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Feb 20, 03
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Crossfader/Eq Techniques
It is amazing how much a crossfader and eq knobs can do with two beatmatched records. The first person I saw cut live was fluid and it totally drove me to buy tables. Pulling off seamless mixes is phat as well as scratching. But oddly enough fader moves are what totaly one me over! posibbly b/c most of them are easier then say a scratch but its tuffer to be as creative. and when one is creative with that thing its truley a blessing to watch.
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Feb 20, 03
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i'd say its alot easier to be creative with the eq's since the curves are always linear (on rotary eqs), opposed to crossfader curves, which are ALWAYS different depending on what mixer you're using, even if it has a crossfader curve control.
get two songs that go well together (must have tones that match or else this will sound like shit). beatmatch em (it HAS to be tight or else it just ruins the mix), switch basslines or switch the mid ranges or treble or layer them both at full levels, set different cue points and go all over the place, throw some double drops, throw in samples, do whatever you want, make a new 2 channel produced track! experiment. its just putting your creativity to the test. you can really be an artist on the decks if you just put that extra effort and go beyond just getting the mix done to the next track. layer layer layer and CUT AROUND. make new music. :y: a basic example of what you can do. get a simple basic track that has a dope bassline but nothing else. then get another track that could use a better bassline, layer em, CHOOSE YOUR CUE POINTS CAREFULLY, and cut the bassline when the bassline drops in hard. i dunno if thats understandable but it has the potential to create some DOPE sounds when done well and the tracks are selected carefully. the possibilities are endless =) just be creative and original. and yes solid beatmatching is incredibly important to do alot of mixing tricks. the bassline trick is just one of thousands of tricks out there....
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Feb 20, 03
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btw: im sure most or everyone knows this but if you want to be able to reley on quick cuts even when using vastly different crossfader curves, dont use the crossfader. use the "line/phono' switch in combination with both channels. switch the channel you want to cut out, to "line" and the channel you want to cut in, to "phono'. those work the same on every mixer essentially.
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Feb 20, 03
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Feb 21, 03
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my crossfaders so loose that I dont think theres really much difference on the phonoline cut than just doing a quick flick of the X-fader, although on stiffer faders i think it could make a difference... I guess its more foolproof tho, except sometimes when i do successive phonoline cuts(for a sorta "cutting" effect, works good on vocals) one of my fingers will accidinently bring the trim down =P
BTW has anyone tried scratching using the phonoline cut on a mixer without an adjustable/scratch curve? Ive heard it can be don, although its tough... Anyways, I like that bassline switch youre talkin about Martin, I think u showed it to me a couple months ago and it really works well on some tracks (that are, like you said, of the same tone), especially on some of my deep bassline heavy house. One thing I like to do is switch the basslines over 4 beats(a little more or less depending on the bassline structure) to create a "new" bassline out of two. It only works on a very few basslines that are really similar, but when u get it to work its fuckin sweet! One setback to it is when u start, u gotta keep doing it for atleast 32 beats (other wise it kinda sounds incomplete) and if u dont have the beats perfectly or really closely matched, the beats can drift a bit... Last edited by -ak47-; Feb 21, 03 at 01:49 AM.
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Feb 21, 03
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as for fun fader tricks, my personal favorite is cutting stuttered/jazzy drums together. i'm beginning to think that off-eight and off-sixteenth drum lines were invented purely to get fidgety drum n bass djs off.
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Feb 21, 03
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Mixing baselines is definately taking another step into what's beyond average everyday track to track mixing. It requires that extra sense of harmony. Also fader tricks thrown in just before a switch can sound sick if PRACTICED before hand. Dropping the baseline out of a track allows the harmonies to ride over the baseline of your second track, if sellected properly. But as Martin says TIGHT beatmatching is KEY!!!
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Feb 21, 03
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Feb 24, 03
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and it turns out Fluid did come to kelowna. i didn't see much of his set at the bar, but he ended up coming to a house party incision and i put on. he definitely has fader skills when it comes to mixing. Fluid and J-Mar actually made me like breaks, which is saying something considering what a goddamn drum n bass nazi i usually am.
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