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mixing techniques (live)

Posted: Sun Oct 08, 2006 8:40 am
by shammie
hey just started mixing psytrance did my first set recentley it was an infected mushroom tribute so my set was very structured and planned out. i have an outdoor to play at soon and was wondering if any 1 had some cool mixing tips to share apart from gradually crossing frequencies and simple crossfades????

Posted: Tue Oct 10, 2006 11:38 am
by vic
hehehe :lol: :

that the all technics to DJ mixing:
-beatmach &
-crossfade (whatever frequencies, levels etc..)
crossfade can be long or short.
if you have a mixer with effects - try to use them to make crossfade not so obviuse

that's all to it realy.. :cool:

Posted: Tue Oct 10, 2006 8:13 pm
by mastersodium
no no no, fungusok doesn't know what he's talking about.

first get the beats matched perfectly, then push the pitch bend away from that point (who needs a beat matched)

then when you're bringing the next track in, make sure the levels are way too high, you'll never know there's a new track if the levels aren't way too high, pump up the gain to 11.

and scratch alot. on beat, off beat, it doesn't matter it all sounds professional. hell, when you're matching your beat just leave both tracks playing, it sounds way more "trippy".

finally, go "WOOOOOOO!" alot when you're doing bad, it makes everyone think you're the best DJ in the world. especially when you're scratching. music needs more scratching right?

Thats how you mix music here in Reno, Nevada, USA!

and if you actually do any of this, its not my fault you never get invited to play anywhere ever again. Because you won't. ever.

Posted: Tue Oct 10, 2006 8:27 pm
by mastersodium
alright, here are some real tips:

1) try to bring the track coming in at the end of a breakdown/fill/build-up. it sounds smoother that way. So when the crash hits at the end of your 32 beats, your new sounds come in too. if they just appear with no apparent queues, it sounds more like two tracks then one.

2) when choosing the next track, try to make sure it doesn't occupy the same soundspace as the previous track (don't use songs that have synths that are all the same frequency, they'll both/all get lost). If your playing track is heavy on the hgh frequencies, choose something that occupies the mids next.

3) try to match the end build of the previous song with the beginning build of the next song. it seems to sound smother to me if you get these matched as well, so they are kind of building at the same time. keeps out sounds in the backgroung that make you go "HUH? the track is coming and going at the same time". Although doing what I said not to do here can add some artistic creativity and trippiness, don't do it every track. It takes away from the danceability/tranceability of the mix.

Keep in mind this is just my opinions, and should not get in the way of your artistic expression. especialy #3, its really just an opinion thing there.

Posted: Wed Oct 11, 2006 8:31 am
by vic
mastersodium 8) :lol: :lol: :lol: :lol: :lol:

cool tips!

Posted: Thu Oct 12, 2006 2:04 am
by Fugazi
Excellent tips mastersodium!

Respect and BOOM BOOM all the way...! 8-)

well here sum new advice i have discoverd

Posted: Mon Oct 30, 2006 1:31 pm
by psyonic
every track with a 4/4 timecodeis simple to mix using this trick!!! EVERYTHING IS 7 APART!
(what the hell does he mean you ask??)
check it..... i'll try n dumb it up cause i a twit!! :~P
track A start it at 0.0 %
track b start it, now lets say track b is a lil too slow. ok move your pitch up too 0.7%, still too slow 1.4% still too slow 2.1% and so on and so on. and vice versa if track b is fast go -0.7% and so on n so on.
the only decks ive seen that tha 7-7 rule jus changed and was then 8-8!!

Really hope this helpz much luv!!! :monkeydance

Posted: Mon Oct 30, 2006 4:16 pm
by mudpeople
of course not all songs are exactly on the whole number, ie: 152.2 bpm. The .7 thing is a good guide though, to get the speed in the ballpark of track A, then adjust accordingly.

Dont forget to yell WOOOOO and pump the hand in the air. MasterSodium was right, thats how we do it in Reno... or at least some of them...
:bub :bub :-?

My tip would be show the crowd that you love the music your playing, get into it, Ive always found I mix a lot better when Im really into it. The crowd loves to see a dj who's not just standing there trying to look cool.

Ive heard some djs who stop track A and bring in the intro to track B, Im not sure I like this style, I prefer to keep the energy going, non-stop.

An addition to MasterSodium's number 1: If you can find a place in track B that has a slight break, or a glitch-out, or a kick-roll, thats a good place to bring it in, wait for track A to have some kind of break and then bring track B in, which will do its little break thing then pop in with the bass. Keep the energy going.

