Calvin Harris
and Dillon Francis
worked there... no way!
| How do you keep the energy high in between the 2 "drops" ? Hey everybody, so this is a topic that I've been looking to get a few different people's opinions on.. Basically every EDM song essentially has 2 "Drops", usually separated by a more melodic, quieter, less intense instrumental or something of the sort..
When I'm recording my mixes, I believe that this middle "instrumental" portion is really nice because it takes you on a journey, and then back towards the buildup and the 2nd "drop".
Now the only problem is that I feel that playing this intermediate "instrumental" portion in a Night Club setting (not a rave or festival where it can be expected), lacks energy and volume..
I don't want the entire dance floor to stop for 45 seconds between drops since this middle "instrumental" or vocal portion gets too quiet or slow (with the kick drum typically removed)..
Do any of you have any techniques that can be used to keep the energy HIGH between the 2 drops in a Night Club setting, where the energy has to always be at a level where the people on the dance floor are continuously moving? | Lynetta Stanislav
20.03.2013 |
Originally Posted by DubluW
Well if anything comes away from this thread, its that carl cox is a legend. Various clubs, festivals and ibiza have confirmed this for me over the past few years.
Mind you, he keeps it simple and flowing and shows that maybe you don't need a million things going on at once to have an awesome set.
Also agree , seen him last year in Ibiza at his Sands Beach bar playing a free party played funk , soul and house classics absolutely
smashed it , amazing . | Kristofer Krauel
20.03.2013 |
Originally Posted by dubluw
well if anything comes away from this thread, its that carl cox is a legend. Various clubs, festivals and ibiza have confirmed this for me over the past few years.
Mind you, he keeps it simple and flowing and shows that maybe you don't need a million things going on at once to have an awesome set.
agreed!! | Lashawn Maycock
20.03.2013 |
Originally Posted by Frank112916
I'll assume this part was partly directed at me - and I mentioned Carl Cox. A) there are different types of music suited to different atmospheres and room sizes. An entire sub-genre known as big-room house exists for this very reason. I can imagine plenty of songs I wouldn't mind hearing at a festival but wouldn't want to hear played out at the club. B) many of the prog house djs who mix at festivals play differently than your average house DJ would in a strictly club setting (not a show/concert style event). If the madeon played his set for an entire 6 hour set I believe I'd fucking die from exhaustion. Above & Beyond and Armin are different stories...those were musical journeys for sure.
Btw: just as an aside. I will never understand the appeal of Swedish house mafia. Watching them fake-mix had to be the single worst "house music" experience, especially after seeing Cox for the first time the same evening
and being absolutely blown away, I have ever had, and I was let's just say...in a very altered state of mind...and it was still bad. I didn't get why people were fawning over such an unimaginative and uninspired set. Fedde, laidback luke, and richie Hawtin were amazing...shm was just...blegh... Hell John Digweed was playing on the tiniest stage behind the main stage, carefully selecting music and creating a groove like no other, and shm was on the main stage basically pressing play and twisting the filter/fx knob on the djm. Honestly none of my friends felt the same way but I felt cheated.
Good post, heh heh, no worries, it wasn't in response to you, just a general comment - your mention of Carl Cox was a good example, so I was simply continuing that theme | Francoise Stober
19.03.2013 |
Originally Posted by lip5016
Hey everybody, so this is a topic that I've been looking to get a few different people's opinions on.. Basically every EDM song essentially has 2 "Drops", usually separated by a more melodic, quieter, less intense instrumental or something of the sort..
When I'm recording my mixes, I believe that this middle "instrumental" portion is really nice because it takes you on a journey, and then back towards the buildup and the 2nd "drop".
Now the only problem is that I feel that playing this intermediate "instrumental" portion in a Night Club setting (not a rave or festival where it can be expected), lacks energy and volume..
I don't want the entire dance floor to stop for 45 seconds between drops since this middle "instrumental" or vocal portion gets too quiet or slow (with the kick drum typically removed)..
