One of your main challenges as you learn how to DJ is figuring out how to take two totally different songs and make them sound as if they were designed to fit together. Maintaining the musical pace and feel in a mix is a very important facet of DJing that everyone, beginners to advanced, need to understand. As you learn how to DJ, you’ll discover all forms of music have an ingrained pattern of rhythm, tension and release that the dancers naturally follow and expect to hear. When those patterns are broken in a mix, it can seriously throw off the groove. Using those patterns to your advantage, however, will keep the dancefloor rocking early into the morning.
If you’re looking for more tips on how to DJ, I’d recommend checking out the following articles:
- How to Mix Pop Music
- Digital DJ Fundamentals – Sonic Mixing
- EQ Mixing: Critical Mixing Techniques and Theory
How to DJ: Understanding Phrases
8-16-32
Most Western music is built using phrases of 8, 16 and 32 counts, which I am going to refer to as the “rhythmic structure.” The brain naturally expects these patterns, so as a rule you need to always keep each song’s rhythmic structures in sync with each other. The rule can be broken for creative effect, but it’s important to learn the rules of the road before you start breaking them. To match up rhythmic structure, you need to identify the individual characteristics of each song you are working with. That’s the easy part because every song contains audible clues that basically yell, “Hey, everyone, this is a new part!” These clues might include a new instrument that starts playing, a big crash, a drum fill or even just a significant change in the drum patterns. Electronic music loves to steadily add and subtract different parts every 32 counts, making it easy to recognize and work with those changes.
The general rule of thumb is to always start the new song at the beginning of a phrase in the outgoing track. Usually, that’s a fairly simple affair; it’s just a matter of training your ears to recognize the changes and patiently wait until the right time to start your mix. Most songs faithfully follow the 32-count rule, so as long as you get both songs’ 32-count rhythmic phrases in sync, then the tracks’ production takes over to help make the mix work for you. Occasionally, however, songs may make use of shorter phrasings, especially in hip-hop and pop songs, where an 8- or 16-count intro is more common. In those cases, you will need to time when you start the song so that the songs’ parts line up, or you can use loops to extend the intro and give you a longer mix. As an example, we’ll look at a typical hip-hop/pop scenario.
THE POP PHENOMENA
Almost every pop song has a short nonlyrical intro, a verse and then a chorus. Generally speaking, you always want to mix “out of the chorus” so that the audience gets the big musical payoff and then you are into a new song afterward. Because the intro is usually the only part of the songs without lyrics, you are basically stuck mixing intros over the chorus all night.
Most intros are 16 counts long, while the typical chorus will last for 32 or 64 counts, so you can’t start an intro right at the beginning of the chorus. If you did that, your verses and chorus will start slashing with multiple people singing and/or rapping at the same time. It’s essential to time it so that the first verse of your new song starts right as the old chorus ends. Timing it that way will make such a “quick mix” feel completely natural and will seamlessly blend together the musical structures of each song. Your alternative is to use cue points and loops to extend an intro over the top of a chorus and then effortlessly drop into the new song at the right time.
I am going to call that rule “respect the chorus” so it reminds you to always pay attention to how you’re mixing in relation to the chorus of a song. This rule applies just as much to electronic music as it does to pop songs. Most good underground tracks give you a sense of having a chorus or a peak moment of a track; that’s what makes them good “songs” and not just random collections of notes and beats. It goes without saying that you would not want to cut off any tune before that big payoff, so even in the most minimal of tracks always respect the chorus. That does not mean to mix only during the intros or outros of a track either because that leads to a dip in the energy and a really boring mix.
When mixing vocal music in the way I’ve discussed, the new track’s verse takes over for the old track’s chorus and carries the listener into the new song seamlessly. In the same way, you can use the musical parts in instrumentals by timing the start of a big part of your new song with the end of the peak moment in an outgoing track. Do all that while also bumping up into the next musical key to give the transition an extra lift, and you will be considered an official DJ maestro.
Noob question: When you say “Most intros are 16 counts long, while the typical chorus will last for 32 or 64 counts” is a count a beat or bar?
Thx for the tip man
Could you post a video? When should you fade the outgoing track and mix in the new one?
I started djing and my mixes sound a little off, because of this rule of thumb I’m trying to figure out.
Thank you so much, this article was extremely helpful!
Good info to know.
Thanks for this article, as #1 said, for a beginner like me it’s good to read and think about this kind of stuff. Great help guys!
forget it…didn’t work. i’m just confused by how you describe your mixing.
