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Beatmatch
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CLAW
CLAW
Started Topics :
117
Posts :
2738
Posted : Aug 25, 2004 17:22
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So ok, after all these discussions can someone gives me the answers to the following with plain words...:
120-129 :: 0.?% for each bpm
130-139 :: ------- '' ------
140-149 :: ------- '' ------
150-over --------- '' ------
That will be more straight forward.
Plus another question, is when the #1 track plays, and u are getting ready to throw the other one, whick bass to you lower, the ones that plays out, or the ones u are throwing in... ??
bom
  • Noize Conspiracy Records •
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Surrender
IsraTrance Team
Started Topics :
506
Posts :
5388
Posted : Aug 25, 2004 17:28
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CHP, it's like cooking... you can prepare the same dish but have it be diffrent as your personal touches and background are such.
1. i know for certain: 140-149 %0.7
2. i always lower the bass of the outgoing, i never touch the bass of the incoming, only gain.
again, there are no set rules as the mixing depends on the type of music, how many tracks youre mixing at one time.
"On the other hand, you have different fingers."
http://myspace.com/gadimon |
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Zombi
IsraTrance Senior Member
Started Topics :
375
Posts :
5032
Posted : Aug 25, 2004 20:17
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Quote:
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On 2004-08-25 17:22, CHP wrote:
120-129 :: 0.?% for each bpm
130-139 :: ------- '' ------
140-149 :: ------- '' ------
150-over --------- '' ------
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your ear easily will answer you.. after few months of intensive practice.. remember there is lots of trax that maded in half bpm like 129.5, formula will not help you in this case. good luck!
Believe your soul ! |
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CLAW
CLAW
Started Topics :
117
Posts :
2738
Posted : Aug 25, 2004 20:39
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Zombi
IsraTrance Senior Member
Started Topics :
375
Posts :
5032
Posted : Aug 26, 2004 19:21
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sure, so its like: 128-134 bpm trax are 0.8 for one bpm. up to 135 its 0.7, less than 128 i guess its 0.9.
Believe your soul ! |
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Grilo
Started Topics :
0
Posts :
10
Posted : Sep 3, 2004 00:02
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Simple math. What percentage of the bpm you are playing at is 1bpm? For example: 1bpm is 0.689% of 145.
Here we go:
BPM %
120 0.833333333
121 0.826446281
122 0.819672131
123 0.81300813
124 0.806451613
125 0.8
126 0.793650794
127 0.787401575
128 0.78125
129 0.775193798
130 0.769230769
131 0.763358779
132 0.757575758
133 0.751879699
134 0.746268657
135 0.740740741
136 0.735294118
137 0.729927007
138 0.724637681
139 0.71942446
140 0.714285714
141 0.709219858
142 0.704225352
143 0.699300699
144 0.694444444
145 0.689655172
146 0.684931507
147 0.680272109
148 0.675675676
149 0.67114094
150 0.666666667
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jhanna
IsraTrance Junior Member
Started Topics :
28
Posts :
178
Posted : Sep 3, 2004 00:54
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woww know i have to be a rocket scientist to dj!!
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&u.
Started Topics :
0
Posts :
8
Posted : Sep 20, 2004 13:20
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DAMRAK
Started Topics :
2
Posts :
18
Posted : Oct 20, 2004 18:08
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HI!! nice and important post here.... keep doing cya |
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TheFlom
Started Topics :
7
Posts :
20
Posted : Nov 11, 2004 22:07
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Wow what a fantastic thread. I can't remember the last time I read a seven page thread. I started spinning 4 months ago and much of what is said here just chronicals the experiences I've had, especially all the comments about "Developing an ear." It happens one day and kinda grows slowly, but that first time that the mix track just sounds completely distinct from the current one, your bouncing to both grooves at once and just pt, a small tap, the disc a bit foward and it synchs is one of the most rewarding feelings.