Do any of you have any techniques that can be used to keep the energy HIGH between the 2 drops in a Night Club setting, where the energy has to always be at a level where the people on the dance floor are continuously moving?
This is a really good question. Few mentioned it already. You have 3 options here
1) Structure
2) Remix tools (effects,kicks, Hi-hats)
3) Mix the 3rd Deck
Let me elaborate:
Structure: I assume you have tracks that mix well together (very important) and you mix in key. Try changing your mix lengths. For example it took you 2 min to mix A--B now try to mix the next track in 30sec then do a long 5 mix. Do this and your sets become less predictable.
Tip: To build a lot of energy do short length( 30-20sec) mixes with 4 or more tracks back to back. I recommend doing this for only for 6-7 mins.
Remix tool: If you use Traktor, you can use remix deck to bring, loops. I frequently use hi-hats, kicks and sound effects in breaks. Reverb is very effective for building/ sustaining energy level during your sets.
Mix the 3rd Deck: When done right it creates a smooth and unpredictable mix. When I first heard a 3 deck set (Richie Hawtin) I was was very confused. I couldn't tell where the mix started or when the new track comes in. I only know few DJs who do this right. So far I managed to come up with few ways to make it work. If you are just starting out I don't recommend doing this.
Good luck and I hope this helped | Kristofer Krauel
19.03.2013 |
Originally Posted by Frank112916
........especially after seeing Cox for the first time the same evening
and being absolutely blown away....
Carl Cox seems to have that affect on people. First time I saw him was, and still is, one of the best sets i've witnessed. Absolute legend and HE knows how to keep the groove going. | Dino Hapgood
19.03.2013 |
Originally Posted by backtothefront
I was trying to resist, but having read this thread, there's some strange posts in here
Firstly, in all my years, I've never heard of a 'different' type of music applicable to a club/rave/festival
I'll assume this part was partly directed at me - and I mentioned Carl Cox. A) there are different types of music suited to different atmospheres and room sizes. An entire sub-genre known as big-room house exists for this very reason. I can imagine plenty of songs I wouldn't mind hearing at a festival but wouldn't want to hear played out at the club. B) many of the prog house djs who mix at festivals play differently than your average house DJ would in a strictly club setting (not a show/concert style event). If the madeon played his set for an entire 6 hour set I believe I'd fucking die from exhaustion. Above & Beyond and Armin are different stories...those were musical journeys for sure.
Btw: just as an aside. I will never understand the appeal of Swedish house mafia. Watching them fake-mix had to be the single worst "house music" experience, especially after seeing Cox for the first time the same evening
and being absolutely blown away, I have ever had, and I was let's just say...in a very altered state of mind...and it was still bad. I didn't get why people were fawning over such an unimaginative and uninspired set. Fedde, laidback luke, and richie Hawtin were amazing...shm was just...blegh... Hell John Digweed was playing on the tiniest stage behind the main stage, carefully selecting music and creating a groove like no other, and shm was on the main stage basically pressing play and twisting the filter/fx knob on the djm. Honestly none of my friends felt the same way but I felt cheated. | Lynetta Stanislav
20.03.2013 |
Originally Posted by DubluW
Well if anything comes away from this thread, its that carl cox is a legend. Various clubs, festivals and ibiza have confirmed this for me over the past few years.
Mind you, he keeps it simple and flowing and shows that maybe you don't need a million things going on at once to have an awesome set.
Also agree , seen him last year in Ibiza at his Sands Beach bar playing a free party played funk , soul and house classics absolutely
smashed it , amazing . | Kristofer Krauel
20.03.2013 |
Originally Posted by dubluw
well if anything comes away from this thread, its that carl cox is a legend. Various clubs, festivals and ibiza have confirmed this for me over the past few years.