[quote comment=””][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
[quote comment=”16329″]
If I may, I’d like to add another way besides this and the basic Intro/Outro to mix.
I sometimes like to blend mix both songs over their Breakdown/Buildup then slamming it over into the next tracks main part – especially if the two tracks are in the same or relative key.
For instance, House music often has two Breakdown/Buildups per song. If the Breakdown/Buildup’s of both of these tracks are the same length, you could drop the beginning of Song B’s first Breakdown/Buildup at the beginning of Song A’s second Breakdown/Buildup, then blend mix them together eventually slamming up into Song B’s Main Part! You follow me?
What can also be fun is a variation of this, where you extend the overall Break/Build feel by dropping Song B’s Break/Build halfway through Song A’s Break/Build,,, stretching the tension further up giving two “peaks” up into Song B’s main part.
[/quote]
I’m confused. Do Scenario 1 and Scenario 2 correspond to what you wrote:
Song A:
*** *** ***
***** ***** *****
********************************
X {beg mix-out A, mix-in B}
Song B:
*** *** ***
***** ***** *****
*******************************
Scenario 2
Song A:
*** *** ***
***** ***** *****
********************************
X {beging mix-in B}
Song B:
*** *** ***
***** ***** *****
*******************************
[quote comment=””]I’d like to hear more tips on where to mix in and out of tracks. Lets hear some other ideas[/quote]
I remember reading an interesting tip from Max Graham, Canadian prog-house dj/producer. For some tracks, he’d actually mix it in right at the peak of the track or through it’s second breakdown. So instead of going through the whole track, just to get to the rush, he’d bang it out from one peak to the next and just keep the energy going. You wouldn’t want to do that more than once in a row I think, the music can get too busy. But it’s a neat idea to play with (for house/trance music anyways), and you can use it to mix into tracks that normally wouldn’t have the energy to compete with your current track if you started at the very beginning.
On a similar tip, I read an interview with one of the older disco djs of yore (sorry, can’t remember who it was now), and he was complaining about how today’s djs have it so easy. So much of electronic music is doing the work for you, putting the emotion right into the track with all its breakdowns and build ups. In his day, the djs had to manage that tension/release themselves with the tracks they were playing.
Which lead me to try mixing tracks in and out without ever getting to a breakdown. First, it keeps the beat going, and the energy level at an even keel if not going up, and second it generates tension ‘cuz the dancers don’t get a break. When you finally *do* let a track play out (and hopefully you’ve selected one with a top shelf payoff!), the breakdown means that much more to the dancer ‘cuz they’re finally getting a chance to breath. 🙂
Playing one track after another, with its breakdowns and buildups, is too much like a roller coaster. People need time to warm up and get a groove on, and if the energy is dropping out every 3-5 mins, it can sometimes get frustrating.
Great site BTW, my first time here. Even though I’m a Serato user and this seems to be pretty Traktor heavy, I’ll be paying attention and looking for more great articles in the future. 🙂
[quote comment="16566"]I tell you this: the first mix sounds like crap, while the second is on phrase.[/quote]
You do understand that was the purpose right? That the first one is supposed to be wrong?
I tell you this: the first mix sounds like crap, while the second is on phrase.
[quote comment="16484"][quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
Should change the title from "Phrasing the perfect Mix" to "Phasing the perfect Mix"…[/quote]
No, phrasing is right[quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
[quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
Should change the title from "Phrasing the perfect Mix" to "Phasing the perfect Mix"…
[quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
Personally I like working without mixes that are "DJ Friendly." It's more interesting to mix with the track as you have it often-times. Sometimes you have to choose the outro and use it as your intro, other times you just have to play with the intro and make it work. It creates a much more interesting/flavorful mix than just using the funky-mixes all the time.
Just search for dj mixes, extended intros, intro outro mixes. there are lots of sites out there that serve dj friendly material of popular jams.
Maybe a bit of a sidetrack here, but where can I find songs with a non-vocal intro (so no shouting "oohh" of "uuhh" in it for example). I have a version of Welcome to Jamrock which immediately starts with the vocal "out in the streets…" as opposed to the 32 count intro this one has. Can someone help me out here?
The first song, Wrong.mp3, is wrong due to the vocals overlapping.
The second, right.mp3, sounds better, although I dislike that first song quite a bit.
