DJ Lesson Phrase Mixing,cutting and CD Pool Dance Club 2013 January

0:00 Some more new releases for you from CDPool

Alright guys, some more new releases for you from CDPool. In this video, first of all, we're kicking off with the dance releases for January 2013. This one here is track 1 from disc number 1. If you want any more info on the new releases, check out the link in the description. It will take you to cdpool.com. Also, in this video, we'll do a few bits of tutorial and whatnot as well. You've got that clubby vibe. A little bit more commercial though with loads of vocals. I think what we'll do, we'll do a bit of a tutorial. Now a lot of people, what they do is when they use an effect on a mixer, they tend to use the effect and start the effect how the effect starts and then bring in the effect. I'm going to do the opposite. What I'm going to do is I'm going to start the effect, you know...

2:07 We'll round this one forward a bit

I suppose about three quarters of the way through the effect, then reduce the effect. We're going to use the low-pass filter and on this particular mix of DJM2000, this is the sort of sound we get. So what I said earlier about normally a DJ will start the effect where it starts, it's like that's where it starts. Like that. I'm going to do the opposite. I'm going to probably start it there and bring it down. So we'll round this one forward a bit. What I'm bringing in is track 4 from disc number 2. Let's start on the other track. Alright, this one here is track 4 from disc number 2. Right, I'm going to turn that down. I don't know if you noticed but the LEDs here are quite high on each channel so I'm going to reduce the trim so it's tapping into 1 and 2 and now I can turn it up on the master so I can get exactly the same volume I had before.

4:48 We're into Paul Van Dyke here

But I'm turning it up on the master, not on the trim which means that the audio signal going through the channel into the master will be a lot less distorted. And also when I do add an effect it's not going to overpower it too much and go into the red like it did a little bit earlier. Okay, we're into Paul Van Dyke here. Don't deserve you. This is track two from disc number one. Alright, got a little bit of like an acapella at the beginning of this one so I'm going to sort of like just chuck it in, snap it in. So for this I'm going to use the crossfade so I make sure that side is assigned to the left side. This deck is assigned to the right side. I'm now visually looking at the LEDs to make sure that the audio is going to be the same. At the moment this is too low, so I need to increase the trim to get the audio the same, but then again because the...

The acapella hasn't got any beats or anything like that. Probably what will happen is when the full track comes in, it might increase even more so I then need to possibly put the trim back down again.

6:58 Again, what I was doing is editing the track

Now again, what I was doing is editing the track. Party till the daylight, one, two, three, four. And again, the latter part of that, it was just daylight, so I wanged it forward a bit, daylight, daylight. What I could have done while I was playing, I could have set up as it was anyway at the beginning of this track, P, the P is the count of one, party till the daylight. I could have then used the hot cues and just recorded... Daylight, so party, party, day, day, day, daylight. Use your head. Here we go. This one here is track number seven from disc number two. Do a chop is to remember the key. You need to try and keep them so the keys match. And also, just as important, is the timing. When you chop the one out, you have to bring the other one in on the tamest.

Same time signature. So for example, if I chop that out on the count of one, this one has to come in on the count of one. It's almost like it's one from the right side to the left side. One. It's not one-one, it's one. Finish off here with the dance releases with track number nine from disc number one, Heartbreak Is Over. Don't forget, if you want any info on these, check out the link in the description to CDPool.

10:28 I'm going to check out, excuse me, the club releases

Now I'm going to check out, excuse me, the club releases. Okay, this is Matt Zoe and Porter Robinson, track entitled Easy. Nice, very, very nice track. If it were a crowd at this point, I wouldn't just be going, ugh, I'd be like, you know, give it here son!

12:53 It's a lot harder, so let's see what happens

Let's get to the end because I like this next one. It's a lot harder, so let's see what happens. Again, as well it's about experimenting. I'm just going to cue that up there because I want to listen to the beginning of this one. What I've done, I've gone about, I don't know, maybe a minute or so into the track. I'm going to set a cue point there and I'm going to go back to the beginning of the track again. So what I could do at that cue point, I could start to count how many bars There are from the beginning of the track to that cue point, and then I could listen to this track and think, well, you know, we're coming towards the end. Is it a good idea to just whop in that hard part of this track? By the way, it's track number three from disc number two. Is it a good idea to just chop it straight in or maybe count back from the end of that track? And then if, for example, the beginning of there to that cue point is say...

15:15 Again, this is where timing comes in and counting bars and phrases

8 bars or 16 bars. If I count back the 18 or 16 and press play when I, or at that point, I hope you're getting me, at that point where I've counted back. So for example, this part here from the beginning to that cue point is 8. I need to count back 8. I start that at that count back from 8. So as soon as this one finishes, bang, we come in with that hard bit. Or is it better then to go back maybe 16? And I have the hard bit over the last eight. I hope I've got that right. So, let's have a look. I might even go back a little bit on that one. Let's press... Perhaps there. Just cue it up. So, hold on. Make sure we're ready. Again, this is where timing comes in and counting bars and phrases. If you do it correctly, it's genius. From just number two. Same thing going on here. By the way, I promise you this is very, very random. I haven't sort of all of a sudden...

17:58 Slower

We could go, oh I know what I'm going to do. No, it's happening right now. Now this track here is at the moment at the centre point we're looking at 128 BPM. Centre point here we're looking at 138 BPM so this is a lot faster. What can we do? Now this could be potentially a great way of lifting up your mix by making the one that's playing speed up. and what this one in lots of things we can do we could for example speed this one up slow that one down but for this demonstration what i want to do is i want to lift the mix so even though they will stay in key i'm going to make this sorry make that one which is slower go faster and then bring this one in so have a listen we'll go to the end of this one all right so what did i do

19:48 My God, my hair's gone!

And at the point where I thought, yeah, bring that one in, I just watched it straight up. I was watching. Sometimes I do watch the BPM and I noticed, yeah, I went a little bit too fast so I had to even speed this one up down here. But it worked. Alright, this one here is track number six from disc number one. Okay, very random. Let's try and do the opposite now. Slow this one down to mix in with another track that's a lot slower and needs to be slower. A lot of tracks, if you do speed them up too much then they don't sound right. You can see on the wave format I can see some breaks and they should be in time with the bars and the phrases as well. Now what I'm going to do as well, I've found the point at which I'm going to mix the next one in. For this demonstration...

I'm not just going to slow it down really quickly, I'm going to gently reduce the speed and then bring the next one in. Okay, finishing off from disc number two, this is Matt Early, Manta 2012, it's the original mix, but this is 2013, practice and enjoy. My God, my hair's gone! Practice and enjoy.

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