Mind you, he keeps it simple and flowing and shows that maybe you don't need a million things going on at once to have an awesome set.
agreed!! | Lillia Datson
20.03.2013 | Well if anything comes away from this thread, its that carl cox is a legend. Various clubs, festivals and ibiza have confirmed this for me over the past few years.
Mind you, he keeps it simple and flowing and shows that maybe you don't need a million things going on at once to have an awesome set. | Lashawn Maycock
20.03.2013 |
Originally Posted by Frank112916
I'll assume this part was partly directed at me - and I mentioned Carl Cox. A) there are different types of music suited to different atmospheres and room sizes. An entire sub-genre known as big-room house exists for this very reason. I can imagine plenty of songs I wouldn't mind hearing at a festival but wouldn't want to hear played out at the club. B) many of the prog house djs who mix at festivals play differently than your average house DJ would in a strictly club setting (not a show/concert style event). If the madeon played his set for an entire 6 hour set I believe I'd fucking die from exhaustion. Above & Beyond and Armin are different stories...those were musical journeys for sure.
Btw: just as an aside. I will never understand the appeal of Swedish house mafia. Watching them fake-mix had to be the single worst "house music" experience, especially after seeing Cox for the first time the same evening
and being absolutely blown away, I have ever had, and I was let's just say...in a very altered state of mind...and it was still bad. I didn't get why people were fawning over such an unimaginative and uninspired set. Fedde, laidback luke, and richie Hawtin were amazing...shm was just...blegh... Hell John Digweed was playing on the tiniest stage behind the main stage, carefully selecting music and creating a groove like no other, and shm was on the main stage basically pressing play and twisting the filter/fx knob on the djm. Honestly none of my friends felt the same way but I felt cheated.
Good post, heh heh, no worries, it wasn't in response to you, just a general comment - your mention of Carl Cox was a good example, so I was simply continuing that theme | Francoise Stober
19.03.2013 |
Originally Posted by lip5016
Hey everybody, so this is a topic that I've been looking to get a few different people's opinions on.. Basically every EDM song essentially has 2 "Drops", usually separated by a more melodic, quieter, less intense instrumental or something of the sort..
When I'm recording my mixes, I believe that this middle "instrumental" portion is really nice because it takes you on a journey, and then back towards the buildup and the 2nd "drop".
Now the only problem is that I feel that playing this intermediate "instrumental" portion in a Night Club setting (not a rave or festival where it can be expected), lacks energy and volume..
I don't want the entire dance floor to stop for 45 seconds between drops since this middle "instrumental" or vocal portion gets too quiet or slow (with the kick drum typically removed)..
Do any of you have any techniques that can be used to keep the energy HIGH between the 2 drops in a Night Club setting, where the energy has to always be at a level where the people on the dance floor are continuously moving?
This is a really good question. Few mentioned it already. You have 3 options here
1) Structure
2) Remix tools (effects,kicks, Hi-hats)
3) Mix the 3rd Deck
Let me elaborate:
Structure: I assume you have tracks that mix well together (very important) and you mix in key. Try changing your mix lengths. For example it took you 2 min to mix A--B now try to mix the next track in 30sec then do a long 5 mix. Do this and your sets become less predictable.
Tip: To build a lot of energy do short length( 30-20sec) mixes with 4 or more tracks back to back. I recommend doing this for only for 6-7 mins.
Remix tool: If you use Traktor, you can use remix deck to bring, loops. I frequently use hi-hats, kicks and sound effects in breaks. Reverb is very effective for building/ sustaining energy level during your sets.
Mix the 3rd Deck: When done right it creates a smooth and unpredictable mix. When I first heard a 3 deck set (Richie Hawtin) I was was very confused. I couldn't tell where the mix started or when the new track comes in. I only know few DJs who do this right. So far I managed to come up with few ways to make it work. If you are just starting out I don't recommend doing this.
Good luck and I hope this helped | Kristofer Krauel
19.03.2013 |
Originally Posted by Frank112916
........especially after seeing Cox for the first time the same evening
and being absolutely blown away....