Ean, thanx for this on-time tip! I'm currently working with a DJ in Thailand on a promo video and your examples are on the spot for me to show him what I want (my Thai is not so good & his English neither:-).
Thanx!!
Volker
[quote]For instance, House music often has two Breakdown/Buildups per song. If the Breakdown/Buildup’s of both of these tracks are the same length, you could drop the beginning of Song B’s first Breakdown/Buildup at the beginning of Song A’s second Breakdown/Buildup, then blend mix them together eventually slamming up into Song B’s Main Part! You follow me?[/quote]
Yeah it's a well known thing; it's a double drop, commonly used by D&B djs. play two songs so that they build then drop at the same time, simultaneously making heads explode. 😀
Well obviously version 2 sounded better but I didn't really think that the 2 songs went together very well (not to be critical but they just did not mesh)
[quote[For instance, House music often has two Breakdown/Buildups per song. If the Breakdown/Buildup’s of both of these tracks are the same length, you could drop the beginning of Song B’s first Breakdown/Buildup at the beginning of Song A’s second Breakdown/Buildup, then blend mix them together eventually slamming up into Song B’s Main Part! You follow me?[/quote]
Yeah it's a well known thing; it's a double drop, commonly used by D&B djs. play two songs so that they build then drop at the same time, simultaneously making heads explode. 😀
Baha, I sound like a one trick pony with two posts about stepping your game up in two days. Is there an edit / delete function on this forum?
I layer breaks all day. I don't really like intros, or outros as I came up mixing hiphop and top 40 for a mobile DJ company so I like to get right to the point. However, unlike most of the electronica djs in my area, I DO use the break. I feel that the best way to get a *BOOM* out of the crowd is to dial down the intensity for a minute, let them get used to it before you drop it like it's hot.
That being that, I think there's a lot to be said about SWITCHING YOUR STYLE UP so you don't sound monotonous. Lets be serious for a second. Automatic beatmatching, key detection, "smart mixing" have basically replaced many of the basic skills that used to set a professional DJ apart from a bedroom one. It's incredibly easy for Joe the Kid to pick up a pirated copy of virtual DJ, grab a hundred dollar sound card and within two months be able to rock a crowd….well enough. Some DJs get mad at this.
Personally, I welcome it. The more people that know about the mechanics of DJing there are out there, the more likely people will appreciate not just what you're doing but HOW you're doing it. In my city, my biggest fans are other DJs…they know the specific remixes as I mix them in, and hear how I play with it to make it mine.
The point of the matter is, as the competition increases, it becomes time to sink or swim (and when it's sink or swim you gotta think to win!). I love this forum and this website because it seems devoted not just to swimming, but aspiring to fly. Most of these microwave DJs are still learning how to phrase their mixes, so if you've mastered that you should be learning fader tricks, how to use a third deck, OR maybe even sampling in Traktor (cough cough FRIDAY!) whatever it takes.
/rant.
…so yeah, I layer breaks. haha sorry about that guys.
djeklypse
[quote comment="16329"]
What can also be fun is a variation of this, where you extend the overall Break/Build feel by dropping Song B's Break/Build halfway through Song A's Break/Build,,, stretching the tension further up giving two "peaks" up into Song B's main part.
Anyone else use this technique? What do you think? =o)
Cheers,
AJ[/quote]
i get the idea but i cant imagine that it sounds good. the after the first buildup the brain is expcting a drop, and what does it get a half through second buildup? can you post an audio example?
Great article, and a solid way to mix no doubt. Thanks!
If I may, I'd like to add another way besides this and the basic Intro/Outro to mix.
I sometimes like to blend mix both songs over their Breakdown/Buildup then slamming it over into the next tracks main part – especially if the two tracks are in the same or relative key.
For instance, House music often has two Breakdown/Buildups per song. If the Breakdown/Buildup's of both of these tracks are the same length, you could drop the beginning of Song B's first Breakdown/Buildup at the beginning of Song A's second Breakdown/Buildup, then blend mix them together eventually slamming up into Song B's Main Part! You follow me?
What can also be fun is a variation of this, where you extend the overall Break/Build feel by dropping Song B's Break/Build halfway through Song A's Break/Build,,, stretching the tension further up giving two "peaks" up into Song B's main part.
Anyone else use this technique? What do you think? =o)
I'd like to hear more tips on where to mix in and out of tracks. Lets hear some other ideas.
