CD Pool Dance July 2016 and DJ Phrase Mixing Lesson

0:00 We've got some more new releases here from Citypool July 2016

Alright guys, we've got some more new releases here from Citypool July 2016. We're looking at the dance releases. Now this video really is more of a tutorial instead of looking at the tracks but we will go through some of the tunes. We're going to do a bit of a mix here. We have track number 6 from disc number 1, Toyboy and Robin, and we have track number 5 from disc number 2 on my right which is Hotter Than Hell, the Jack Wins Club Mix. So let's have a listen to the two tunes first. This is Hotter Than Hell. I've got hay fever today so I do apologise.

Ok, so Hotter Than Hell, this one here is Can't Love Me.

Ok, so what we're going to do is some phrase mixing. Now a lot of people still to this day seem to think that the best way of mixing tracks in is beginning and end, beginning and end, beginning and end. In other words you start track 1 and you wait till the last 8 or 16 bars and you mix in track 2, you wait till the last 8 or 16 bars of track 2, mix in track 3 and so on. Well, that's great! If you're doing a 5 hour set and you don't want to knack yourself, but to be quite honest if that is how you mix all the time it will become very boring for the people who are listening and also very boring for you because you're not doing much in the middle. So let's experiment here a little bit. Now let's go towards...

1:51 Oh bloody hay fever!

We're around about I'd say 2 thirds of the way through the track, bass away from the left hand side. Oh bloody hay fever! Right, so we had quite a long mix there and it wasn't just beginning and end even though we had quite a bit of that end in. Now that was a pretty dry mix, there wasn't much going on, all I did was pretty much turn the bass down on the left hand side. Let's see what we can do if we add an effect. So I'm going to go to Echo, let's just press in time here, I'm going to tap in time with one track. It could be any track because they're both going to be the same BPM anyway. So if you tap in time with one of course it will be in time with the other because like I said they're both the same speed.

Make sure we're on 2. Ok, Echo engaged. Right let's go back to the same point where we started the mix.

4:21 I'm going to take the bass away from the left hand side

Now I'm going to take the bass away from the left hand side. Left hand side.

Ok, so we added a little bit of Echo, also finished that off with the filter. So let's imagine this, we had 100 DJs, they all have the same kit, they have the same tracks and we asked them to do the transition at the same place. And I find it highly unlikely that any of those 100 DJs would do an exact replica of someone else's mix. Because you could do, there are so many variations, there are so many variations even if they start the mix at the same time. For example some may take the bass out at a certain place different to others, some may take the mid out, some may take the treble. Some may add an effect earlier than others, some may add an effect later than others. Some may not even be using an effect, may just want to scratch their testicles.

Who knows? But everything will be different, it's always going to be different. Again let's do something random here, let's go back to the Can't Love Me track.

I'm just going to pause it there. So here if we listen to Hot Than Hell, let's start counting as well from the first kick. 1-1-2-3-2-1-2-3-3-1-2-3 4-1-2-3-5-1-2-3-6-1-2-3-7-1-2-3-8-1-2-3

There, so...

7:29 This does confuse some people and it is very awkward to do

Now this does confuse some people and it is very awkward to do. But did you notice that the vocals came in prior to the count of one? Hotter Than Bang Hell Now sometimes, some people can just bring it in... Let's say the vocals start before the count of one which they have here, sorry. Some DJs are able to set a cue point at the beginning of the point where the vocals start and bring it in naturally without having to think should it come on the three, should it come on the three and, in between the three and four. So three and four and one, should it come in on the two? It's almost as though they have that sound, first syllable, first letter of the syllable of the word pictured in their mind and they know where it comes in into a bar.

So what I'm going to do, I'm going to, which I have done, set a cue point on the one. I'm now gonna set a different cue point where she says hotter, ha, the H in hotter. There. Okay, two. So we're gonna try and do two transitions here using two different points. So let's have a listen here. There. Now I reckon that might be an interesting part. Now bearing in mind as well on the Can't Love Me track, I'm only in, I'm not even in a quarter, well probably a quarter of the way into the track so let's imagine I'm just going to set that cue point there.

9:13 Let's try it in and bring it in on the count of one

Let's go back a little bit. Take the bass out. Okay you're gonna be a little bit quicker with bringing your track in and it's not on the count of one so that was the count of one. Now let's try it in and bring it in on the count of one. So we'll go back to our cue point here.

Bang, there you go. All right now to be quite honest I've done thousands of videos on the web I could do treble that amount just on using these two tracks and trying different transitions or different ways of mixing these two tracks. That, how intricate it is. If you think there's only one way of doing mix with two tracks then you're very, very wrong. There is a million and one ways. Okay so let's carry on playing this and then hell let's find something off track, oh sorry addition number one.

11:22 This is track number 14

Okay I'm just gonna throw this in there. This is brilliant. This is track number 14. This is what I would class as a very cheesy commercial tune but at the same time it does have an underlying kind of club vibe to it. This one here is Holding Back Your Love.

Okay what we'll do is I'm gonna finish off with this track here. It's track number 10 from disc number two. Now don't forget the dance releases are part and parcel of a whole collection from CDPool. They do underground releases as well, urban as global which is more sort of housey garagey then you've got some club kind of tunes the sort of tunes you'd hear really in Ibiza the sort of more party area of Ibiza. Again there will be a link in the description and I'm going to finish off with track number 10. A nice underlying bass vibe to this as soon as it comes in. Again we're gonna flick through it let me know what you think of this track.

What I'll do as well, I'll put a link in the description to the Facebook page It's one-to-one Skype lessons by myself Jonathan okay? Practice and enjoy. Thank you very much.

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