Home Forums The DJ Booth Mixing Psy-Trance

This topic contains 3 replies, has 4 voices, and was last updated by  Mattias Dahdouh 1 year, 4 months ago.

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  • #2542831

    Implanted Soul
    Participant

    Hello Guys,

    I am djing Psytrance for a while. I got stuck on a point that i couldnt figure out.The problem is when i beatmatch & phrasematch (overlapping two tracks) in order to mix them, mid frequency instruments (especially kicks) clash and sound like they detonate(i don’t know the term for bad sound for 2 instruments which clashes). The tracks i am trying to mix are in the same note(key), bassline pattern&key and the mid melody are harmonic, energy levels are equal, before & after the transition everything is ok but in the transition phrase (8-16 bars part) kicks clash.
    I make transitions by using EQ mixing.

    For example

    first track is playing and each EQ knobs are on 12 o’clock position.
    i start second track when the first tracks has its last 16 bars.
    i progressively increase hi and mid knobs of the second track from minimum to 10 o’clock position for 8 bars(everything is ok till the last 8 bars)
    when hi and mid knobs of the second track reach 10 o’clock position and the last 8 bars of the first track start, kicks of the tracks begin to clash.
    i switch hi and mid frequencies of the two tracks(first mid then hi) to prevent that clashing but when i do that mid melody of the first track is voluming down and kicks keep clashing at a lower volume
    after that 8 bars which is full of clashing kick sounds i drop the bass of the second track and everything goes normal.

    What do you think?
    Am i trying to mix 2 tracks which are incompatible to be mixed or the clashing of kicks for 8 bars while mixing is acceptable?

    #2543501

    Clement Grumberg
    Participant

    Hey ! I’ve done a mixtape using psy-trance songs if you like to here it (https://www.mixcloud.com/clement-grumberg/in10se-episode-10/)
    you’ve noticed that I didnt use beatmatching but i tried to find to part of the song where they could match and i try to blend them (riser are great for that)

    #2547971

    Alex Moschopoulos
    Participant

    You can’t always count on the “math”. Yeah, they could register as the same key, same energy, same same same in many ways, but it doesn’t mean they’ll work together. Maybe the arrangements on each do not work, or there’s just subtle enough differences that come out more when you’re blending.

    This is why I don’t bother with the key checking or any of that, and just go by my ears. I test stuff together when I’m not playing in front of a crowd, and learn what works together. Even at a gig you should do it over the headphones.

    As for your detailed technique…if it works for you, then do it. There’s no real rule to all this beyond “it has to sound good”.

    #2605171

    Mattias Dahdouh
    Participant

    Take the time and listen to this mix I played at a party. I will save you the hassle for finding the transitions and give you the timestamps since subtle/clean transitions is your main issue

    1st: 07:13 (Song B with 8 O’clock MID, 12 O’clock HI and then a bass swap)
    2nd: 12:22 (Song B with 8 O’Clock MID, 12 O’clock HI and then a bass swap)
    3rd: 17:57 (song B with 8 O’Clock MID, 12 O’clock HI and then a bass swap)
    4th: 23:20 (song B with 8 O’clock MID, 12 O’clock HI and then a bass swap)
    5th: 29:51 (song B with 8 O’clock MID, 12 O’clock HI and then a bass swap)
    6th: 36:12 (song B with 8 O’clock MID, 12 O’clock HI and then a bass swap)
    7th: 42:28 (song B with 8 O’clock MID, 12 O’clock HI and then a bass swap)
    8th: 46:17 (song B with 8 O’clock MID, 12 O’clock HI and then a bass swap)
    9th: 51:00 (song B with 8 O’clock MID, 12 O’clock HI and then a bass swap)

    10th: 55:42 (song B with 10 O’clock MID, 12 O’clock HI and then a bass swap) [This is because Jimi with The First Stone doesn’t have a “clicky-sounding” kick in it. It’s very short and has focuses on the lower spectrum plus i wanted the listener to hear the guitar as well]

    11th: 1:00:10 (song B with 12 O’clock MID, 12 O’clock HI and then I play with the bass around 1:01:45 and filter out the end of song A)

    12th: 1:09:07 (song B with a bass swap)
    13th: 1:14:55 (song B with 9 O’clock MID, 12 O’clock HI and then a bass swap)
    14th: 1:17:51 (song B with 8 O’clock MID, 12 O’clock HI and then a bass swap)

    As you can see, I make it easy for myself when mixing which can be quite boring but it sounds good for me and the audience.

    What I usually notice is that kicks and bass’s clashes together when MID is set to 12 O’clock and play together and that it’s really hard to hear clashing in headphones but very distinguishable when played in speakers.

    That is why I usually kill MID completely or let it be open to around 8-9 O’clock. By letting the HI stay at 12 O’clock the listener will still hear that something is about to happen which can be used to your advantage when timing the phrases since you only have to focus on letting MID through again on Song B and kill Song A.

    Also I use the ISOLATOR function instead of EQ function on the mixer as EQ doesn’t isolates frequencies, it just dampens them.

    TL:DR
    When transitioning, kill MID frequencies and let HI stay at 12 O’clock on song B. Then do a bass swap and slowly mix in MID on song B to 12 O’clock during either a short, long or outro break on song A.

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