Mix Club - The Remedial Class

BlainSA

I’ve heard it with Digweed many times and Sasha even said it was one of the great things about him that blew him away DJing with him - the ability to take two tracks that are discordant and create something great in the mix.

mono-stereo

BlainSA the ability to take two tracks that are discordant and create something great in the mix.

Yeah that’s what I was trying to get at.

ehitach2

It’s a mix of sounds, if those sounds clash it’s obvious and jarring.

The sounds can easily be ‘not in key’ and adding some kind of amazing frisson to the mix. Or in key and doing the same.

Anyway, would love to hear Matty Cole and UMB discuss use of the word ‘frisson’.

Along_the_Wire

I don’t think key clashes matter a toss when you’re playing out.

Amps

Along_the_Wire Please never play out.

Dubman

Along_the_Wire
It does when Dermo’s in the corner taking notes .

303abuser

Along_the_Wire They absolutely matter. There’s a massive difference between detuned or slightly dissonant sounds and outright key clashes.

It can be minimized by mixing the drums instead of melodic sections, but I think what most djs refer to as tracks that don’t mix well together are just keys that don’t work together (outside of busy rhythmic elements or overlapping vocals, for example).

mono-stereo

Amps yeah, perhaps clash is the wrong word, but you get my drift.

Amps

303abuser slightly dissonant sounds and outright key clashes

303 with the articulation we were all looking for. 👍️

Along_the_Wire

303abuser maybe I have a better ear than I give myself credit for

303abuser

My understanding of music theory is almost non-existent, but it’s pretty much just math and equations either solve or they don’t. There’s a reason we’ve mapped out a system for notes/chords/scales/keys. Not that I’ve bothered to learn much of it. 😅

303abuser

Along_the_Wire That’s likely true. I think most people can tell if two records sound good together or not.

Many, many years ago, I had a dj friend who actually did the whole bpm/key label on his records tell me one of my mixes was pretty much in key. That was all by ear and I wouldn’t have known the difference otherwise.

Homegrove

Following on from my equ-comment on the DJ gear-thread I’ve vastly changed how I use them following @Unbroken1 ’s comments. Turns out you don’t need to do much with them! I now rarely touch the the highs, just a touch of mids, and about 20 % lows actually is all you need given the mixer is good. 22 years of DJeing and still learning…

Mad_Cyril

Homegrove
Was having same conversation with Scott Bailey the other day, talked me down from experimenting with a 3 band eq type mixer (again!)

Amps

Homegrove and about 20 % lows

Can you expand on this?

Homegrove

Amps I have a full kill EQU on my PX:5, it means I turn the bass down to about ten a clock now when mixing out, whereas before I often went all the way down.

Along_the_Wire

Homegrove same for mixing in?

Amps

Homegrove Shirley this would all depend on what frequencies your EQ is taking out and what frequencies are in the track, but I very much see your point, nice to tinker around the edges etc. Amps approved.

Homegrove

Along_the_Wire pretty much.

BlainSA

Noticed that Lee Burridge and Craig Richards pretty much mix the same way by cutting out each frequency gradually - Burridge was using the Xone filter rather than touching the EQs though last few times I saw him.

Dan

BlainSA Great for removing the baselines on those AH.

BlainSA

Dan Yes, when I had the 92 I used to use it like my first mixer, a Vestax PMC job with kill switches (😂), and swap the basslines.

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