Carl Cox seems to have that affect on people. First time I saw him was, and still is, one of the best sets i've witnessed. Absolute legend and HE knows how to keep the groove going. | Dino Hapgood
19.03.2013 |
Originally Posted by backtothefront
I was trying to resist, but having read this thread, there's some strange posts in here
Firstly, in all my years, I've never heard of a 'different' type of music applicable to a club/rave/festival
I'll assume this part was partly directed at me - and I mentioned Carl Cox. A) there are different types of music suited to different atmospheres and room sizes. An entire sub-genre known as big-room house exists for this very reason. I can imagine plenty of songs I wouldn't mind hearing at a festival but wouldn't want to hear played out at the club. B) many of the prog house djs who mix at festivals play differently than your average house DJ would in a strictly club setting (not a show/concert style event). If the madeon played his set for an entire 6 hour set I believe I'd fucking die from exhaustion. Above & Beyond and Armin are different stories...those were musical journeys for sure.
Btw: just as an aside. I will never understand the appeal of Swedish house mafia. Watching them fake-mix had to be the single worst "house music" experience, especially after seeing Cox for the first time the same evening
and being absolutely blown away, I have ever had, and I was let's just say...in a very altered state of mind...and it was still bad. I didn't get why people were fawning over such an unimaginative and uninspired set. Fedde, laidback luke, and richie Hawtin were amazing...shm was just...blegh... Hell John Digweed was playing on the tiniest stage behind the main stage, carefully selecting music and creating a groove like no other, and shm was on the main stage basically pressing play and twisting the filter/fx knob on the djm. Honestly none of my friends felt the same way but I felt cheated. | Augustine Mitzen
19.03.2013 | edit: learn to dj. | Mariko Oppenhuizen
19.03.2013 | simple anawer.
loop in the first 4/8 bars of the same track during the brake down. 1 It will be in kep and flow of the track. 2. It will keep the beat(energy) going so people will dance.
To build the energy for the drop, stop the beat loop 8 bars before the drop, or kill the low end, it gives people a sec to breath and they know a big drop is going to happen, which will build the energy up. | Gaynell Rydberg
19.03.2013 | http://houseanthems.com/tag/madeon-live-triple-j-mix/
I don't know what everyone here at DJTT believes about his mixing, but I believe he does a nice balance of high energy and low 'rest' states in a 30 minute mix. Some songs play out for 5 minutes and other songs are only 1-2 minute snippets. | Sonja Roybal
19.03.2013 | If you're playing tunes that are boring or can't stand on their own, you're playing the wrong tunes.
A bad habit I have is making mixes too long. I don't let the tune play enough on its own and don't allow it to breathe. Let the tunes speak for themselves. Present them in a way that's appealing. | Vaughn Malbon
20.03.2013 |
Originally Posted by backtothefront
Although I must say I don't like DJ's who over do things, such as FX for the sake of it, disjointed juggles and 30 sec quick mixing, especially over a whole evening
s clubbing - it does my head in and ruins the set for me, I like to lose myself in the tunes over a longer time frame. I also believe producers spent hours/days creating the track/remix to sound the way it did for a reason and in general I believe you should be adding not subtracting as a DJ - there is the skill
Good healthy debate this.
Absolutely. its all about knowing whats appropriate. 2 o clock in the morning in a busy city centre evening
club may not be the best time to be mashing 3 trance/techno/pop tracks together. Plus I believe this type of cue/effects laden DJ'ing is more of a musical performance and an expression of the DJ's own musical ideas. Like everything its all about taste, over do it and it becomes an auditory morass, plus its damned hard to keep that level of performance and concentration going much beyond an hour or two, so its also about balance and timing, for a long set, early in the evening
is probably the best place for the controller gymnastics, let the tracks play as it gets later. If your good keep some of the better mashups for later, but its not a time for experimentation. But again, its hard to generalise on all this.