Some comments. I've only recently began spinning in front of crowds (70-100) and I think I've improved significantly during my sets. What I'm saying is that once you can avoid the trainrecks, nail a few dope mixes and make the rest sound continous, you've still got nothing great, no tricks and certainly little coordination (first time out, I hit the cue on the playing track, just totaly lost focus of what deck I was mixing in with and cut the current track for a good 20 seconds until I took my headphones off), you should try to get a crowd to listen. The reasons are simple. I started losing site of what I wanted my sets to do, create energy, get people dancing, and just set a mood, a feeling to the dance. I was focusing on mixing and mixing and mixing and I just really forgot to pay attention to what tracks sound like, where their phrases are, what rhythms could be plugged in nicely. Without listening to the music and feeling it, your mixes might be technically perfect, but it's about remediating the music, not just creating continous sound. You have to express yourself using the works of others and as such, mixing is the tool, but what you should aim for is your style, your sound, what you can uniquely do with these wonderful tracks. And with that comes feeling the crowd. They are dancing and screaming and showing you what they are feeling, to be poetic, they are baring their souls to you. Feed off that and give them what they deserve. Use your taste to find that one next song that's just gonna blow shit up.
So play in front of crowds, you'll start thinking about DJing in a really focused manner, you'll know what you want to work on and you'll have a sense of what works and what doesn't.
EQing and Level Control
Okay, I'm going out on a ledge here, I'm just a biggner and I'm gonna try to describe technique. I'm just trying to propel discussion, not write law.
Okay, so you're matched up and the mix sounds like it's gonna work. So I use the crossfader to mix say 70%, but the rest I use the channel volumes, it depends on what's going on setupwise (good headphones, a pointed monitor, strong subs, even distribution, that kind of shit). If A is Channel 1, which is the current track, and I have not begun the mix at all yet, the fader is at A So B is Channel 2, the in track, and I'm setting my que point, giving a good minute or so listen (if you have time) so that if there is an akward drop, extended break, rebuild up, I'll know about it and can really watch my mix time to coincide. Those kinda things can destroy a mix. Imagine you've got it all going good and you are about to fully mix out when the mix out track decides to break for a good two seconds and come back with a slow solitary bass. Know what that sounds like? Mixing into oblivion. You had everyone ready, sounds were introduced, the track was rolling and ending, and then suddenly, BOOM, there is no music. It's akward.
So anyway, everything all set and you start trying to phrase and synch the tracks. You want to insert melodys over rhythms - in trance terms, you want to get those snythesizers, alarm clocks, violins, and crazy alien sounds to go fit cleverly in between the boom boom boom boom. At the same time, putting them directly over, a straight up synch, works also, it depends on the tracks. I think you can get creative with phrasing, like have water drops from the mix in track just plop right after the boom. You know, boom plop boom plop boom plop...The more crowded the track is, the more sounds it has, the more layered the beats are, the harder it is to phrase. An empty intro mixes into a nice intense outro. A crowded intro (think hux flux) might fit into an outra that breaking in rhythmic crescendous (think early IM).
EQing fits in here, whether the mix is phrased or not, you can create layers to your mix. You can drop the lows (the booms, the beat, the drums - deep sounds) out of the current track for a few and then introduce only the lows of the in track. The point here is to cradle the mix into the ears of the audience, have them holding onto a familiar rhythm/melody while you are letting the new sounds creep in.
To do this more effectively, you have to listen to the levels of the track. Some tracks are not as loud as others, some tracks have louder melodies, so you have to level the intensitiy of the sounds. You want to have the entire set at a consistent volume. When a loud track mixes into a quite track and the levels are not adjusted, the end of the mix and the begging of the track will sound as though the master volume was shut off. Not to mention that a track with a really overpowering bass beat will make it hard to hear whether the corresponding beats are synched up cause they are so overpowered. You get into these muddy mixes that have no way out. Ways to maintain levels on the mixes, trim and volume control. You can trim the intesitiy of the sound ranges. More trims means that the tracks sounds are going to be more overpowering, more intense, (not really louder, but distctly audible.) If the track your mixing in is just totaly consuming the current track, drop its trim down so that it sounds less in tense, after they mix, during a break or something, normalize the trim.