Cheers,
AJ
as an OS clubber and raver 1 question way of the mark is this the AJ from Sydney ,djed at DCMs, , a group of us used to meet at a pub in Manly Vale GET the night under way , then the Surf rock cafe hook up with DJ Moe get really SORTED then into Sydney ??????
Let me explain. You may technically be correct, only when you refer to the top 10-20 people who do something. In about a month someone can be taught, given that they practice daily, enough to rock a show. Beatmatching, Phrasing, the concept of keys, all of these are fundamental skills, and can be taught. Please keep your comments constructive.
[quote comment="16317"]you either have an ear for music or you don't…someone can only be taught so much but if the talent is not there it does not matter…people that cannot mix well are just like people who are tone def…they just don't get it…[/quote]
I respectfully disagree- the 32 count chorus principle is not something most djs would know without being shown. Sure some may get it naturally but they are either very unique or have a music background.
[quote comment="16316"]
In the Welcome to Jamrock-song, the first bar/beat/count is actuelly at JAMrock. Like, "Out in the streets, they call it muuuuuuurder, welcome to JAMrock. At Jam, that's the first beat, so that's the one that should immediately follow the corus from the song in front.[/quote]
technically- that's a pre-chorus lead in- and is an extra 8 counts before the verse.
[quote comment="16291"]Oh yeah, when do we get to see another controllerism video? They're the best example of on the fly remixing I've been able to find and truly inspiring.[/quote]
Friday I will post a sick tutorial on live sampling inside traktor- stay tuned for that one for sure.
[quote comment=""]you either have an ear for music or you don’t…someone can only be taught so much but if the talent is not there it does not matter…people that cannot mix well are just like people who are tone def…they just don’t get it…[/quote]
I catagorically disagree.
you either have an ear for music or you don't…someone can only be taught so much but if the talent is not there it does not matter…people that cannot mix well are just like people who are tone def…they just don't get it…
[quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
Hi Ean,
Nice post. Really helpful for understanding pop/hiphop if you're not really into it. But…
In the Welcome to Jamrock-song, the first bar/beat/count is actuelly at JAMrock. Like, "Out in the streets, they call it muuuuuuurder, welcome to JAMrock. At Jam, that's the first beat, so that's the one that should immediately follow the corus from the song in front.
In the 2 examples, try nodding your head to the downbeat. If you're nodding on the downbeat on the first song, it becomes the upbeat of the second. Try nodding, and at the end the beat will be "in the neck" (does this make sense?)
I wouldn't ever play this Soulja-boy track, but I looked it up and did this mix to show you how it will sound best (no offence); if you listen carefully you'll notice the difference.
Don't mind the lousy scratching, and I couldn't get my sound directly into my camera but just have a look…search YouTube for "soulja jamrock" and it's the first hit…
[quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
Why is my post not showing?
[
[quote comment="16303"][quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
Actually, I thought even the second mix was a little iffy. I was totally expecting a really clean mix and was disheartened to hear Soulja Boy very quietly over the lovely "Welcome to Jamrock" intro.
And, of course, nobody likes Soulja Boy. Good tutorial, Ean, I would have simply avoided a song where the intro comes in on a bit of a pick-up, but whatevs.
Oh, and Ean can you please use "Bars" and "beats" instead of "counts." Traditionally, a count refers to a beat, but you seem to use it in some weird places. Much appreciated.[/quote]
i was about to post the same..i used bars…and itch also uses counts and beats ensted of bars..i get confuest some times.
Shite, I totally forgot to tell you that your tutorial was fantastic otherwise.
[quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
Actually, I thought even the second mix was a little iffy. I was totally expecting a really clean mix and was disheartened to hear Soulja Boy very quietly over the lovely "Welcome to Jamrock" intro.
And, of course, nobody likes Soulja Boy. Good tutorial, Ean, I would have simply avoided a song where the intro comes in on a bit of a pick-up, but whatevs.
Oh, and Ean can you please use "Bars" and "beats" instead of "counts." Traditionally, a count refers to a beat, but you seem to use it in some weird places. Much appreciated.
Yo,
Thanks for the tutorial, for beginners it was really useful. I actually liked the first track better (the sound of it, sounding like a remix version or something).
But I can easily see how that Version 2 was the correct mix, based on your description in the post.
Thanks again,
Yes, Soulja Boy is terrible… but actually I was sort of relieved when I heard it. I had this sinking feeling I was about to get Rick Rolled right before I pressed play.
