bass low in the cue track and introduce the high frequencies first. I will slowly lower the current track in the mix so the total volume doesn't get too loud in the mix.
When it is getting close to the drop in the cue track I will lower the bass in the current track so that the new bass drop sounds phat.
General idea of good club mixing:
I like to mix up my mixing to keep it interesting for me and for the people who are dancing. Generally I always mix the first third of the cue track with the last third of the current track. I will let one track slowly come in and drop smoothly if I want to keep people on the floor grooving.
If I want to amp people up I will pick a track with a break down (where the beats disappear) before a massive bass drop. I will mix to this break down cooling it down, lowering the volume stripping back the bass before the beats end and the dance floor has a stretch and a chat.
The break will build up to a massive drop and the next track I play will be another bad one but with a funkier bass line and fewer harsh beats. This type of party track will keep everyone grooving.
Smooth mixes are nice but your track selection as a DJ is the most important thing really. Good tracks played at the right time will separate you from the vain pretty boy who doesn't spend enough time on his turntables.
Track selection:
Well I am a Drum n Bass and Garage DJ so I play only the best dance floor rollers. People who like my style like funky sine synth baselines and steppy beats. I cannot tell you what style to play except that you must trust your ear. No one can criticize you if you buy and play tracks you like.
One thing to remember though is that good dance floor tracks sound best over a big sound system. I sometimes buy tracks that sound catchy on the headphones in the record store but when I play them out they don't have any punch and the beats are too soft to get people moving. Big bass lines need big speakers so that you can feel it.
Try buying funky tracks that sound a little rough through the headphones.