If you lose your ear during a mix, meaning in the middle of the mix the tracks merge and you can't hear what sounds are part of what track and thus cannot tell where to go and how to synch up, you can shoot the volume of a building up track down a bit so you know that the louder sounds are the other track. This kinda jumps the gun on the mix, but once you get your ear back, fix your shit up, you can kick the volume back up on the current track and it makes for quite an influx of sounds.
I don't know if I clarified that highs and mids work in the way that lows do. Highs are the flutes and bells, mids are the snares and the nature noises (well that's not 100%, but you get the idea). You can create pronounced beats with these.
For instance, your mixing, everything is going well, but you've got like 30 seconds till anything interesting is going to happen in your in track, so you don't want to totaly mix over. But you also want to maintain the novelty of the mix in track. Take the highs down on your current track and find the beat of the highs in your mix in track (as in on what beats does a high sound play). Grab the eq and increase it in the beats. It is a cool effect - I don't know, I think it is awesome, people really feel that, your just slamming in only one part of the other track for 20 seconds and then its just gonna build and build and then boom it breaks and comes back as you kill the out track.
So yeah, I guess that's all I had to say. You guys rock and we are the #1 cause of siezures amongst people. |
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dj infinitisma
Started Topics :
2
Posts :
9
Posted : Dec 31, 2004 08:52
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hi...what about three or four channel mixing...i feel its more luxurious like you can have all these sounds running around inside the mixer and then you just like send two or three tracks out to the crowd and keep like a talk track beside for a lil surprise!!
and the sounds come out all jammy!!
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Andrey
Inactive User
Started Topics :
62
Posts :
1221
Posted : Feb 20, 2005 11:56
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I just uploaded some sources about mixing, mastering etc...
U can find it here
http://rapidshare.de/files-en/654433/0193.rar.html
Good luck!
Sea>Israel>Ben-Gurion>Tel-Aviv>Ramat-Goa>Marom Neve
is this pure reality could we be led?
25500 NIS for 1 hour DJ set
30500 NIS for 45-50 minutes of Live~ |
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Ronaron303
Started Topics :
6
Posts :
157
Posted : Feb 22, 2005 06:06
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Hey guys ,lets speak more about harmonical mixing
pleaz.
--------If you move up one step(from C to C# or B to C etc)
the new record will use completely different set of notes than the one were you just playing ,and so the change will be very dramatic.To be honest ,most Dj who key their records are interested only in this thing .This is a mixing style most closely associated with TRANCE and PROGRESSIVE HOUSE.
As Anthony Pappa explains,"Say you're playing a record in a certain key ,and it goes down to just a drums.Then if you bring in another record in the right key,when bassline comes in ,it gives an energy lift because it act like a key change."---------(the article has been stolen from "how to DJ right"(book))
So ,lets keep on about that , (any coments)(any tips and triks with keys or about harmonic mixing):-) |
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Narcosis
Narcosis
Started Topics :
45
Posts :
618
Posted : Feb 25, 2005 01:55
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Ok understanting about the 0.7% from 140-150 bpm. But this fits to all decks???
Trance Sound As A Medium Towards Mystical Experience... |
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Andrey
Inactive User
Started Topics :
62
Posts :
1221
Posted : Mar 5, 2005 21:53
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Quote:
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On 2005-02-25 01:55, Narcosis wrote:
Ok understanting about the 0.7% from 140-150 bpm. But this fits to all decks???
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most of all...
Sea>Israel>Ben-Gurion>Tel-Aviv>Ramat-Goa>Marom Neve
is this pure reality could we be led?
25500 NIS for 1 hour DJ set
30500 NIS for 45-50 minutes of Live~ |
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