I personally like to believe of the mashup style as something you listen to, while keeping the more straightforward stuff for dancing to.
As for the producers etc who create the original music, my thoughts are a little different. I love sets where snippets of tracks are used, perhaps out of a 7 min track 2 loops of about 1 minute may be used, for me its great when you dont have a clue where the music is going. In discovering what modern DJ's can do its probably changed how I listen to music in that I now prefer to listen to tracks chopped up and mixed around rather than the originals, when its done well the level of energy can be fantastic (provided of course its done well )
But once again its all about taste, without that your lost, no matter how good you are. | Chanell Guillemin
19.03.2013 | Song A has a 16 bar drop. Song B has a 16 bar break down and an 8 bar build up. Mix song B's 16 bar breakdown into song A's 16 bar drop. When song A's drop ends, song B's build up begins and goes right into another drop. | Julissa Serrone
19.03.2013 |
Originally Posted by kooper1980
H Isn't all music we dance to electronic dance music?
I dance to Hip Hop, Salsa, Merengue, even some Jazz and R&B.....never tried Swing though. | Lashawn Maycock
19.03.2013 |
Originally Posted by Morior
Yeah I was probably being a bit strong here, but I hate how people using sync are sneered at by many people here. I do beleive though that pre-digital and the ability to seamlessley mash tracks together and cue juggle that the art of the DJ was more about track choice and building the set as an overall event, and you needed real skilll to make that all flow. With the available technology certain styles of DJ'ing have become a more visceral minute by minute, or even second by second artform, where you are remixing as you go, and if you do that, the last thing you want to be doing is beatmatching while trying to switch the eq's of one track while jumping to different cues on one two or even 3 different tracks. (and all that preceded by sticking in a beatmasher drum roll from one of the tracks before the drop, oh and a filter on another.)
Just different styles of DJ'ing with different skillsets and thought processing, but it all comes back to the music, if your crap your crap, no matter how your doing it
yep, agree with this, def! - blinding DJ techniques won't rescue bad tune selection
Although I must say I don't like DJ's who over do things, such as FX for the sake of it, disjointed juggles and 30 sec quick mixing, especially over a whole evening
s clubbing - it does my head in and ruins the set for me, I like to lose myself in the tunes over a longer time frame. I also believe producers spent hours/days creating the track/remix to sound the way it did for a reason and in general I believe you should be adding not subtracting as a DJ - there is the skill
Good healthy debate this. | Lashawn Maycock
19.03.2013 |
And I ask again.... WTF is EDM?!?! Isn't all music we dance to electronic dance music?
I hear ya, I really don't care for the term EDM at all, it seems to be used as genre definition, which makes no sense as you rightly point out. I see it as more a term to describe the recent surge in popularity of pop dance music in the US domestic market. | Lashawn Maycock
19.03.2013 | Without trying to move the discussion off topic, I believe the term 'EDM' isn't helpful really outside of the US - I obviously can't speak for everyone but certainly within the scenes I'm involved in 'EDM' basically means commercial, Top40 dance music ala Guetta, Harris, SHM for the domestic US market - in other word; the explosion of pop dance music in the US which has gained mainstream acceptance in the last few years. Hence my query on on the differences between dance music played in clubs and festivals.
Here in the UK which simply have an eclectic mix of genres that can equally be played in clubs/bars/festivals, whichever. In my experience this tends to be the same in Europe and elsewhere in World where dance music has a mature, developed scene of many years. You do of course very much have the pop music, mainstream clubs, notwithstanding - I'm specifically talking about the general dance music scene. | Kristofer Krauel
19.03.2013 |
Originally Posted by djmetalgear
get off your stupid European high horse. no one said we are switching tracks every 15 seconds. get over yourself. I stand by what I said. There is a huge difference between rave clubs, and regular clubs in the city that listen to EDM. If I were to DJ a club such as Lit, Whisper, or Rumor down here in philly, my set list would be entirely different than if I were to DJ at a club that I can play EDM, but is not a huge EDM scenes. some clubs i can get away with daftpunk, deadmau5, zedd, and calvin harris, but I could not play all EDM that I normally would in a real rave club.
