DJ Mixing Lesson and New Releases CD Pool Underground and Dance June 2013

0:00 CDPool website which will be down

Alright ladies and gentlemen, another demonstration straight tutorial and also new releases from CDPool. We're looking at June releases and we're going to kick off with track number three from disc one from the underground releases. Now people are always asking me, please tell me the names of the tunes. All you've got to do is go to the CDPool website which will be down there in the description, just make a note of the tracks that I say I'm playing and go and check them out. Disc 1, Track 3, Underground. I can't be more specific than that. Specific. Specific. I meant to do that. This one here is funky. It's twisted, it's electro, it's got loads of vibe. It's a very good crossover tune. Let's say if you're playing maybe house and you want to maybe go into some breakbeat. Have a listen.

1:58 Track number 1 from disc number

What we can do is we can add a little bit of an effect here, okay? I'll be there in a minute, Ruby, okay? It's a good girl. I'm doing a video now, it's a good girl. What we could do, we can add a little bit of an effect to this. So I'm going to set a cue point. Set a cue point and then while I hit the cue point, the exact time I hit the cue point, hit reverse as well. Here we go. Just going to set another one here. Right, first cue point. Press. And reverse at the same time. The point which I hit while I was talking, the last time I was talking, I'm going to do the same thing. Hit the cue point, reverse at the same time. You're complementing the track without destroying it. Alright, the next one is track number 1 from disc number 2, Underground Still. Quite often a spin back doesn't have to be a long spin back either. You don't have to wait until the spin back actually finishes, you can just drag it out as soon as you want to drag it out, which is exactly what I did there.

It was almost like half a beat, and off. And easily done, all I did there was just brought the volume straight out. Track one here from disc number two, Underground, June 2013. Now, I like the filter. Filter's a great effect, a lot, without people thinking, oh, we've heard that time and time again. So it reminds me a little bit of Josh Wink, High Set Conscious. I think it's a different key, but it's got that sort of underlying... Bassline on. This one here is track number eight from disc number one, Underground Still. And next one is track number four from disc number two. I'm choosing this one because there's something about that first sort of couple of kicks you think, yeah, I like this track. Quite often if I listen to a tune for the very first time, I like it within the first one or two bars. Sometimes within half a bar or one bar because it just grabs you by the testicles and goes...

5:54 It's like quite sort of mellow, yet it's just twisted

Give me some. So check this out. It's like quite sort of mellow, yet it's just twisted. That emphasises the high end here, the pitch. It's George Fitzgerald, this is track number four from disc number two. Nice. He's again very random sort of tutorialist demonstrations and also new releases. He's... We're going to, we're going to button in a tiny bit of another track. Now the next one is track number 10, which is Darius Soriosian. Sorry, I'm dyslexic. Why do people have ridiculously strange names for people like me to try and read? It's atrocious. All right, so just check this out. If when I brought it in at the incorrect time signature, I would let it play, it would have been to time. So this is where it's very interesting where you can start...

10:12 It will make your mix completely different to anyone else's

Dropping tunes in, out of time, but because you only bring in a certain amount of that track it actually sounds in time. The general idea of your tunes, you'll know, you know what, that will go there and this will go there and I can match that in with this and this in with that. Makes the mix more interesting. Now what I try and do as well, which I did in Telford Industry last Saturday, is I incorporated loads of acapellas over the tracks. So, instead of just playing one tune into the other, one into the other, back and forwards, try if you can to have a thumb drive, an SD, CD, something with loads of acapellas on and bring those acapellas into the mix. It will make your mix completely different to anyone else's. Even if they've got the same acapellas, they're not going to be identically the same tune. Even if they try, it'll always be different. Alright, track number 10 from disc number 1.

So what I'm going to try and do here is I'm going to bring this track in at this point, but what I'm going to do, I'm going to set a cue point before that point and chop in the cue point where I've of course set the cue point. And then when I'm ready to bring that track in, go straight to that point. So I'm going to have a bit of a mashup with the cue point that I'm going to set on this track into the track that's playing. And when I'm ready, bring that track in at this point here.

11:58 Seven actually, just kidding

And again, all these videos are very random so whatever happens is happening now and I have not thought, well I haven't spent five hours doing this. Seven actually, just kidding. Right, so let's find a cue point, so let's go back. Oh bugger, I didn't set a cue, I've set a... Sorry, hold on. I'll explain what I did there. No, hold on. We've got reverse skydiving, now I'm going to go back. What I did, that point what you heard earlier on, I set it as a cue, not as a hot cue. So of course then when I went back to the beginning of the track, the cue had gone and I've got to find the cue again. But I'm not going to, I'm just going to say... No, no I do actually, I will set it as a cue point. So let's go back to that point. Right there you go, so we'll go back to this point here now. Put more time on it, it would have worked perfectly.

14:30 Track six from disc number two

Theoretically, hopefully. Right, okay. But again, this is all about putting your passion on the line in a live set. Virtually anyone can do this kind of thing when you're at home, you're practicing, but when you're live and you do things like this and it works, this takes you to the next level. This makes you a superstar DJ. Okay, track six from disc number two. What I'm gonna do now is I'm gonna take out the underground And we're going to go to the club releases. Now the club releases are, you know, they're not so cheesy. Vocals, still got a bit of vocals and whatnot but there's a little bit more underground. There's maybe less emphasis on the cheesy happy girly sound and more like a bit deeper. Okay, we tried disc one and we'll see what happens. From disc number one. Now what I did there is I found a point on this track that wasn't at the beginning.

18:18 How, when there's a break, how

Now again, this, please listen to me. Try not to just be a beginning and end, beginning and end DJ. Try and find parts of the track, not at the beginning or at the end, but parts maybe halfway through, quarter of the way through after the first break and start to mix it in there, not just at the first eight, 16 bars where it's just a kick drum. This is where you're more, sorry, this is where the creative side I found a point where it's just vocals. It's not the beginning, and what I'm going to do is I'm going to mix this in over the end of this track that is just a bass line. This is normally... This one here is track number 7 from disc number 1. Okay, what I'm going to do here now is show you how, when there's a break, how you can add emphasis to that break by adding a beat. So if we imagine... We have some melody in the background.

22:30 Steve smooth, moving up-fader, bill steve

We've got vocals. Of course there's timing and the timing should be continual, exact same BPM all the way through the track unless the producer was on speed or something like that which hopefully he wasn't or she of course but for the partially sighted what I was doing now had the volume up on one side and then I set a cue point at exactly the count of one on the other track. What I was doing then I was hitting the cue on the count of one and moving the up-fader on the track. I was bringing in, in time, of course it is in time anyway because I brought it in, in time, but then I was moving the up-fader up and down and like sort of cutting the beat in and out to just add some sort of spice to the track.

Add spice and salt and pepper and stuff. I wouldn't want to do that because it would probably knock the CDJs out. This one here is track seven, disc one. Track number six from disc number two, don't forget, have fun. It's about having fun. When you start... When you're having a mix or you're having a mess around and it's going bad and wrong, then treat that as a learning curve because everyone makes mistakes. I do all the time. Do you know what? I don't give a shit about the mistakes because I'm learning from them. So I'm going to finish off with practice and enjoy. Don't forget to check out the link. Take it directly to the CDpool website. Thank you. Track 6, disc number 2. That's Bad Boy Bill and Steve Smooth featuring Sheen Bowie. See? See proper names! You know? Bad Boy Bill and Steve Smooth. Instead of... Sorry. I'm only just messing around. Thank you!

Thank you for watching!

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