There you have it, you have chosen to start music and it’s now time to choose the bone that will follow. For that, you need to know how to mix with the harmonious keys, also you can thank to this runner learn all the ways of mixing by harmonious key. Then, in our playlist creation, I advise you to go to the simplest and most effective. Select music with the same original harmonious key, test as a precedence the music with the stylish notes and if this doesn’t suit because of too strong or too weak musical intensity, go to the advanced harmonious key, test again, and if it still won’t go to the lower harmonious key on the condition that it allows you latterly to renew the current harmonious key and to be suitable to pass to the advanced one Example you’re presently playing music in harmonious crucial “ 4A”, test another music in “ 4A”, if that doesn’t suit, switch to “ 5A”, if it still doesn’t suit, switch to “ 3A” on condition that you can come back to “ 4A” and switch to “ 5A”.


The intensity of a piece, its energy, and its complexity in sound sources, means that it’s more or less suited to another piece and logically directs the energetic elaboration of your playlist, your deejay set. That said, you should n’t just calculate on that, because the energy of your MC set will also be defined by your way of mixing and chaining your music. Also, the original tempo of the music isn’t inescapably suggestive of its eventuality. This is why when you choose a title so that it’s linked with another, you must try it by mixing it with the crucial corrector of your software or MC player (“ Keylock” function) with the tempo you want. want for this precise moment of the MC set. This will allow you to discover that numerous typically slow songs can be a real lemon when accelerated. Still, the contrary is rarer and should be avoided, because the more you decelerate down digital music, the more you reduce the resolution and thus its sound quality.
Also, you must change the tempo gradationally throughout your set and especially not stay firmed at the same BPM. Increase it gradationally throughout the blend and from time to time, you can choose to lower it to more bring out the bass for illustration. To lower it, it’s better to do it when there’s no meter, or if not to do it snappily and exaggeratedly to gradationally increase it again during a rise to produce a break effect between two phases. of charged measures.

In addition, when a piece is clean, simple, minimalist, this bone alone, won’t be a good choice to follow behind music veritably loaded in sound and intensity but can prove to be an excellent choice for a three or three. four balconies. In this case the selection of 2 simple kinds of music can veritably well be linked in 3 balconies behind a loaded title. This is why you should also test and elect a song according to your MC chops and your material.


After having named about twenty titles that follow one another, you’ll really notice that your playlist evolves in the form of swells. This figure is really the most applicable for a playlist and a MC set, because we could say that each surge contains a starter, a main course, and a cate. At this point, we could choose to stop for cate, but as the other would say, “ we would have a nice little strong coffee”, also after “ it’s time for a drink” and “ rebelote”.
Further seriously, a MC set can be defined as a surge, but a playlist has no limit, so I advise you to try to chain several swells, but over all to try to return to the Harmonious key of the start your playlist and end it with a song that fits impeccably with the veritably first song in your playlist.
Therefore, when you find yourself in a party situation you can, without any worries, start mixing your playlist at any time depending on what you were doing ahead. With this type of hedge for all your playlists, you can mix and change at any time and therefore impeccably acclimatize to the followership’s response without any stress or musical mess.


That’s it, the hard part is done, now all you have to do is prepare your titles one by one to insure redoubtable perfection during your MC sets.
To do so, the first thing to do is to choose reference music, simple with perfect chronicity in its tempo and sound position.
Choose a song that isn’t too old and of good quality, it’ll be used to calibrate all your music.
Now you slip this music into player A, you calibrate its tempo grid just formerly, and without touching its gain, you hear to it in a circle.
You also tune the bus- gain and the tempo grid of each music in your playlist according to this reference title. So you can be sure that everything will be on the same position and impeccably aligned during your set. Therefore, you can concentrate on the purely cultural part of the MC mixing.
Thanks to the new id3 markers, all the bus- gain situations will be learned autonomously in your mixing software, i.e. the sound position adaptation will be directly recorded in the id3 label of each music, which is really practical. (this is also the abecedarian difference between bus- gain and the gain which isn’t learned).


Eventually, the last part and which isn’t the least, because it consists of editing starting cues to chain your titles like an ace and recompose a song live. Also, each MC has his own fashion for editing cues, which is why then I’ll only tell you about my current fashion Since the maturity of DJ software and indeed high- end CD balconies all generally allow you to store 8 Cues per title, I organize my Cues in the same way for all my music in order to be suitable to extemporize better, according to my solicitations and public responses.

I use Cue 1 to start the song, I place it on the first beat, generally the bass barrel. I generally choose a passage at the morning of the song corresponding to a metrical preamble, but not too busy, perfect to blend with another title I use Cue 2 for a really flashy snare that allows me to juggle and manually recreate a meter with the other cues set on bass barrel beats. Or if the song isn’t applicable, I prefer to sandwich it on an onomatopoeia I use Cue 3 and 4 to score the thresholds of two loaded corridor of the song, generally the verse and the chorus I use Cue 5 and 6 to mark the thresholds of two climbs and islands of a song. The 5 must be less violent than the 6 I use Cue 7 and 8 to mark two intriguing corridor to mix the coming track, generally, I use it as a hot cue in the form ofpre-recorded circles.

5) TEST, RECORD, Hear, AND Incense YOUR Blend

There it’s finished! your set is ready to burst into the crowds, but ahead, obviously, you have to exercise, record, and hear to learn your music, your set, try different ways of chaining, daring goods, climbs, beat juggling,etc. … in short, do your job, blend.

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