bass Swap Adding a Loop and Some Effects DJ Mix Global May 2019

0:00 In this video we're looking at some rather nice Soulful House tunes fr

Right guys, in this video we're looking at some rather nice Soulful House tunes from CDPool. These are from the global releases for 2019, for May 2019. I'm going to do some bass swap and also some mixes where we don't even have to use the EQ. So let's start off with the left-hand side of track entitled Can't Hold It Back. It's the original mix. Percentage couldn't tell you, but let's say there are some DJs who think that you need to always mess around with the EQ and others that you don't. Well both the right and both the wrong it's all about where you are in your set so for example if you feel like you're playing two tracks that don't need any EQ sort of messing around with then carry on you know you don't have to

Always use the EQ. You can just leave it as it is. A lot of it is about the track itself. So, for example, we can hear a bassline in here. Nice bassline in the background. This one here on the right-hand side, a tracking title out of control. Let's have a listen to this. No bassline. Break. Nice break there. Bassline's there. But have you ever thought about this as well? If you're in your room, you've got some monitors on and it's at relatively low volume, Then, do you really need to do a bass swap? Do you need to concentrate much on the bass at all? Well, maybe yes, maybe no. More likely no, because you're not in a big club environment where if you do increase the bass too much, you're going to start to get not so much distortion, but you're gonna overpower everything.

2:39 Can't Hold It Back towards

You see, the trouble is when you're in a nightclub environment what DJs tend to do is things slowly get higher and higher and higher and before you know it you're getting to the stage where there's too much going on and quite often if you turn it down you're able to hear the quality and clarity of the track and also the mix instead of having it full-on and a disastrous mess. So let's go to Can't Hold It Back towards the end, so press play, I'm just going to skip it forward a bit. Let's go to, hold on, let's go to about halfway through a break, the last break, and now I'm going to start out of control at the beginning. What's here is sort of the same, Can't Hold It Back, maybe slightly louder. Go to the through position, substitute and easy up-faders. Start to slowly bleed this one in. I can see on the wave format, can't hold it back, that there's a slight dip. That could be because the bassline's going to finish. Bassline's still there. Got the bassline in the background there. I don't like the bassline with out of control. Alright, yeah, that may sound a bit better there. So let's go back to that position again.

4:50 This time, I'm going to take the bass out

This time, I'm going to take the bass out. Slowly bring it in. Right, this time what I'm going to do is I'm going to take the bass out when the break comes in on this side. I don't want the can't hold it back tune to drop out too much. So to compensate for me reducing a lot of the volume on can't hold it back, By taking the bass out, I'm going to increase the mid. Slowly bring it in. A phrase change. So we're getting to the break. So this is what it would sound like with the tracks by themselves. Again. Okay, straight into Out of Control. Okay, let's have a look, see what else we've got here. Gotta have house. Okay, so again, this is just a demonstration. Let's go towards the end of Out of Control, so...

7:14 The end doesn't really change much, there's very little now from that

And towards the last break, again all my EQ is set at 12 o'clock and also the LEDs here, you know they're in the amber but we're not going in the red. Okay so here's the break, finishing and there is a bass line in the background but it's really subtle, very subtle. Okay so the end doesn't really change much, there's very little now from that last break. Let's have a listen. You've got a little bit of a melodic kind of bass line in the background, a nice bit of sort of high-end drum pattern stroke percussion, but that's about it. Now that doesn't change till the end. Okay, so let's have a listen now to God I'm... Gotta have house, this is John S. Remix. Let's have a listen right from the beginning. Nice thudding full-on bass kick there. Like it. We've got that melody rising. You see what I'm thinking here is what I might do is take out the bass on the left hand side and then slowly bring it in, just slowly tease it in.

9:21 There is another way around this by forming a little bit of a loop

Now that's where it starts. OK, but what I want to do is I want to bring this in straight away. Now if you're very good at beatmatching you can pretty much do it straight away by first of all making sure they're in time on your headphones and then as soon as the break finishes on the right hand side press play with the volume up and away you go. But of course that's depending on if you press play at exactly the right time. There is another way around this by forming a little bit of a loop. On the left side that I'm bringing in, let that loop play on the headphones so you can beatmatch the loop while the break is playing on the right hand side and then of course bring it in. Of course the loop then you would have made sure that's in time and depending on how long the loop is for whether it be one bar two bars just make sure that you come out of that loop inside the first time the loop is played

And then the track will carry on. If you let the loop play once, more than once, then of course the track will start at the beginning of the loop, which means that if the loop was for one bar, you'll be one bar out, two bars, two bar out and so on. Sounds confusing but it's actually quite logical. So there's my loop. Okay, so again this is going to sound a bit weird at the moment because I'm giving an open demonstration now. And this is weatherbreak. That's where the break starts. So all I'm going to do now, again is, not again, sorry, what I'm going to do now is I'm going to let this track play, just go back a little bit more and then I'm going to start my loop at the beginning of the break. Now again, this is 99.999 recurring percent of the time. Practically every single track, especially dance tracks, will be in groups of 4, 8, 16, 32 and so on.

