The DJ Drop Mix Can Give so Much More NRG than a Long Transition

0:00 Of the new releases

Right ladies and gentlemen, in view of me, well when I say always, but very often, I suppose 50% of the time, when I make a video for CDPool with either the club or the dance releases, it just gets blocked or I can't play it or you can't hear it in certain countries. What I'm going to do is I'm going to try and show you some of the new releases. At the same time, make some kind of tutorial as well. But also, I'm not going to play much of the tracks. You know, of course, give you a demo on the tracks, but at the same time, I don't really want to play loads of them. Again, you know, YouTube's got its own sort of Shazam style audio bot that listens to what you're playing. And I think personally, it's actually ridiculous.

I accept if someone is doing a complete mix in good quality stereo or someone is just playing a track, you know, 480 or 720 and it's a good quality for people to download. I get that. But something like this where I'm picking the audio up from a bloody microphone on the camera, it's a bit ridiculous. Anyway, okay, so I've got track one over here from CD1, which is London Grammar, Losing Your Head. And on the right hand side, I've got track two from disc number two, which is Majestic. So straight away that rings alarm bells for me with YouTube going, Oi, you're playing music you're not allowed to. Stop it. Cracks entitled Me and You. Don't forget, you can find these tracks on the CDpool website.

1:34 Let's just listen to Majestic first

So what I'm going to do here is The Drop. So let's just listen to Majestic first. Okay So I've got that ready on The Drop. Now, couple of things going on here. Firstly, I'm not gonna beat match them because I'm just gonna secondly the speed of this track is faster than the other one so the track here is 124 majestic is 126 so by going from a slower track to a faster track you're you're increasing the energy so you know again it goes without saying you cannot mix different BPM together only if it's half time quarter time double time you can't mix a 120 with a 126 it's just it's just not gonna happen it's gonna sound terrible but if you do drop the track in then you know you will be able to formulate some kind of transition so you know one two three

Four one bang next one comes in okay you can keep the same BPM so if you're not very good at beat matching you know get them to the same BPM on the readout and then formulate the drop fine but if you want to increase that energy just quickly speed up the other track and you go from a slower track to slightly faster even though I'm not speeding the tracks up because they're both them so look if I put the pitch down hold on let's have a look it might actually be the same speed anyway that's plus 70 so if I bring it to exact original speed okay yeah 123 125 so what we'll do is I'll play play this absolutely coffee now again when you do when you're sort of putting in a drop it is vital that the melodies match all

Right otherwise it's just gonna sound a bit clunky okay all right so what I'm going to do now I'm going to bring the volume down on that I'm going to talk over as well so let's have a look I'm going to try and find another track now I did get that one ready let's see if we can find another one no okay

7:07 Vocals, suppose analogy, definitely cutting

Yeah all right maybe this and maybe not let's have a look speed it put it forward a bit okay now maybe not that one okay I'm gonna try and find something else quickly maybe that one okay I might do four okay I'm just trying to find another one now okay let's have a look track six so what I'm going to try and do now is find the drop in another one no see it shows this was this video was organized earlier definitely not okay try another one no maybe that maybe 11 okay I'm gonna set hockey left no okay let's go to it 30 okay okay again not touching the pitch okay now there was a slight change there a little bit too much of a change because what happened we had a tiny bit of the vocals left over here I think there was a snippet of the vocals yeah yeah you know I sort of cut

The vocals out it's not the best one but I mean it just about worked probably a little bit better there you see the trouble is when let's say mixing with drops it is quite important to make sure that when you chop one track you don't sort of cut it so you're you definitely cutting out it so you're you definitely cutting out vocals or melody it's almost as though you want to make sure that the track that's finishing coming out of or should I say coming out where the other ones coming into the drop there's nothing that you're cutting away so for example if I go back to this here you know we've got ideal places now at the end because there's just a bass line there's no vocals or anything like that so the last

Thing you want to do is sort of like chop the vocals all the way through I suppose a good analogy would be to cut the vocals all the way through and then cut the vocals all the way through I suppose a good analogy would be to cut the vocals all the way through and then it's a little bit like say for example you know listening to someone talk and before they finish the sentence someone butts in that's what you don't want to do let's try it one more time so we'll keep this one over here I'll just keep that down like that so it's a little bit lower let's find something else on this side okay yeah this track by the way is it's called shrink 21 okay I'm gonna try something slightly different here now we're not on the drop we're at the

9:49 First drop, boom

Beginning of the break you can have a change of feel here as well there you go so sometimes you can just chop inside the break so it's almost as though you're getting that bam-bam energy and then oh you're laying them back down again I mean it's a little bit different but it's a little bit more powerful and it doesn't work all the time but if you imagine you've got that peak everyone's ready for that one two three four and then instead of giving them that boom you're just laying them back down again and saying don't worry about it I'm bringing you back down which gives them a little bit more energy then to get ready for the inevitable next boom or the boom that should have happened in yeah you get what I mean all right this

One here track number three from disc number two which is celebrate celebrate bingo road names are crazy on some of these I'll tell you what but it all works alright so let's do one more okay this one might work like in this oh I'm in the red there a little bit too much okay so I'm going to just drop this one straight and again not using the pitch okay so complete opposite to the first drop the first drop is going faster sorry slower to faster this time I went from 130 to 125 so again this does prove that you can formulate transitions without having to think about matching BPM BPM isn't everything okay it's about choosing the tracks and seeing what works and again very often when you do a drop some what

Was I nearly contradicting yourself there very often when you do a draw it's actually better than a long mix because the energy change is just snap boom straight in when you form a mix you've got that slow energy feel transition from one track to the other but when you make a draw you're just going boom to bang and that in a set can can just take it to another level alright so finish off with this this is track number seven from disc number one which is uh talem it's extended mix okay don't forget there is a link in the description taking you to cd pool where you can get involved if you want to if you're a dj in and around europe go and play a part and if you subscribe if you're a new subscriber to them you will get 50 off your first two months of downloads terms and conditions apply it's

Not for everything but it's definitely worth the shot cracking music thank you for listening and watching practice and enjoy nice one

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