With that being said, you need to keep the energy up at some points and let it drop. and if you've ever even been out to DJ at an actual club with 300+ people, and you played a song such as "one more time" by daft punk, youd realize that the melodic 3-4 minutes in the middle could def be kind of awkward for people who are dancing... so you add a snare or bass to it from another track to keep them going.
Until then, keep mixing in your basement and leave your criticism there as well.
HAHA have I touched a nerve?!? I'm not gonna enter into a pissing contest. I've played clubs and BIG crowds. Still I'm not able to pass comment because the clubs I've played in and the crowd that enjoys my music don't have to worry about me dropping one more time by daft punk. We are happy to let the tunes take us where they were intended.
And I ask again.... WTF is EDM?!?! Isn't all music we dance to electronic dance music? | Qiana Castellucci
19.03.2013 |
Originally Posted by djmetalgear
get off your stupid European high horse.......
Perth, Western Australia (definitely a clue there) - isn't in Europe | Meaghan Machold
19.03.2013 |
Originally Posted by kooper1980
Thanks God someone said this. Going to a club and hearing a DJ change tracks every 15-20 seconds makes me want to punch myself in the ears!! If your music is so boring you can only listen to 15 seconds of it go out and buy some better music!!
Being less generic when describing your genre of choice would help too! WTF is EDM?! I imagine the OP is referring to that God-Awful Electro-trashy-progressive -house that seems to be popular in the USA. In which case I would agree that 15 seconds is more than anyone can take!!
get off your stupid European high horse. no one said we are switching tracks every 15 seconds. get over yourself. I stand by what I said. There is a huge difference between rave clubs, and regular clubs in the city that listen to EDM. If I were to DJ a club such as Lit, Whisper, or Rumor down here in philly, my set list would be entirely different than if I were to DJ at a club that I can play EDM, but is not a huge EDM scenes. some clubs i can get away with daftpunk, deadmau5, zedd, and calvin harris, but I could not play all EDM that I normally would in a real rave club.
With that being said, you need to keep the energy up at some points and let it drop. and if you've ever even been out to DJ at an actual club with 300+ people, and you played a song such as "one more time" by daft punk, youd realize that the melodic 3-4 minutes in the middle could def be kind of awkward for people who are dancing... so you add a snare or bass to it from another track to keep them going.
Until then, keep mixing in your basement and leave your criticism there as well. | Vaughn Malbon
19.03.2013 |
Originally Posted by backtothefront
Oh and the 'luddite' comment about using sync, I appreciate what you're saying but do you believe it was not possible to create this elusive 'energy' everyone refers to pre digital DJing? As someone mentioned; Coxy is a case in point, a magician on 3x TT's. I guess the amazing evening
s in the 90's and early 00's just didn't happen like they do now(?)
Yeah I was probably being a bit strong here, but I hate how people using sync are sneered at by many people here. I do beleive though that pre-digital and the ability to seamlessley mash tracks together and cue juggle that the art of the DJ was more about track choice and building the set as an overall event, and you needed real skilll to make that all flow. With the available technology certain styles of DJ'ing have become a more visceral minute by minute, or even second by second artform, where you are remixing as you go, and if you do that, the last thing you want to be doing is beatmatching while trying to switch the eq's of one track while jumping to different cues on one two or even 3 different tracks. (and all that preceded by sticking in a beatmasher drum roll from one of the tracks before the drop, oh and a filter on another.)
Just different styles of DJ'ing with different skillsets and thought processing, but it all comes back to the music, if your crap your crap, no matter how your doing it | Qiana Castellucci
19.03.2013 |
Originally Posted by kooper1980
Thanks God someone said this. Going to a club and hearing a DJ change tracks every 15-20 seconds makes me want to punch myself in the ears!! If your music is so boring you can only listen to 15 seconds of it go out and buy some better music!!
