DJ Mixing Lesson on Getting the Best Transition with Two Tunes It's About Experimenting and Counting

0:00 Another demonstration stroke tutorial for you

Alright guys, another demonstration stroke tutorial for you. In this video we're going to be looking at the underground releases from CDPool, doing a transition with two of the tracks. The track you're listening to now is from disc one, it's track number one, it's very beefy, dark and it's also a bit of soulful as well but it's got that four to the floor kind of bass line that a lot of DJs like out there. Also we're going to be mixing in track number three from disc number two. If you want any info on these two tracks check out the link in the description. CDPool.com down there. Okay, so I'm going to be doing the same transition but different styles. If you do have this CD or you're going to get it then you can copy this transition. I'll give you all the info including where to bring the track in and where to take the track out.

So first of all, track number three, sorry, track one, disc one, special request featuring Camille Hackney-Parrott, track three, disc two, Chris Lorenzo and Alex Parkin, proved to you it's the original mix. I'm going to be bringing in the Chris Lorenzo at around about one minute and 50 seconds left of track one from disc one. So I'm going to be doing quite a few transitions. First of all, I'm going to mix in track three into track one and I'm going to be cutting this one in and out of the break and we'll see what that sounds like. And then we'll do different transitions and we'll just see what happens. Okay, so I need to go back slightly, give myself a little bit of time there. If I just form a hot cue around about sort of three or four bars before the break then that will give me enough time to get ready to bring this one in.

2:33 By a female vocal on this tune, low pass filter

And as soon as the break comes in on track one we're going to bang, snap track three straight into the mix. Here we go, press play. Here we've got a nice bit of female vocal in the background there. And that's going to be taken over. By a female vocal on this tune, low pass filter. There we go. Okay, transition wasn't exactly very exciting but can we make it more exciting? Can we give it the oomph that we need it to have? So let's go back to track number one. This time what I'm going to do is I'm going to let that break play but I'm going to have this playing underneath the break but I'm not going to play this track. I'm going to bring this track in at exactly three bars. This is exactly the same time that I brought it into the last mix but I'm only going to start this when the break on the first track finishes.

I hope you followed that. Here we go.

Bring it in and... Okay, it's on my headphones now. Pick nose. Sniff. Back straight. Here we go.

4:45 My hot view point again

Okay, that was mix number two. This time what I'm going to do, I'm going to try it. You know, it's about experimenting. First of all let's have a listen to the amount of bars in that break. Before it comes back in. So let's go to my hot view point again.

Okay, that is the beginning of the break. Let's count the bars from... 1, 2, 3, 4 1, 2, 3, 4 1, 2, 3, 4 1, 2, 3, 4 1, 2, 3, 4 1, 2, 3, 4 1, 2, 3, 4 1, 2, 3, 4 This point being a Muppet, I'm having a look at that break and I counted eight That is pretty much ha punishment halfway through that break 8 and 8 is not 47 and a half. It's 16 16 bars. Let's have a listen to the beginning of this one And see how many bars we've got before Guess what? Yes, it's going to be 16, isn't it? So let's have a listen anyway. Right... 1... Oh come on cross-fade 1, 2, 3, 4 1,2,3,4 One, two, three, four, one, two, three, four, one, two. I'm looking here and that's roughly half way to we get to a little break which is right about here.

6:50 Jets, you can scream at the crowd but jets no

I'm going to mess around me. Ok so this time what I'm going to do, I'm going to start this track there at the break and let's see what we come up with. So let's wang it back to our first hot cue we made over here, here we go. It's like the vocals are talking to each other, but it is by just experiment. Transitions you know, three transitions but I could have done thousands, I mean my mind boggles as to how many different ways of doing that transition, it's just immense, like adding an acapella, well forget that, adding an echo, adding a roll, adding some reverb, some jets and noise or just even screaming at the crowd going like that, it doesn't matter. Well you don't really want to do that do you? Jets, you can scream at the crowd but jets not a good idea.

9:00 Here we go guys so And one two three four, one two three four

If you put a jet into the room, you won't get any room for the public, yeah you know what I mean. Ok so, oh hold on a minute, ah now then, here we go, listen to this here, ok right, I like this, hold on, right just let's have a listen to that break there, see how long that break is. I think it's going to be about 24 bars, let's have a look. Ok. Alright, here we go guys so And one two three four, one two three four. That's ten, two, three, four. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. Okay, 20 bars. So, 16, 20, 4? Yeah, okay. So, go back to weight.

1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. Right, that is going to be my point. Let's go back to A again. And this is sort of track three at the first major break. Oh! Bang! It was so much fun experimenting, practising and enjoying. Thank you very much to CDPool for giving us some banging tunes to practise today.

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