DJ Advise on Mixing Underground House with a Lot of bass CD Pool August 2018

0:00 Time for some more new releases from CD Ball

Alright guys, time for some more new releases from CD Ball. We're looking at the Underground releases for August 2018. Now this is a demonstration, also a tutorial video. By the way, I really do apologise at the moment if everything you see is a little bit dark. It's because, I don't know why, it's all dark all of a sudden and I haven't got a really powerful light bulb so I do apologise. Now, if you're not familiar with the CD4 releases then it's a compilation based on genre and style. This is the Underground series which is more like your twisty bendy kind of house tunes. Sometimes you've got a bit of dubstep in there, you've got a little bit of drum and bass as well, a bit of techno but it's like your sort of deep dreary kind of sweaty nightclub tunes that you'd hear just banging out the bass. That's what it's about.

If you are interested in any of the CD4 releases, check out the link in the description. It's right down there and go to August Underground 2018. That's a talk over. Okay, now let's go back a little while to probably the end of the 80s. There was a track by Bomb The Bass, a track entitled Beat This. Now that was the first track ever that used a proper bassline sound or the bass beat. And since then... Practically everyone's doing it. And that's what The Underground's about. It's about using that really deep kind of bass feel in with the track to give it balls, basically. Right, so this one here is before we start. It's the extended mix. I'm going to be bringing in ATFC and David Penn, a track entitled Hipcats.

1:50 It's not just a boom, boom, boom

I like this one as well because it starts off with a little bit of a kind of just a break beaty intro. It's not just a boom, boom, boom. You'll see what I mean. I engage what's known as slip mode. Now what that does with slip mode engaged, it lets you spin back, reverse, fast forward, do whatever you want to. But the underlying track, it's the same time signature. Now there I was coming towards the end of the track so of course if I'd have kept it in slip mode it would have just stopped. Disengage slip mode. Then do a spin back, and then I can spin back as much as I want. But whilst slip mode was engaged, I was able to do a spin back and stop it, and then the time signature of the track that was playing was still in time with the track that I was mixing in. That does make sense. This one here, hip cats. Right, let's find something else on over this side. Here we go, let's have a look. Now I'm going to be just scooting through tracks here. Let's have a look, see what we can find.

4:20 Sorry about the darkness

Sorry about the darkness. See what I mean about that deep feel? You know, these aren't handbag tunes. They're not the sort of things that you'd have in sort of a fun bar at peak time, 11 o'clock Saturday evening when you've got all the handbag crew in there wanting like, I don't know, disentario or disrentario or disre-re-re-re-o, dis-dress-re-re-o, das-in-re-dis-en-tres-ta-rio, that drink, dos-tris-ni-es-ri, dis- Desario. Dearly beloved, we are gathered here today to commemorate the loss of our dear brother departed recently. What's this? Anyway, that's what it's about, the underground. Expect the unexpected. See what else we've got. I mentioned about underground and I've mentioned about drum and bass. This next one here. Alright, I love drum and bass. I do like it. It's not my preferred style but I do like drum and bass.

A lot of drum and bass you hear is like, yeah, it's good, it's good, it's good. This one here is exceedingly, exceedingly catchy. And I guarantee, I can't guarantee, well, no, I do guarantee once you've heard a little bit of this, you'll go, wow. And it'll be that sort of tune that will stick in your mind. And that's the sad thing and also the great thing about music. It's sad because a lot of top 40 rubbish we hear He's got three or four notes that you just do, do, do, do, do. And then you've got that in your mind. That's what the producers want. And it's very annoying because a lot of that commercial fodder is out there for one reason and one reason only. To make you buy it. And that's why radio stations play it again and again and again and again and again. They don't play it because you like it. They play it again and again and again and again to make you like it and then you buy it. That's how it works. So if you think...

You're one of these top 40 listeners who likes the top 40 and you like it because you like it. You're wrong. You like it because they make you like it. Seriously, this one here all night long, the Metric Dub Mix. Now the melody in this is amazing. It's very catchy but it's got it. I'll just spin it forward a little bit. Yeah man. Oh yeah. Big time.

8:01 Watercolor, Matrix, Future Bands

Watercolor, Matrix, Future Bands. This is the great thing about some of these compilations. Practically every single compilation that CDPool do, even though you may only just get the one, there are tunes you can mix on that one compilation. It's not a question if you're having to buy 10 and go, oh, three from here, two from there, one from there. You get the compilation and you can have a bit of a set. Marvelous, love it. All right, this one here. Watercolour, Matrix, Future Band. Let's find one more, maybe a couple more on the house tip. Let's have a look, see what we've got. Now, what's the difference between a good producer and a very good producer? It's the mastering. It's that final kind of, you know, let's take a great track that has just got everything, but let's just... It is, it's like crossing the T's and eyeing the dots.

10:38 See, even those vocals in some of these

But someone who's good at mastering won't just do a flick and a dot. They will pay great attention to the detail of that dot, and they will make sure that that flick isn't a flick. It's a strategic point on the T that corresponds to the rest of the letters, not just chuck it anywhere. So mastering is about giving something that's great greatness. This track here is mastered, alright? Now what's happening here is, listen, from the word go, it's just got that deep vibe. That melody to track Alex A remix. Dogs, doo-doos. Alright, let's find one more. Next one reminds me a little bit of 212. Next one coming in is Bound To Get High, the extended mix. See, even those vocals in some of these... Get a bit lighter then. It's not a cheesy vocal. Oh my god. It's just like... Sometimes it happens.

Once again, check out the link in the description to CDPool.com. These compilations, very important, are only for DJs in and around Europe. You've got to be a DJ, you've got to be a working DJ. If in doubt though, contact the company. There are contact details via the link right down there. Practice and enjoy. Muchas gracias. Thank you very much. Danke schön. Tschüss und tach. Thank you for watching.

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