How do you keep the energy high in between the 2 "drops" ?

[b1sh0p]

If you're playing tunes that are boring or can't stand on their own, you're playing the wrong tunes.

A bad habit I have is making mixes too long. I don't let the tune play enough on its own and don't allow it to breathe. Let the tunes speak for themselves. Present them in a way that's appealing.

[SlvrDragon50]

http://houseanthems.com/tag/madeon-live-triple-j-mix/

I don't know what everyone here at DJTT thinks about his mixing, but I think he does a nice balance of high energy and low 'rest' states in a 30 minute mix. Some songs play out for 5 minutes and other songs are only 1-2 minute snippets.

[lingk]

simple anawer.

loop in the first 4/8 bars of the same track during the brake down. 1 It will be in kep and flow of the track. 2. It will keep the beat(energy) going so people will dance.

To build the energy for the drop, stop the beat loop 8 bars before the drop, or kill the low end, it gives people a sec to breath and they know a big drop is going to happen, which will build the energy up.

[johney]

edit: learn to dj.

[Frank112916]

I was trying to resist, but having read this thread, there's some strange posts in here
Firstly, in all my years, I've never heard of a 'different' type of music applicable to a club/rave/festival

I'll assume this part was partly directed at me - and I mentioned Carl Cox. A) there are different types of music suited to different atmospheres and room sizes. An entire sub-genre known as big-room house exists for this very reason. I can imagine plenty of songs I wouldn't mind hearing at a festival but wouldn't want to hear played out at the club. B) many of the prog house djs who mix at festivals play differently than your average house DJ would in a strictly club setting (not a show/concert style event). If the madeon played his set for an entire 6 hour set I think I'd fucking die from exhaustion. Above & Beyond and Armin are different stories...those were musical journeys for sure.

Btw: just as an aside. I will never understand the appeal of Swedish house mafia. Watching them fake-mix had to be the single worst "house music" experience, especially after seeing Cox for the first time the same night and being absolutely blown away, I have ever had, and I was let's just say...in a very altered state of mind...and it was still bad. I didn't get why people were fawning over such an unimaginative and uninspired set. Fedde, laidback luke, and richie Hawtin were amazing...shm was just...blegh... Hell John Digweed was playing on the tiniest stage behind the main stage, carefully selecting music and creating a groove like no other, and shm was on the main stage basically pressing play and twisting the filter/fx knob on the djm. Honestly none of my friends felt the same way but I felt cheated.

[kooper1980]

........especially after seeing Cox for the first time the same night and being absolutely blown away....

Carl Cox seems to have that affect on people. First time I saw him was, and still is, one of the best sets i've witnessed. Absolute legend and HE knows how to keep the groove going.

[Rayhook]

Hey everybody, so this is a topic that I've been looking to get a few different people's opinions on.. Basically every EDM song essentially has 2 "Drops", usually separated by a more melodic, quieter, less intense instrumental or something of the sort..

When I'm recording my mixes, I think that this middle "instrumental" portion is really nice because it takes you on a journey, and then back towards the buildup and the 2nd "drop".

Now the only problem is that I feel that playing this intermediate "instrumental" portion in a Night Club setting (not a rave or festival where it can be expected), lacks energy and volume..

I don't want the entire dance floor to stop for 45 seconds between drops since this middle "instrumental" or vocal portion gets too quiet or slow (with the kick drum typically removed)..

Do any of you have any techniques that can be used to keep the energy HIGH between the 2 drops in a Night Club setting, where the energy has to always be at a level where the people on the dance floor are continuously moving?

This is a really good question. Few mentioned it already. You have 3 options here

1) Structure
2) Remix tools (effects,kicks, Hi-hats)
3) Mix the 3rd Deck

Let me elaborate:

Structure: I assume you have tracks that mix well together (very important) and you mix in key. Try changing your mix lengths. For example it took you 2 min to mix A--B now try to mix the next track in 30sec then do a long 5 mix. Do this and your sets become less predictable.

Tip: To build a lot of energy do short length( 30-20sec) mixes with 4 or more tracks back to back. I recommend doing this for only for 6-7 mins.

Remix tool: If you use Traktor, you can use remix deck to bring, loops. I frequently use hi-hats, kicks and sound effects in breaks. Reverb is very effective for building/ sustaining energy level during your sets.

Mix the 3rd Deck: When done right it creates a smooth and unpredictable mix. When I first heard a 3 deck set (Richie Hawtin) I was was very confused. I couldn't tell where the mix started or when the new track comes in. I only know few DJs who do this right. So far I managed to come up with few ways to make it work. If you are just starting out I don't recommend doing this.

Good luck and I hope this helped

[backtothefront]

I'll assume this part was partly directed at me - and I mentioned Carl Cox. A) there are different types of music suited to different atmospheres and room sizes. An entire sub-genre known as big-room house exists for this very reason. I can imagine plenty of songs I wouldn't mind hearing at a festival but wouldn't want to hear played out at the club. B) many of the prog house djs who mix at festivals play differently than your average house DJ would in a strictly club setting (not a show/concert style event). If the madeon played his set for an entire 6 hour set I think I'd fucking die from exhaustion. Above & Beyond and Armin are different stories...those were musical journeys for sure.

Btw: just as an aside. I will never understand the appeal of Swedish house mafia. Watching them fake-mix had to be the single worst "house music" experience, especially after seeing Cox for the first time the same night and being absolutely blown away, I have ever had, and I was let's just say...in a very altered state of mind...and it was still bad. I didn't get why people were fawning over such an unimaginative and uninspired set. Fedde, laidback luke, and richie Hawtin were amazing...shm was just...blegh... Hell John Digweed was playing on the tiniest stage behind the main stage, carefully selecting music and creating a groove like no other, and shm was on the main stage basically pressing play and twisting the filter/fx knob on the djm. Honestly none of my friends felt the same way but I felt cheated.

Good post, heh heh, no worries, it wasn't in response to you, just a general comment - your mention of Carl Cox was a good example, so I was simply continuing that theme

[DubluW]

Well if anything comes away from this thread, its that carl cox is a legend. Various clubs, festivals and ibiza have confirmed this for me over the past few years.

Mind you, he keeps it simple and flowing and shows that maybe you don't need a million things going on at once to have an awesome set.

[kooper1980]

well if anything comes away from this thread, its that carl cox is a legend. Various clubs, festivals and ibiza have confirmed this for me over the past few years.

Mind you, he keeps it simple and flowing and shows that maybe you don't need a million things going on at once to have an awesome set.

agreed!!