Another Way to Mix Hard Styles to Mellow Style of Music Underground and Honse August 2021

0:01 Drum bass, music, play house

Alright ladies and gentlemen, yes, another video for you. And in this one we're looking at how you can mix hard tracks into mellow chilled out. Now, before I continue, I'd like to say thank you very much to everyone who helped me at Lakefest last week. An amazing event. It was held in East Norcastle and I did something called the Secret Disco, which is basically a medium-sized gala tent shoved full of lighting PA and a multi-mix of mad DJs who just bang out good solid music. So anyway, a lot of preparation beforehand. All last week was taken up with just looking after the event and so on, and now back on track. Now in this video what we're going to do is look at how we can mix hard stuff with mellow chilled out.

I get this question asked me occasionally, like, you know, can I play house in a drum and bass set? Or can I play hip hop in an R&B or a soul set? Well, if the truth be known, yes you can, and no you can't. I will explain why I'm confusing you. And the obvious should be there, but anyone who doesn't understand logic and obvious, let me explain to you. So let's imagine you're booked in a hip hop. Nightclub and you take your hip hop tunes and all of a sudden you decide, I want to play some house music. Well, you probably if you're lucky going to get things thrown at you. If you're very unlucky, you'll get beaten up and thrown out because you've been booked to play hip hop in a hip hop club exactly the same if let's say you've been asked to play music in an R&B or let's say a drum for a drum and bass night.

2:18 Interested getting, first time, disc number

So you halfway through your drum and bass set and you start playing some techno or trance. It's just not going to work. On the other hand, if it's an eclectic mix of music nightclub where you can just basically do what you want, then the crowd know that you see the crowd are not going to turn up to an event like that expecting drum and bass all night. They should expect a multi-mix of music because that's what happens alternatively though, if you are, let's say playing drum and bass, you can if you're very clever and you know what you're doing and I will explain in future videos. You can bung in a couple of hip hop tunes easily done alternatively like with house music if you mix correctly, you can bung in a hip hop tune or maybe a soul tune an R&B tune a 60s 70s Northern Talamotang tune drum and bass anything but don't do much of it one or two is fine, but if you start bringing in all kinds of genres when you are you have been booked to do just one genre that's when you'll get to the stage where you're going to be able to play.

The stage where you'll never get booked there again because they'll think you're an idiot. So this video is really looking at how we can mix different styles. Now I've got over here the underground series from CD pool and on this side, I've got the house series. This is August 2021 and if you are interested in getting the CD pool downloads or hard copies, there will be a link in the description if you're interested in getting the downloads and using them for the first time, there is a code. I think what it is, I think it's DJ Tutor one or something like that, but it is in the description and if you use that for the first time, you will get 50% off. I still believe I still believe it's happening now your first two months of downloads and our terms and conditions apply.

4:12 I'm going to make sure I mix this in phrase for the change

It's not for everything, but it's pretty damn good 50%. So anyway, right? So I'm going to play track one here from let me try and flip that disc number one. Let me see if I can do that. Old school. Here we go. No, I used to be able to do this. I'm going to flip it. There we go. Mind you, the speed is making a move now. So yeah, you've got it. Okay, so this one track one, disc number one, which is Dukwa my journey into eternity. So let's play a bit of this so you'll get the idea of it. And I've got track one from this number one here August 2021 Junior Jack Stupid Disco. Okay, I'm going to make sure I mix this in phrase for the change. Before doing this transition, let me just pause that. There's a couple of things I can do here.

7:31 Again, I'm using the 1000 Mark three

One is I can slow the track down on the left hand side to match three things to match the one on the right alternatively, I can leave the one on the left at its original speed and bring the speed up on the right to match the one on the left alternatively, I can sort of meet them in the middle. What's very important though is I keep the master tempo on so that the track melody stays the same. Okay? So let's go to the disco again. A quick forward to make this more uplifting, speed this one up. Remember about 131 there? Maybe I could wait for the end of the phrase. Okay, now again, this is a demo, so I didn't count that correctly because I started it at a random position. So what I'm going to do here is I'm going to start it where that change was.

Now again, I'm using the 1000 Mark three. I could form a loop, but the loop isn't going to be exact. So if you're going to do something like this on a controller and you're using the correct software, then of course if you form a loop here, that loop is going to be a perfect loop, which means it isn't out of time so you can make or you can let the transition last a lot longer. So you see, I keep that going kind of looped. To be honest, it probably would have sounded a lot better if I'd had a loop on this side because so long as it was all in time, I could have used effects on that loop, some echo, use the filter just to drag it on a little bit more and then slowly EQ. And I was going to go to track three here at the centre position.

9:51 I'm going to meet them in the middle

This is a roundabout sort of the Will Sparks. It is Will Sparks, isn't it? No, sorry, track track three here, Todd Terry, which is sugar free SUGA free. Okay, all right, 125 BPM 131. Now, again, three things. I could slow this one down one, speed this one up two or meet them in the middle. And that's what I'm going to do this time. I'm going to meet them in the middle. So I'm going to slow this one down slightly, maybe to 127. Speed this one up to 127. And if I do this over a period of time, you won't notice the difference or the crowd won't. If I did something like you can hear the difference definitely. But if I just over a period of time, slow it down now at 127, you didn't know. Okay, but again, don't slow it down within two or three seconds.

12:01 Let's pause that second track

Maybe take ten, 20 seconds. Okay, let's go towards the end of this one. There's so much that goes on here. It's about the tunes. It's about the energy, the vibe, the people, the room. It's a lot of ingredients to make sure you get what you want to end up with, which is something pleasurable to the ear. So when I said about the people as well, you know, if you've got like ten people in a room and you're trying to entertain them, you need to make sure you do a good job. On the other hand, if you've got 1000 people in there, you still need to make sure you're doing a good job. All right, let's try another one. So let's pause that second track. Twelve is tracking titled Come Together Tom Junior Remix, and it's by Chris Corey.

15:25 About why towards the end

Let's just have a quick listen to this. Here we go. So you have an idea of what it sounds like before I play it towards the end of this one reason why, and I'll explain at the end of the video why I'm always going to the end of the track with this one. It doesn't matter. Wait for my phrasing. So it's giving you an idea of not only the new releases but also mixing sort of soft into hard and so on. Now, I said that was going to explain about why towards the end of the track and why it didn't really work with that one. Well, because there was still a lot going on at the end of the track now generally. And I suppose my professional opinion, what I would do and possibly what you should do as well is that when you're going from one style to another,

What you don't want to do is mix the two tracks in the middle. So for example, you've got this imagine this mellow jolly tune and all of a sudden you bring in something hard halfway through. I'm not saying that will or won't work, but maybe if you do definitely want to change the vibe in the room, you need to let the track that's playing play out so not only the track is playing out, but the vibe of that track is starting to slow down. Because generally that's what happens with tunes. It starts off with a kick and then the tune starts. You've got loads of vocals, melody, and then it finishes with the beat again and that's the position where you want to start to bring the next vibe in alternatively though.

If let's say halfway through the track, you've got this great break and you feel that the break will work with the harder track or the softer track than you bring it in, then by all means bring it in there. It's like being a chef in a kitchen and making a great meal. A little bit of salt will just enhance the flavour of the meal, but it's got to be the right amount. You put too little in, it's going to taste bland too much and it's going to be overpowering and ruin it. So it's the choice that matters. And this is where the professionalism comes in and also the experience. All right, don't forget to like and share and subscribe, practice and enjoy. Thank you very much.

This transcript was produced automatically from the audio of the video and may contain mistakes.