12:08 The idea here is to have this sort of smooth transition

So if you're going to do a one and a half bar loop, you're an idiot. On the other hand, if you do a one bar, two bar, four or eight, then of course you're going to be in structural time with everything else. So all I'm going to do is as soon as the break starts here, start my loop. You can't hear my loop. Because that will be the time when I'll start making sure it's in, sorry not in phrase, in beat. And then as soon as the break finishes and the track comes in, straight in with this volume, straight out of the loop, straight away because the loop is only there to keep me in time. And then away we go with our mix. Slowly bring the bass up. And then maybe take the bass out on the left hand side. So the idea here is to have this sort of smooth transition. And again, this is what you do find with this sort of style. The idea is to almost blend the two together. So you can't really hear the blend itself. It's almost like it's just one long track and your set is 90 minutes. One 90 minute track. Difficult to do.

But not impossible. Got my loop in the background now. And don't forget, as soon as it comes in, get out the loop. I'm going to slowly filter the left-hand side out. The right side, sorry. Straight in. OK, let's try something else. Bring that down a little bit. Let's have a look. OK, so we'll pause that one there. OK, so the next track I'm going to use, by the way, again, this has got to have house music, the John S remix on the right-hand side is... Apple Tree, it's the club dub. Now don't forget all these tracks you can get from CDpool from the global releases from May 2019. Now, not every track starts on the count of one. So if we started to count one with this track, this is what it would be like. And bearing in mind, I'm going to count like this. One, two, three, four.

14:45 One, two, three, four

One, two, three, four. One, two, three, four. One, two, three, four. Listen. One, two, three, four. One, two, three, four. One, two, one. There's the one. One, two, three, four. One, two, three, four. One, two, three, four. One, two, three, four. Okay, so we've got a slight variation here in how tracks Let's have a listen to the beginning of this track.

Nice airy kind of feel here. See again, sometimes this can be very misleading. A lot of people think that as soon as you get that change it's the beginning of the next phrase but have a listen to this. There, listen. A lot of people would think, some people, I don't know, three and a half people, I don't know, would think maybe that the new phrase is here but it's actually there as soon as that comes in.

17:38 Let's go towards the end of Gotta Have a House and press play

Alright, anyway, I'm digressing slightly. So let's go back to the beginning again. Okay, let's go towards the end of Gotta Have a House and press play. Just skip. I think we'll skip to about sort of there. Again, we're going to go towards the end of or sort of the beginning, should I say, nearly of the last break. I've got an idea. It might work. Gotta have a house.

OK, I've just got an idea here. Let's go to that break again. Maybe here. OK, so bear with me. In here now on the left-hand side. Slowly get rid of the beat, the whole beat. Again, right, I'll be honest with you there, I was slightly out of phrase. So let's try... Again, this is one great thing about making it your own. It's just experimenting, having a bit of fun. So what I'm going to do is I'm going to go towards the end. I've got to have house again, so let's go to that last break.

Yeah, tell you what, instead I'm going to go to the end of the first break on Apple Tree, it's the club dub, and start it from there. So I'm going to do something similar to what I did earlier on, form a loop first, so... Okay, add the mid, and let's go to Echo. Okay, so there, what I was doing, I've added some sweep which takes away a little bit of the track. We've got some echo and we've got a quarter echo on that. So, let's just go back there to halfway through the break. Oh no, I wanted to use the loop to get me in time, didn't I?

22:41 I'm gonna say Check out the link in the description to cdpool.com

A couple of transitions there, it shows how diverse you can be and how by just experimenting a little bit, I think that's the key here is experimenting. You may have two tracks you know work really well together at certain places but have you ever experimented in adding a loop maybe some effects and just trying something new all right? I'm gonna say Check out the link in the description to cdpool.com. Once again, these are the global releases for May 2019. Thank you very much. Practice and enjoy.

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