:: mixing with Advanced tricks ::

[System.S]

Author: John '00' Fleming
Published: April 2004
IDJ magazine issue 47

Phasing
This is where you play two copies of the same tune at exactly the same time. The effect sounds wild! Because both tracks are playing at exactly the same, the frequencies clash with each other and cancel themselves out, and the result sounds like the track is going through a trippy effect: all the sounds are swishing around the room and the bass frequencies come and go.

We’ll imagine you’re doing this in your set. So, grab two copies of the same record. When you’ve mixed the record in that you want to phase, you need to quickly cue in the duplicate copy. You need to find the exact same place as the one that is playing (use the shaded areas on the vinyl as a ‘map’ to lead you to the exact point). When you have the track playing in time and the same speed you need to lift the fader so that it is playing through the sound system along with the other.

Make sure the EQ and volume are at the same level. Now adjust the pitch control a tiny bit (2 mm) and get ready to bring the track back in time. This will pull the track slightly in and out of time giving you a more wild phasing effect. Remember not to play with this for too long, as you have to get ready to prepare your next record for mixing!!

Delay
While you have your two duplicate records to hand, try this live delay trick. This sounds especially good on vocal tracks: it sounds like there is a delay on the track and creates a cool trick as if it is repeating itself… re-re, pea-pea, ting–ting, it–it, self-self (get it?). As with phasing, cue the second record at the exact same point as the other. This is the tricky part, you need to pause the record that you have cued by one or two beats, then play it again. Now it’s playing slightly behind the other in your headphones. It sounds weird but practise keeping it in time.

Here comes the fun part. It’s best to use the cross-fader for this; you need to skip from the track playing to the duplicate track then back. You’ll hear the same part being played back on itself, then skip back to the original track. Keep flicking back and forth and remember to move the crossfader quickly – we only want one record playing at a time The more you practise the more you feel ‘rhythms’ within the delays, and you’ll soon find yourself completely changing the groove of the track, creating a magic moment.

Spinbacks
A spinback pretty much explains itself: you literally stop the record playing and spin it back with your fingertips. This creates a crazy effect, as if the whole track has stopped and gone backwards into hyperspace. You need to practise this before you try and perform it live in a set. There’s no rule to where you use one or how you use one, it’s up to you to experiment, but the natural place to perform one is at the end of each bar as it will sound more natural here.

Whilst your track is playing, count yourself in 1, 2, 3, 4 then stop the record with your fingertips and flick it backwards. DON’T flick too hard, otherwise you’ll skip the stylus. Make sure you perform the flick instantly otherwise there will be a short gap between the record stopping and flicking backwards. You can extend the spinback by continuing to spin the record backwards with your fingertips.

A favourite place to perform a spinback is at the end of a track. As you are mixing in a new track and you are ready to mix out the old track, spin it back! It can create a mini crescendo to introduce the new track. Remember to keep an eye on the volume of the track that is spinning back, as due to the track playing at high speed it can sometimes leap up in volume and be ear-piercing, so prepare to drop the volume of your outgoing track if needed.

EQ
You can create some magical moments by simply using the EQ on your mixer. By cutting the bass of the track playing, you make your own breakdown. You can make it more intense by slowly adding more midrange, creating an intense build, then at the right moment slamming the bass back in and getting the midrange back to neutral. The weight of the bass cutting back in will rock the dance floor!

Depending on how good your mixer is, you can create a filter type effect by adjusting the high and mid frequencies. This works well on a chunky track with plenty of percussion. Work the two EQs against each other; it actually sounds like you have a filter over the track. This can liven up a minimal track.

Perhaps the most important thing to remember is do all the aforementioned tricks in moderation. There’s nothing worse than someone fiddling around with all your favourites tunes – it can make for sonic overload and kill your dancefloor. But used sparingly, tricks like these can liven up your set no end. Have fun practising and I’ll see you next month!

John '00' Fleming

[bxtreme]

haha although they arent really advanced techniques.. J00F's tutorials are probably the best tutorials on the net for djing...

i feel spinbacks are kinda cheap and i dont think they'd ever fit in for trance music.

anyhow.. eqs are awesome, phasing is easy and can sound really great. and yeah many cdjs already have delay features built in, so unless ur on TTs, no worries regarding that

[Proof]

thnx for the tips bro!!...or whoevers tips they were. These are mainly used for vinyl's and stuff....decks are just too easy to use. Vinyls are for pro's!!

[Roland]

[bxtreme]

[Roland]

[Dreamboy]

[bxtreme]

haha... i know bout the dvj, but ive seen zabiela in other videos.. ill see if i can find some videos online

[System.S]

[Proof]

[System.S]

[Genesis]

[DJ_NO²]

[Proof]

[System.S]