Biginner DJ Mixing Lesson on Forming a Transition at the End of a Track

0:00 Oh, you're recording it now?

Oh, you're recording it now? Do you want me to stop and start again? Nah, leave it. It's alright, doesn't matter. Alright, so I'm with my mate Rob. Say hello, Rob. Hello. Alright, so you've got some tunes here from Beatport. So on the right-hand side we have got low frequency original mix and on the left-hand side, do you feel the same purple... what is it? Purple... Disco machine. Purple disco machine. Alright, where did you get these from? Beatport? Yeah. Alright, what we'll do as well, we'll put a link in the description to Beatport where you got these tunes from and we can do this now and we can also do it in full HD. We're using the XDJ-RX and just tell me, Rob, out of the effects, what's your favourite effect? What do you like the best?

Which one? Or which one would you say you'd use the most? Filter, probably. Filter, okay. So what I'm going to do is... let's have a look. I need to turn this up a little bit.

Okay, let's go towards the end of the track.

So we're coming down to the... we're coming to the breakdown. Just going to get rid of those cue points. So we're at one minute and eight seconds there. There was a definite change there and that was around about the one minute mark so that tells me that we're pretty much at the last 32 bars. I'm going to have a listen now for the next change which should be around about the last 16 bars. I'm going to set hot cue at that point. And I'm making notes as well of the time is 41 so around about 30 seconds. We should be pretty much at the last 16 bars. We're coming up to that now. Two, one and there. Alright, so that's it. So what we've pretty much got here is we've got the breakdown and I've said this in quite a few videos

2:17 We're at our last 16 bars where we've just got the kick

And if you are the sort of DJ who mixes beginning and end these are the two most important parts. So at this point here we can hear that we've got the bassline still in progress. If we listen here, bassline I'm pretty sure disappears. There. So we're at our last 16 bars where we've just got the kick. Now if you don't want basslines to clash... Now let's say we want to mix two tracks that maybe are not in perfect key. What I highly recommend is that you mix... at this point here where you've just got the kick. Now it still will sound slightly odd but it's not going to sound as odd as if you have one track playing, bassline finishes. As soon as the bassline finishes on that track bassline comes in on the other track

So you'll have a clash of basslines that won't sound very good but if you mix in at this point where you've just got the kick then you're not mixing in basslines so it's not going to sound as bad. So what I'm going to do now... is let's just get this one ready.

4:01 Last, part track, wait

Okay, again I'm going to look at the screen here so to make sure we are at the correct BPM 124.2, 124.2 Alright now let's have a listen to the beginning of this one and count how many bars we have before we get the kick. So 1-2-3-4 1-2-3-4 1-2-3-4 1-2-3-4 1-2-3-4 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 We're coming up to 16 1-2-3-4 1-2-3-4 1-2-3-4 There. Alright, so what we are going to do is two things I'm going to mix in this track at the last 16 and then we'll try and mix where we mixed this track in at the last 32 so we'll start at the last 32 on this one we've got this one ready anyway and off we go So we're just going to wait for the last 16 and alright, I could have just started it at the last 16 but we just need that little bit of an intro

Now maybe at this point as well what I could do is I could engage the filter which is the gate compression wrong way and what I've demonstrated here is by waiting for the last 16 bars even if the tracks are out of key you will still get a pretty decent mix now these tracks work well together anyway but something like this this sort of way of mixing is great for a beginner because it means you're waiting for just a kick to bring the next track in you don't have to think about the vocals, the melody, the bassline the instrumental break just wait for the last part of the track but of course you have to wait or you have to find tracks that have only got a kick drum that's the important part you don't want a track that finishes with

Bassline, melody and vocals like that you just want that kick so have a go at something like this say hello Rob and I'll finish off with practice and enjoy thank you very much

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