Being less generic when describing your genre of choice would help too! WTF is EDM?! I imagine the OP is referring to that God-Awful Electro-trashy-progressive -house that seems to be popular in the USA. In which case I would agree that 15 seconds is more than anyone can take!!
HAH! This x100000 When did it go from being all about the music to all about the DJ masturbating his controller/mixer/fx unit until all you hear is an amorphous mass of noise. Thank fuck there are still some decent DJ's out there who actually know how to DJ and let the tracks breathe. | Kandis Smollen
19.03.2013 |
Originally Posted by kooper1980
Thanks God someone said this. Going to a club and hearing a DJ change tracks every 15-20 seconds makes me want to punch myself in the ears!! If your music is so boring you can only listen to 15 seconds of it go out and buy some better music!!
Being less generic when describing your genre of choice would help too! WTF is EDM?! I imagine the OP is referring to that God-Awful Electro-trashy-progressive -house that seems to be popular in the USA. In which case I would agree that 15 seconds is more than anyone can take!!
uh huh | Kristofer Krauel
19.03.2013 |
Originally Posted by backtothefront
I was trying to resist, but having read this thread, there's some strange posts in here.
Firstly, in all my years, I've never heard of a 'different' type of music applicable to a club/rave/festival and since when has dance music been described as steady 128bpm - as if its a type of music in it's own right? I also don't understand this suggestion that there is fixed defined structure of a track, sure there are similarties but mostly there is variation.
I've seen so many posts on here and other community
s, people over analyse too much, just get on and mix, practice, learn for yourself. Don't over believe, just do.
Oh and the 'luddite' comment about using sync, I appreciate what you're saying but do you believe it was not possible to create this elusive 'energy' everyone refers to pre digital DJing? As someone mentioned; Coxy is a case in point, a magician on 3x TT's. I guess the amazing evening
s in the 90's and early 00's just didn't happen like they do now(?)
Thanks God someone said this. Going to a club and hearing a DJ change tracks every 15-20 seconds makes me want to punch myself in the ears!! If your music is so boring you can only listen to 15 seconds of it go out and buy some better music!!
Being less generic when describing your genre of choice would help too! WTF is EDM?! I imagine the OP is referring to that God-Awful Electro-trashy-progressive -house that seems to be popular in the USA. In which case I would agree that 15 seconds is more than anyone can take!! | Lashawn Maycock
19.03.2013 | I was trying to resist, but having read this thread, there's some strange posts in here.
Firstly, in all my years, I've never heard of a 'different' type of music applicable to a club/rave/festival and since when has dance music been described as steady 128bpm - as if its a type of music in it's own right? I also don't understand this suggestion that there is fixed defined structure of a track, sure there are similarties but mostly there is variation.
I've seen so many posts on here and other community
s, people over analyse too much, just get on and mix, practice, learn for yourself. Don't over believe, just do.
Oh and the 'luddite' comment about using sync, I appreciate what you're saying but do you believe it was not possible to create this elusive 'energy' everyone refers to pre digital DJing? As someone mentioned; Coxy is a case in point, a magician on 3x TT's. I guess the amazing evening
s in the 90's and early 00's just didn't happen like they do now(?) | Latoria Kavulich
18.03.2013 | play tracks together for more than 20 seconds: challenge accepted. | Doreen Schurle
18.03.2013 |
Originally Posted by 3heads
I don't see the difference. This is what A>B mixing is anyways...
The difference is there isn't 5 minutes with only one track playing; instead, there's maybe 15-20 seconds with one track playing. | Celestine Porebski
18.03.2013 |
Originally Posted by mdcdesign
It's quite simple tbh, stop doing A-->B-->A mixing.
When I DJ, it's A-->A+B-->B-->B+A-->A.