Play around, record your stuff and listen to it, hear what you like and dont and just go crazy! Theres no right way to mix psychedelic trance, so long as the beat is matched. Even that is debatable, certain older gentlemen who play DATs dont beatmatch, but Id say he can definitely move a dancefloor!

Posted: Wed Nov 08, 2006 2:37 pm
by psyanide
mudpeople wrote: Ive heard some djs who stop track A and bring in the intro to track B, Im not sure I like this style, I prefer to keep the energy going, non-stop.
i agree cant be arsed listening to an hour+ of intro's and outro's i like a really long break down (1 min+) about 20 mins from the end of a set and then bang :drum really dirty basslines mabee even a cheeky little tripplets number that works for me 8)

Posted: Wed Nov 08, 2006 4:42 pm
by faxinadu
imo wether its mid rack breaks or intros/outros in a set it shouldnt be any more than 20 seconds or so.

i'm not saying you should have no breaks at all, imo a nice break with some nice tact (some hilarious sample or bit of an elvis tune or whatever) is very entertaining, just keep it short and to the point.

i dont like to beat mix. i dont like it in a deck because it changes the pitch, and unless done absolutely perfectly (and most good producers don't come close to doing it perfectly) it sounds bad. I also don't like abelton's timestretch as much as some because i feel it too fucks up the sound.

what i like to do is make nice intros and outros, but not use breaks within a track. I write tracks in all bpms and then just play them out logically. Also when making an outro for a track of mine im already thinking of another track of mine that it will go nice with it.

i guess its much easier when mixing your own music because you can already plan and produce the tracks to your mixing liking and needs.

honest i wouldn't have a clue how to mix other people's music nicely, and i think a lot of other producers probably feel the same.

Posted: Wed Nov 08, 2006 5:26 pm
by vic
8) Agree with you Faxi, also having heard you play Live on triplag i can say that you do it perfectly!--- your music - your style. all goes well!
faxinadu wrote:....honest i wouldn't have a clue how to mix other people's music nicely, and i think a lot of other producers probably feel the same.
some DJs also..... but it is interesting...

Main diffirence between producer and DJ I think is in a mind set. Diffirent view on the music. When producer listens -- he actualy listens pays a lot attention to effects, samples etc.... "oh, what's this, oh how this thing is done etc..."

DJ is just a listener who happend to have decks handy and knows how to use a pitch.... "hmm what happen if I put those tracks together?"

oh well this could be separete topic..

sorry for Offtopic

Posted: Thu Nov 09, 2006 3:07 pm
by mastersodium
I can see what you're saying fungus. and it really realtes to the experience.

The producer will be thinking in terms of pitches, keys and notes. I.E "do these tracks sound like they are recoded in the same key, have a pitch that goes well with the next, notes that work well together" and will tend to concern them with that.

The DJ on the other hand is concerned with groove levels and mood of the music (any decent DJ anyways, IMO). Keys aren't important to them, neither are notes and pitches. They are primarily concerned with how much the energy is raised/lowered/kept the same and that the mood doesn't go from dreamy daytime to dark nighttime too quickly (again, any good DJ).

In my opinion, a DJ gets ruined when he learns too much about production, and a producer can't DJ worth a crap, usually. Producers can Live PA though. Why do you think Gil stands as a legendary DJ, but (as far as I know, and I know little) has never produced a psy track? Why do you think Logic Bomb spends more time rolling joints then he ever does chosing a track or matching beats?

Producers, don't let your children grow up to be DJ's!

Posted: Thu Nov 09, 2006 5:40 pm
by mudpeople
hehe, Gil and Ariane are the Nommos. Gil's been making tracks for a long time. He doesnt play live that I know. But hes been doing it so long Im sure he could dj sleeping. And maybe he does!

Posted: Tue Nov 21, 2006 7:14 am
by Zoopy
Gil is an awful DJ in terms of technical ability and style and well..flow..but whatever. :cheers

Posted: Tue Nov 21, 2006 7:12 pm
by mudpeople
but he plays DATs which cannot be pitched. I think he does well enough with the restrictions imposed by his chosen media. And DATs sound killllller...

And, how many other djs do you know, willing to play as long as Gil does? Ive been to whole parties, with more than a dozen djs, that were over before Gil even started to look haggard.

Something else to watch when mixing: Dont play the same range (mid lo hi) at the same time, at the same level. 2 low ends at the same time can be pretty awful sounding. THe remedy is to never have the same range at the same volume, so if you bring in the mids for one track, keep them either above or below the track thats going out. It will sound much better. Not so important with anything but the low end really.