LabRat

Production is a bit different there so all valid mate

You adjust the trim's on the fly but it's not something you'll need to be doing very much. Each track is going to be slightly louder or quieter than the previous but often enough there's not a lot of difference between them so you can leave the trim levels as they are but you always listen and adjust accordingly. It's always better to bring in a track that's quieter rather than louder because the transition is much cleaner. I wouldn't assume anything because if you're wrong you'll be back at square 1. Monitor the levels in your headphones with the cue level knob at 12 o'clock so you have even mix levels in your headphones. That's the best way hear how the cue'd track will sound once you begin the transition and as you bring it in you can hear it and be the judge of it then. As far as other tips go, there's not much more to say apart from practise and you'll get there. You may notice that when you're bringing in your cue'd track and you switch the bass levels over, the new track might get a bit louder? When you adjust the EQ you're also adjusting the volume as you filter in and out frequencies. It can make a fairly noticeable gain change so that's when you adjust the trim down to compensate for it. If you have your levels right in your headphones that transition will be seamless and you'll barely need to play with the trims. Also, make the booth monitor your friend. It's there to help you hear your transitions and levels. You don't win any battles when you're trying to hear your mix with speakers facing away from you.

It comes back to trusting your ears. It's all good looking at the meter but it's not going to help much. Best way is to bring the track in and adjust the trims as you're bringing it in

happy to help

i hiaven't seen this so don't know if this is any good but point blank usually have really good videos so it should be pretty helpful

yeah experience is definitely key in this situation. losing our shit coz we can't get a mix right is a pretty common occurrence lol you can use a reference track if you like. it'll be a guide to help you get some levels around the right areas. multi band compressors are a useful tool to keep selected frequency ranges in check. mixing drums and be different from genre to genre, or just in general to what vibe you're going for. If you want an aggressive drum track you definitely want to get the mix right so it doesn't over-power the rest of the song. multi band dynamics will help a lot here. if you post up an example i'm sure we could throw some ideas your way

Cloud nine brings back memories #toooldforthatshit

Welcome mate

welcome mate

If you get a Mac this isn't a problem

What's already been said sums it up perfectly. I'd say the pioneers are a decent little controller for mixing. Serato is good and the sb2 is a perfect way to get into it. I've ran traktor a few times in venues using the cdjs as controller (via USB - bypassing the traktor sound card) and it's pretty cool but an epic POS to set up. It's also annoying as hell when you need to set up after someone's set (which is technically during the last few songs). For me it's a total inconvenience so I carry SD cards and a few USBs so I can just plug and play. Just good for thought - I recently got caught out not having an Ethernet cable and no backup SD or USB so learn to carry one of them too. Luckily my gig was for family and no fucks were given but it could easily happen at any time Edit: I've not used rekordbox but from what I've seen I'd say the programs are pretty similar, considering the pioneer controllers were pretty much plug and play with serato

haha it's not so much the volume. i think the level is good but you still want that bit of a punch to be there. tracks like this you don't want the kick to stand out but i would suggest you'd still want to know it's there

nice vibes. i think the kick could have slightly more punch, not too much to it over does it but just another layer. i like it though!

sounds like they're wanting something similar to that grease mega mix... i've not been in that situation before but i think it could be weird in the way that some people out there have killed the industry in the sense that they're not charging for certain services, therefore, there becomes an expectation that these things are now free. example: some of my mix downs / masters i do for people, i'm forced to provide revisions for free because the market has now dictated that. before i could charge a small fee for each revisions but people are always out to undercut, even if it means doing some things free. having said that, in your situation i'm not sure what you could do. i think charging is a fair thing to do but not at 100 per hour. i know it's shit because it takes time but people aren't willing to accept that because there are other people who aren't charging. i have to dj my cousins 40th and she wants all the old classics. i have NOTHING! i need to spend the next 4-5 weeks getting as much shit as i can in-between all the other shit i have going on. i'm not making a dime off this but if i was, you can't charge the time it takes to find music because it's become an expectation that you already have it. i'm in a different situation because it's family and i got roped into it a little so i gotta bare it now but i've learnt over the years not to take on what you can't handle. if it becomes too much to fit in with life then don't be afraid to say no. it's not worth the stress

had a listen and there's nothing definitive there. i wouldn't worry about it. btw, feel free to introduce yourself properly in the introductions section and tells us a bit more about yourself!

Hey dude! Sampling context from movies (or most things for that fact) can be a bit tricky. I guess technically you're not supposed to but in a weird way it's common practise to sample. As far as the law goes, If you're looking to officially release something you'll need to get the sample cleared for use before you can release it. Record lables will take no responsibility if you've used uncleared samples. Now... I know people who have tracks released without clearing samples and so far they're so good. I don't really know what this grey area is but I guess from a legal standpoint you can't use licensed work - which is why soundcloud removes remixes / bootlegs etc On top of everything, you should be alright to put the track up on Soundcloud if that's what you're planning to do. If you submit to a label and they're interested just see what they say about it first. I've used dialog from movies and it's been fine for me. I've even sampled from acapellas. There's a few sample packs out there that have sampled dialog from movies as part of their packs so I can't imagine there's too many people doing much about it lol

Me too

it's what i do

I know that feeling all too well haha best thing I did was start writing different stuff. When I had the block I'd jus go for a drive and chill somewhere to clear my head then come back and start something new. I was never really good and revisiting projects where I hit a wall

It's a nice build. I do get a sense of a deadmau5 feel. Another cool production man! Nice mixes too

I like it. The melody works super well and there's a sense of emotion in it. I'm digging this sound again!

I don't even know genres anymore haha cheers mate

Thanks man. I didn't think too much about it at the time but it could come down to laziness haha which is a bit sad. I had a block when I wrote this but when making this meltrance kinda stuff I do tend to keep a more minimal style to it. If I start working on another one I'll keep it in mind

Mitch

Welcome mate!