I don't see the difference. This is what A>B mixing is anyways...or rather: that is why it's called "mixing" in the first place. | Dino Hapgood
18.03.2013 | Just watch laidback luke mix. His sets are incredibly dynamic with very little lag in them. Or listen to Carl Cox. Carl Cox keeps energy up for an entire set like you wouldn't believe. Yeah, if you play a lot of prog house you are going to have a lot of synthy breaks, maybe try mixing some regular house music into your sets? Also, You can have synth/no drums parts without losing energy, trust me. Learn to use loops, create tension, don't just "let the synth" play necessarily, but don't over use fx. Honestly if you play house music in a setting where people enjoy house music they will find a way to enjoy every part of the song and not just the "drop." Also remember that you need to give your crowd a rest (as DJ MetalGear said). You actually CANT mix festival style at a club because it's too much to dance for more than an hour straight even if you're faced out on Molly. If I had to dance to Madeon for more than an hour I'd pass out. | Cassidy Galindez
18.03.2013 | You could always build your own builds. I've made a few 'dummy songs' as I call them, and they just have 16/32 bar drum loops and builds that I use to transition through those melodic parts. You can add things like those vengeance pack risers to help rebuild that energy towards another drop.
Acapellas are another good way to fill the space, especially if its something popular that people can recognize. | Vaughn Malbon
18.03.2013 | WIth the technology available today just have another track playing on another deck, even something as simple as the mids and high of a good rhythm and kickl that in during the bridge, just even a bit of hi-hat can boost the level a lot. and you can leave it in when the second drop comes in. If you match their keys you can even bring in some riffs etc from the second track. Plus a few simple build effects , even basic reverb will make that second drop even bigger.
Assuming your a traktor or serato user, dont be a luddite and turn on sync it will make all this stuff childs play and you can concentrate on the music and the energy. You can show off your beatmatching skills going from A-B | Dick Korus
19.03.2013 |
Originally Posted by MyUsername
Don't you if you ever went dancing but unless you take xtc (so I've heard) you'll get tired. It's good that people can catch a breath.
The contrast in energy in makes the drop better. For example:
High energy bit => build up + drop => high energy bit doesn't make sense.
Everything is there for a reason. Just keep doing what you 're doing.
So I've heard? lol completely agree!
A combo of a> a+b > b > b+a > a with one shots and fx and transitioned at the right time to avoid an audio disaster sounds great! Then get track c going (in deck b) and mix track c and d the same way, it flows great and you won't be constantly cluttering sounds. | Doreen Schurle
19.03.2013 |
Originally Posted by djmetalgear
I like to do what was previously mentioned. Intro of B after Drop of A... but sometimes I like to let the melody play out with the intro of track B on Loop, (as long as the intro isn't obnoxious and its just a kick and snare).
for example, Daft punk's "one more time" has a HUUUUUGE middle portion where its vocals, and it def kills the vibe sometimes, but if u just add a snare or kick bass to that portion, people will keep grooving. try it out.
i believe that u need to have a few breaks here and there. u gotta let people cool down for a good minute or two and bring them back. intro+bass+drop gets real repetitive real fast.
A lot of Tiesto and Mauro Picotto stuff is like that too; Proximus and Komodo are typical case-in-points. The annoying thing is, the tempo typically changes wildly as well (I HATE artists who do that), so you have to ride the jogwheels/pitchfader the whole way through the instrumental :-\ | Meaghan Machold
19.03.2013 | I like to do what was previously mentioned. Intro of B after Drop of A... but sometimes I like to let the melody play out with the intro of track B on Loop, (as long as the intro isn't obnoxious and its just a kick and snare).
for example, Daft punk's "one more time" has a HUUUUUGE middle portion where its vocals, and it def kills the vibe sometimes, but if u just add a snare or kick bass to that portion, people will keep grooving. try it out.
i believe that u need to have a few breaks here and there. u gotta let people cool down for a good minute or two and bring them back. intro+bass+drop gets real repetitive real fast. |
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