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introduction : cueing : pitch finding : fading : advanced :

Fading

This sounds like a very simple process and not worth a page to itself but in my experience again is a skill often taken for granted. Even if you have followed the tutorials so far with precision and can consistently beatmix by now, all your hard work can be ruined if the mix isn't brought in so it sounds good. Other DJs will disagree with some of this but as mentioned before my personal preferred style of DJing is based around very subtle mixes that creep in behind what's already playing, take over as the dominant tune as the mix progresses and then drops so it becomes the only one playing. Even though this is a key criteria for the majority of mixes there may be times that you decide that something a little more aggressive and obvious is required.

The Xfader is simply a slider with three settings. Channel 1 playing on its own, Channel 2 playing on its own or thirdly a variation of volumes of both playing simultaneously at varying degrees in between. However what you can do with it is often underestimated. Intelligent use of your fading skills is critical in my book.  Before you mix two records your listeners don't care how perfect the speeds are.  They don't hear any of this until you move the X-fade. Then they will start caring from that moment onwards!

Methods of Fading In

Although I have labelled these as Fading In, some of these techniques can also be adapted whilst the mix is at its mid point when both tunes are live. this list is not exhaustive but are just a few examples to get you started and hopefully fine tune. Most you will probably have discovered already anyway.

Technique 1 - Gradual fading

The aim is to bring records in very slowly by creeping the X-fader to its central point, holding the mix, and finally fading over.

Example:

Step 1
If you have an assignable crossfade, ensure that it is set to fade and isn't set to a sharp cut in point as you would use for scratching. If your mixer doesn't give this option this can be ignored.
Cue and pitch match your new tune.

Step 2
Drop the mix in at a suitable point (the fader will still be closed at this point)

Step 3
Now the mix is going in the headphones, move the fader firstly just past the cut in point - where the new tune becomes audible in the mix. Somewhere at approximately 25% in, in relation to the physical length of the fader.

Step 4
As the mix progresses creep it into the middle (50%) over several bars of music.  Stand back and admire your work for as long as you feel necessary (unless subtle "poke and drag" or pitch riding is needed of course!)

Step 5
Slowly move the fader to 75%.  This makes the track you are mixing in become the dominant tune to the listener. Ensure total fade out of left deck (Channel 1) occurs as Breakdown 1 drops (or other suitable point) on Channel 2.

This technique isn't anything flash, but it is the technique you will use most in most styles of dance music, especially where the physical length of the mix can go on for some time.  Its the easiest thing in the world to do but the results can make or break a mix.

Technique 2 - Live fading

This is very similar to Technique 1 above and is a way of bringing in a mix in a much more deliberate fashion. Instead of having the cross fade closed (i.e. channel one only), as you drop the new tune in, you move (open) the fader to the halfway point as you drop the new record in. This means that the very first beat as you drop in the mix can be heard by the audience. You have to be very accurate as a miss timed drop (i.e. in font or behind the intended beat on Channel 1) will mean you have to poke or drag the record to realign them. This is a more risky technique than gradual fading as you have no room for error. If you cue up the gradual fade technique first you have time to ensure the mix is spot on before you make it live to the listener. Any adjustments can be made behind the scenes. Not with this. Do this technique well and you can drop in a new beat from the new tune as the beat from Channel 1 cuts and leaves only synths. The decks you use may affect the success of this as you don't want the tune taking half a revolution to get up to speed as by then it will be way out and sound pap.

Technique 3 - Cutting

This can be a method of introducing a mix or can be used mid mix. It's fairly "in your face" so I tend not to over use it - some DJs however use it a lot and sometimes I find can become boring to listen to as it breaks up the flow of a mix. I'll use it to add some variety in a set but it isn't a main mixing technique that I apply.

The aim is, whilst mixing two tunes, to separate beats from either deck to the listener on their own to create a different sound or rhythm to that on the original record.  Far less subtle than the gradual fade but knowingly (not by accident) draws the attention of the listener to the DJs Mix.

Example:

Drop in mix, so the fader finally rests at 50%, so is open to both channels.  On the four beat of bar the fader is pushed to 100% over to one channel, separating that one beat so it is presented on its own, then as the first beat of the next bar occurs the fader is returned to the central 50% to allow the mix to continue. 

The rhythm on the fader for each beat is three open, one closed, three open one closed and so it continues.

This works well if you have two different beats mixing at the same time. You can add variety by alternating the fourth beat to each deck or mix it up as you see fit. You aren't just limited to the fourth beat either. At fill-ins you may get drum snare rolls which you may want to highlight.
Cut to 100% for 4-beat fill-ins, speech, short vocals etc.  Experiment with different timings. not just on the beat either. Instead of defining kick drums on the beat you can close the fader on the half beat. This would highlight the four separate high hats (should they exist but in most house music it's fairly standard.This is easier to do effectively once you know your records and their set up. 

Mixing In
This is also a good way to bring in a mix. In this case, drop mix in as you did in the gradual fade keeping the fader closed and monitor to ensure beats are together.  On 4th beat push fader from Channel 1 playing (we'll call this 0%) to 100% (i.e. cut to channel 2 on its own), then back to 0% removing it from the mix.  Do this a number of times but on the final time instead of removing Channel 2 entirely back to 0% put fader to 50%.  Mix out of record as you choose.

Mixing Out
Mix and get fader to 50%.  Chop over for the ends of bars.  Push fader to 100% two or four beats BEFORE the Breakdown (varies for each individual tune).  This will use the natural fill-in on right deck to create a smooth link between tunes.  Very effective if there are quotes, speech or a synth introducing the breakdown.

GET THIS RIGHT, IT SOUNDS GOOD.  GET YOUR TIMING WRONG AND IT SOUNDS POOR.  People will not only laugh, but they will POINT and laugh especially if you have vocals on one and a beat on the other. Using this technique when vocals are present is still fine but you always need to remove the beat from the non vocal record. By this I mean to separate out a beat always make sure you push the fader to the side that is playing the vocals. Otherwise you will get chopped vocals with words missing to be replaced by a stand alone kickdrum which in my opinion shows no real consideration to the mix itself. If I'm listening, vocals are more important than the kickdrum

This however is a great technique if you have two complex breakbeats running together though as you can create your own won beat out of the two that are there. For this to work well you need to know the tunes so you are cutting at sensible times to enhance the beat not ruin it!

The key is not only to listen to the beats and spot where beats/cymbals occur, but record selection is also a critical factor.   Sometimes, when using the cutting technique, the final mix simply doesn't sound right.  This is simply due to the authors emphasis on fill-ins quotes when writing the song.  The tune's musical construction means some records sound better than others.   Experiment with your records.  The records that work, or even just certain sections within a tune (a non vocal outro mixed with the new record that has beat only will always work and these parts will soon become clear.

Remember too that you can use your upfaders to help with these mixing techniques. Try reducing the upfader to 50% volume, then creep the fader to the centre point. You can bring in beats by banging it up to full volume then back down of or you may find they just give you greater overall control.

Many trance DJs don't even use the fader. Some DJs prefer to leave the fader in the middle (or if the mixer allows remove its functionality totally) and mix purely using the upfaders. Just food for thought and to show there are no right or wrong ways - Its down to what makes you feel comfortable and most importantly, in control.

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