Beef the Mix with a Mash up from Word Go Underground December 2018

0:00 On the right-hand side, the extended m

Great thing about YouTube is you always get a mixture of thumbs up or thumbs down, and to be quite honest, if you don't like the thumbs down, then what you should do is not bother going on the web. In other words, any device that you have, throw it away and go and walk in the country and look at some trees. On the other hand, if you're happy with one of those or one of those, then good, because that's how life is. Right, so I've got a bunch of tunes here from CDPool December 2018, and I've got on the left-hand side a track entitled Move, the original mix. On the right-hand side, the extended mix of Blister. Let's have a listen to Blister first. We're at the beginning.

Nice chugging kind of vibe here. Speed it up a bit.

I like that twisty bendy kind of sound. Left-hand side, Move. A nice kind of bass line there. Now, what I did earlier on, I thought, why not? Let's give it a go. Check this out.

Okay, we've got them both going at the same time.

So we've got the right-hand side that's got that left-hand side just with the intro.

1:35 Loop now on the left-hand side

And what I've done before the beat came in on the left-hand side is took the bass out, that's all.

I'm not using headphones as well, so if it does go off slightly, I do apologise. Loop now on the left-hand side. Not using Rekordbox. Loop might be slightly off. Just a little bit. Yeah, cut that loop up. Each the filter first. Okay, so what we did there, we had two tracks. We start them off at the same time and maybe slightly different phrasing, but it doesn't matter too much. In fact, if you get too clinical, you end up becoming a computer and that is not a good mix. You still have to have that kind of natural feel to it. The more you can put into a mix, the better, instead of letting that laptop and those little wave formats do the work for you. Use your ears. Okay, so...

Right, let's just cue that one up a second. This one here now on the left-hand side, the Oath original mix. Have a listen.

3:59 This one here is very reminiscent of sort of relief records

Now this one here is very reminiscent of sort of relief records. It's got that casual green velvet sort of style.

Love it. It needs more of it. I'll tell you what needs more pizzazz with that. I'm sorry. If it had more of a skip to the beat, it would just be amazing.

Oh, there we go. There you go. They brought that skip in. Like it.

Now did you hear that very subtle... Right, let's go back a bit. Listen.

Now set cue there. Now I am convinced from that point, even though you saw yourself randomly going through the track. Okay, yeah, I could have set this up already and looked at the time and gone, yeah, all right, set from there and just pretend. But sod that I'm not pretending. Okay. So what I'm going to do from that hot cue there, I'm going to count and I am 100% sure that either more likely definitely not two but four, eight, sixteen, more like eight bars, we're going to get a definite change again, which is the next phrase. So why have I set that there? And what's the big deal about that slightly slight change in the drum pattern? Well, quite often when a producer makes a track, he or she will make the dance track in phrases of four, two.

If it's a radio version, more likely eight, sixteen, sometimes 24, 32 if it's the extended. But if you've got, let's say, a phrase of 16 bars and it sounds the same all the way through that 16 bars, very often there'll be a very subtle kind of change in the middle, which could be a very small change in the drum pattern like that. So let's start counting from there and let's see if we get that magical eight before a definite change. So one, one, two, three, two, one, two, three, three, one, two, three, four, one, two, three, five, seven, eight.

There. There you go. See? See, I don't know what I'm on about. Well, sometimes. Like in this. Okay, this one here. I think it's called M-I-N-G-A-U. Original mix. There you go, in time, in phrase.

7:24 Coming in we've got night and day original club mix

Okay, coming in we've got night and day original club mix. Have a listen.

I can tell straight away it's slower. Okay, see? Right, no BPM readout. Can't see it.

Nearly there. We'll try that. See how close I am. Bring that up a bit. That down. Oh, it's far off. Okay, right, let's try something different here. The melody started quite soon there. Let's just cue that up. Two, three. All right. I'll count the phrases. So one, one, two, three. Oh, sorry. Three, two, three, four, one, two, three, five, six, seven, eight.

Okay, yeah. So that melody started to rise during the first eight bars. So let's see if we can incorporate that into the other track. So let's press play on the right deck again.

So let's do the math here. Let's imagine on the right we've got phrasing of 16 bars and night and day is, it seems to be eight bars at the beginning and then we have a change. So if that's the case, we find a great position or a good position in the right hand track and we wait for eight bars and then we bring the left hand track in. So when the right hand track finishes the 16th bar, of course the eighth bar will finish here and we'll see what happens. Okay, so I'm going to set a hot cue here.

There. Okay, so let's just...

9:49 Going to bring in the left hand deck, see what it sounds like

There, yeah. Okay, so I'm going to from here, that was 16 bars, I'm going to bring in the left hand deck from this point here after eight bars from that point. Going to bring in the left hand deck, see what it sounds like. Here we go. So one, two, three.

Four, five, six, seven, eight. All right, yeah. It sort of worked but then you know this is really rough. I haven't got my headphones on and I'm like having an experiment myself but it kind of worked. It kind of worked. But it's about choosing the tracks as well. You know these two tracks may complement each other. Brought together in the right place. But then again, you may have a look through your folders and your files and the one you've chosen to mix in with the one you're playing may sound great but the one next to the one you've chosen may sound even better. This is the great... I suppose the great experience you can have is just finding that one track that goes with the one that's playing and go bloody hell Eureka moment.

Isn't this amazing? Whereas you've been messing around with three or four other tracks before then and getting nowhere. And all of a sudden you've got this warm feeling inside of you that's going wow, this is just amazing. And then you take that on the road with you and when the crowd feel the same that you did when you found... Or do when you found that mix out then you think yeah, you nailed it. Okay? This one here like I said night and day original Club Mix. All right don't forget December 1st. Don't forget December Underground from Citypool. There is a link in the description to citypool.com just go to the December Underground series you'll be able to hear all of these soundbikes and all of the others in the compilation.

Practice and enjoy. Thank you.

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