How to mix/transition rock songs?

[Monika.mhz]

I'm feeling lazy and don't want to seek out the thread. But essentially this is a trick employed by Radio DJs for years and was also used by DJs before the days of "mixing"

In a large club environment when a song is over, the sound still resonates in the room, as the silence becomes a "note" you're creating tension. (Kind of like songs that have that measure of silence/quiet to them before the energy picks right back up)

http://www.drop.io/monikamhz_silentmix

it's not necessarily the best example but it's a good example of using that breath to create a feeling of tension and make that intro feel MORE energetic than it would had I "mixed" the two songs. (This was done on audacity. I probably could have gotten the timing sliiightly better, but yeah. you get the idea.)


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Remember, just because you HAVE a crossfader, doesn't mean you have to crossfade EVERY song. Sometimes it just plain sounds better if you don't!

[illstep]

It is always good to watch other djs playing. For example this video might be usefull for you as Laidback luke really masters the cd decks and do a lot of mixing with tracks with diferent bpms. You will see how he uses the effects, loops, and spinbacks in order to make the transitions.

http://www.viddler.com/explore/dancetrippin/videos/386/

great video, dude. anyone knows wheter there's a tracklist of that set?

[PartyMcFly]

i love playing well known rock epics in edm sets.

i usually don't mix them at all.

a lot of rock songs have a two or four lead-in beats on drums or guitar before the first true phrase of the song comes in. i'll put these lead-in notes at the end of a phrase and quickly cut it over.

it seems silly to do at first, but once you suspend the idea that everything in your set has to be a brilliant, seamless, harmonically woven blend you might find out how exquisite it can be to keep it simple and sloppy.

the most work i put into it is getting into the general ballpark of compatible keys, and making sure the rock song is an unquestionable energy boost from what's playing.

i like teenage kicks by the undertones. just throwing that out there.

[mpetersen3]

it seems silly to do at first, but once you suspend the idea that everything in your set has to be a brilliant, seamless, harmonically woven blend you might find out how exquisite it can be to keep it simple and sloppy.

i like teenage kicks by the undertones. just throwing that out there.

One of my favorites to drop is teenage wasteland, just wait for a buildup in song A and then cut it in right in the intro of wasteland. It sounds wonderful, because instead of being subtle it hits you hard and is a great pay off for any build. Then you can take this base concept and make it crazy w/ delay and looping lol, making the buildup more pronounced and throw in wasteland very slightly before you truly drop it.

[Monika.mhz]

teenage wasteland

Baba O'Reilly

[JAC]

One of my favorites to drop is teenage wasteland, just wait for a buildup in song A and then cut it in right in the intro of wasteland.

If you play that song you have to do accompanying windmill guitar strums in the booth a la Pete Townshend. It's the law.

Sally ,take my hand
Travel south crossland
Put out the fire
Don't look past my shoulder..............

*WINDMILL*

[Fatlimey]

Assuming the first song ends suddenly, and I'm playing a basic drum kick/snare from the second song behind it, I'll often use an effect to let the listener know energy is building up around the sudden end of the last song (a flange/filter/overdrive/ring modulator or something) and at the same time i end the effect I will hit the cue point for the 1st verse.

So, essentially a "crash mix" - drop one track, pick up the other, fuck the tempo!

P.S.:
http://www.youtube.com/watch?v=r_UtYoyL4OI

[Monika.mhz]

So, essentially a "crash mix" - drop one track, pick up the other, fuck the tempo!

Not quite limey! The tracks are usually beatmatched. the groove of track 2 is playing in the background, and i use a cuepoint to make the phrasing sound right.

I'll give an example of this mix later this weekend for those that can't get the gist from my poor wordy skills. =^P

[lsmith]

Just taking in all the advice and pondering. I dont have a midi controller yet (waiting on my arcade edition), so playing with the FX is a bit cumbersome atm, but I am starting to see how that can be used. Generally I do not really see the huge need for beatmatching. As others have pointed out, usually you move over quite quickly (crossfade, moment of silence, FX), potentially playing a short riff into the ending chorus of the previous track.

If I play rock, then its just very famous tracks, where everybody immediately knows thats coming when they hear a single riff (Should I stay or should I go .. for example). This makes it easy to quickly build up energy again if I do leave a small pause. It also means that I can keep the energy high (especially if I want to build up more energy) if I bring in the riff while the chorus is playing. Then again, a track like the aforementioned Clash song usually causes all sorts of screaming on the dance floor, which might mean I should be out of the previous chorus before I play that riff.

[lsmith]

Speaking of not beatmatching, just saw this one mentioned in another thread:
http://www.youtube.com/watch?v=DuZj93Zkc4s