This is the stuff that beginning djs really need to learn and one real point they need to know is not to play Soul destroying boy he can go crank his own ass 😉
Otherwise get dj tip to newbies
[quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
[quote comment="16283"]haha i thought it was hilarious how quickly every comment revealed hate for soulja boi. i've read about other hiphop artists saying something to the effect of soulja boi and the like destroying the genre….[/quote]
search youtube for ice-t vs soulja boy hillarious videos.. soulja is such a dick
Oh yeah, when do we get to see another controllerism video? They're the best example of on the fly remixing I've been able to find and truly inspiring.
[quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
Ean, you made the classic mistake of not anticipating MC's tendency to jump in on the fourth beat of the hook! Haha jokes jokes, I know it's just a demonstration file, and lets be real Get Physical was illy, but for you people using this as a basis help them master mixing pop and hiphop keep an eye out.
Take care fam, and keep up the amazing work Ean!!
I love doing the "Soulja Boy Superman Dance" ! Ean, this would be a great t-shirt concept .. " Respect the chorus !" on a tshirt for Digialists and DJ's to wear. RESPECT !!!!
I just came to hate on soulja boy too (worst. song. ever.) but it looks like you all beat me to it!
That being said this is def. a great song structure tutorial for beginners and I'll be passing it on to some friends that are looking for new dj tips.
[quote comment=""][…] Phrasing the perfect Mix at djtechtools.com2009-01-26 17:30:43 […][/quote]
Thanks for the article! I'd love to see more educational stuff like this!
Thanks Ean! good stuff as always.
m.
haha i thought it was hilarious how quickly every comment revealed hate for soulja boi. i've read about other hiphop artists saying something to the effect of soulja boi and the like destroying the genre.
anyway, regardless of the tracks, good job making the mixing point Ean! 🙂
a lot of pop/hiphop songs have vocals right off the bat, but that's where hot cues and loops come in handy, as stated in the article.
lol…..u didnt know people hated soulja boi? well…when we're all sober anyway. 😀
I had no idea so many people hated soulja boy- just wanted to use 2 tracks that people would know the vocals. Yes, everyone is right- the first mix was dropped to early (8 counts to be exact) so the verse came of the new song came in 8 counts before the chorus was over (big no no)
V1 had clashing vocals from both mixes.
V2 was on point.
Its a reference to harmonic mixing, check out http://www.mixedinkey.com.
Basically each of your tunes will have a root key, and some keys are complimentary to each other. You can create an 'energy boost' by mixing into the next key up in the scale (e.g. either a-flat minor to a minor or a-flat minor to b-flat minor)
[quote comment=""]jjjismy? ??…
Phrasing the perfect Mix at djtechtools.com…[/quote]
Nice article thankyou version two definatly sounds better version 1 is droped two early and overlaps.
Kupujte_Pytle
"bumping up into next musical key" refers to having the following song in the next musical key to the one before it to do this you will need to determine the key of your tracks. there are variuos software that do this i use "mixed in key". Hope this helps.
http://www.mixedinkey.com/
I think i get the general idea of the article, but i have trouble to translate and understand the point of the last tip: "Do all that while also bumping up into the next musical key to give the transition an extra lift,…"
"bumping up into next musical key" is like chinese for me… can someone plz just for me rewrite that sentence/idea, extend it a bit, or try to explain it some other way.. i would totaly apreciate it. thx!
"I’ll tell you what’s wrong with both of them.
Soulja boy is f**king terrible :)"
Laughing My Fucking Ass Off!!!!
I was taking a drink when I read this… you owe me a computer BB!!!
Hilarious!!
Well written and understandable article. I think these kind of 'tutorials' are more useful to beginners, than how to beatmatch a song for instance.
The second clip obviously was the 'correct' mix, altough didn't sound so great to me (I hate fades)
I'll tell you what's wrong with both of them.
Soulja boy is f**king terrible 🙂
Seriously though, transition was made too soon in the first one leaving you with a terrible sound of a chorus overlapping a first verse.
[quote comment=""] Unfortunately, the example files won't open ("Error opening file") on my Mac. Tried both Safari and Firefox. Hope you can find a way to fix this.[/quote]
They Work now. Miracle!
Hi Ean, interesting read, well written. Probably bread and butter for the more experienced DJ's (I hope…) but for a beginner like me it's good to read and think about this kind of stuff. Unfortunately, the example files won't open ("Error opening file") on my Mac. Tried both Safari and Firefox. Hope you can find a way to fix this.