These are generally down to personal DJ style and preference but can be used in small amounts to create softer incoming sound. You’re looking for a seamless mix where one bass-line takes over from another. Having said that you’ll want to listen carefully to make sure you haven’t reduced the overall bass levels that your audience are hearing. There’s less audio characteristics in this region compared to mid and high frequencies so you’ll probably notice less of an impact. Unlike high-frequencies I tend to reduce the master track’s bass around the same rate as I increase the incoming track’s bass. Generally your audience wont notice which kick drums are from which track so you can play around more with the low frequency volumes. This applies to nearly all mix techniques, basic and advanced. So reducing the incoming track’s low frequency will help create a smoother mix. Its also where most of the clipping can happen when you have two tracks at 100% volume. So knocking these out will allow the meaty bass sounds of your master track keep their dominance. Here you’ll find the bass-line and the kick-drums of your tune. The effectiveness of playing around with mid-range volumes depends entirely on the tracks you’re mixing with.ĭeep house and drum & bass tunes often have limited use of this region within the mix-in and mix-out zones when compared to the likes of EDM, techno and hip-hop. Generally you’ll notice less of a difference in the last 30% range compared to removing high and low frequencies but psychologically a lot of the “control” of a track sits in the middle. I would recommend only bringing in around 70% max until you’re ready to hand over dominance to the new track. Handy if the tune has some dominating audio features to it. Slowly fading in the mid range frequencies will take some of the punch out of your incoming track. Much of the vocals do also but its best to avoid vocals when mixing two tracks together, You should have completed much of your mix before the vocals kick in. The riffs, harmonies, stabs and some of the percussion like bongos and tom toms sit in this range. Letting the new track take over the dominance. Once you’ve reached around 80% volume you can start to decrease the high frequency volume of your master track. You can start with a very low volume and gradually increase during the mix-in zone. Resulting in a smoother sound that lets the percussion in your master track take president. This will reduce any percussion in your tracks, usually high-hats, snares and cymbals. Once you’ve done this its time to try your seamless mixing by making use of multiple dials and faders on your mixer. Also try playing parts of them over each other to see how good or bad they work together. You’ll know this from playing your tracks back to back. Seamless mixes work best when percussion and instruments within a track slowly build and are either in a complimentary musical key or can be overlaid without causing conflicting soundscapes. The mix-in and mix-out zones are the opening and closing parts of tracks where layers are either added slowly over the first 1 or 2 minutes, or are slowly stripped away over the last 60 seconds or so of a track. While its possible to mix musical genres you’ll usually find creating a seamless mix works best when the musical style is the same. You can often colour code them in your playlists or set ratings and comments so you know which tunes work best with others.
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