• Audition Learner

    Using Audition, what’s the process for creating beat-matched mixes between songs with different BPMs? In a live set, I would just speed up and slow down the BPM on the fly. But how would I do this in Audition? Is this the only way:
    1- Adjust all songs to the same BPM
    2- Create multitrack session with all your (say) 12 songs forced to the same BPM mixed together one after the other.
    3- Re-Record the playback of your entire session and stretch/pinch the BPM as needed to speedup or slow down?

    This is a hard question to google for, no article seems to give me the whole process for DJ interests.

  • Emma

    I have a question, I want to create a mixtape. I have lyrics but no backing tracks. To use a backing track can I just go straight into using it, or do I have to go through the makers etc.. Please get back to me. Thank you

  • Djelements

    Nice bit of work my friend

  • http://www.facebook.com/daviddarksun David Darksun

    well said  STEVE… from my side i prefer to try thousand times the same transitions until they sound as i want them to be… and when i record my mixtapes i record them over and over again until everything sound as good as possible to me… this is my way… yes sometimes especially during recording many times the same thing (very annoying) because maybe one thing was not perfect as i wanted i’ve tought about editing it… but then i say to myself… i must do it live because i think that’s the essence of it…but thats my way… not saying what’s right or what’s not…but at least i’ve improved my skills a  lot following this principle and i can say i’m getting better with lot of practice…still have t learn million things btw…
    i guess a live mixtape should has been done LIVE… but obviously it’s different if u have to make a released compilation for labels,clubs etc… as u said this tutorial is created for a creative purpose… not to cheat about your skills… even because i guess that or u go there and play pre-mixed cds or ur fucked…for me who do that is fucked both times lol

  • http://www.facebook.com/ryanmendozamusic Ryan

    Ableton would be a better (faster, easier, cleaner) way of making this type of mix. Much easier and you can always perform this type of mix with a controller.

  • http://www.facebook.com/ryanmendozamusic Ryan

    Ableton would be a better (faster, easier, cleaner) way of making this type of mix. Much easier and you can always perform this type of mix with a controller.

  • http://www.facebook.com/ryanmendozamusic Ryan

    Ableton would be a better (faster, easier, cleaner) way of making this type of mix. Much easier and you can always perform this type of mix with a controller.

  • http://www.facebook.com/ryanmendozamusic Ryan

    Ableton would be a better (faster, easier, cleaner) way of making this type of mix. Much easier and you can always perform this type of mix with a controller.

  • http://www.facebook.com/rob.ticho Robert Ticho

    I’ve got to say, I’m surprised how much clean up/editing work people are talking about in their mixtape creation. I never do that. I like all the imperfections. The only thing I do is record a voice over intro for the beginning.

    I don’t mean to come off as a purist. After all, I’m using beatsync in traktor when I record it so that’s definitely not a purist thing. I just didn’t realize people were editing their mixtapes so heavily. 

  • http://www.facebook.com/rob.ticho Robert Ticho

    I’ve got to say, I’m surprised how much clean up/editing work people are talking about in their mixtape creation. I never do that. I like all the imperfections. The only thing I do is record a voice over intro for the beginning.

    I don’t mean to come off as a purist. After all, I’m using beatsync in traktor when I record it so that’s definitely not a purist thing. I just didn’t realize people were editing their mixtapes so heavily. 

  • http://www.facebook.com/rob.ticho Robert Ticho

    I’ve got to say, I’m surprised how much clean up/editing work people are talking about in their mixtape creation. I never do that. I like all the imperfections. The only thing I do is record a voice over intro for the beginning.

    I don’t mean to come off as a purist. After all, I’m using beatsync in traktor when I record it so that’s definitely not a purist thing. I just didn’t realize people were editing their mixtapes so heavily. 

  • http://www.facebook.com/rob.ticho Robert Ticho

    I’ve got to say, I’m surprised how much clean up/editing work people are talking about in their mixtape creation. I never do that. I like all the imperfections. The only thing I do is record a voice over intro for the beginning.

    I don’t mean to come off as a purist. After all, I’m using beatsync in traktor when I record it so that’s definitely not a purist thing. I just didn’t realize people were editing their mixtapes so heavily. 

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hey Robert, I’m also a big fan of live mixing and traditional DJing skills, but I think you have to separate that from multitracking. Multitracking is combining DJing with production so that you can remove certain limitations that affect you when you DJ live.

      If I listen to a multitracked mixtape, I don’t want to hear what sounds like a live mix, but with the mistakes edited out. I want to hear something that wouldn’t even be possible if the mix wasn’t multitracked. Even though you can use the content of my article to do the former, it’s aimed at people that want to do the latter.

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hey Robert, I’m also a big fan of live mixing and traditional DJing skills, but I think you have to separate that from multitracking. Multitracking is combining DJing with production so that you can remove certain limitations that affect you when you DJ live.

      If I listen to a multitracked mixtape, I don’t want to hear what sounds like a live mix, but with the mistakes edited out. I want to hear something that wouldn’t even be possible if the mix wasn’t multitracked. Even though you can use the content of my article to do the former, it’s aimed at people that want to do the latter.

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hey Robert, I’m also a big fan of live mixing and traditional DJing skills, but I think you have to separate that from multitracking. Multitracking is combining DJing with production so that you can remove certain limitations that affect you when you DJ live.

      If I listen to a multitracked mixtape, I don’t want to hear what sounds like a live mix, but with the mistakes edited out. I want to hear something that wouldn’t even be possible if the mix wasn’t multitracked. Even though you can use the content of my article to do the former, it’s aimed at people that want to do the latter.

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hey Robert, I’m also a big fan of live mixing and traditional DJing skills, but I think you have to separate that from multitracking. Multitracking is combining DJing with production so that you can remove certain limitations that affect you when you DJ live.

      If I listen to a multitracked mixtape, I don’t want to hear what sounds like a live mix, but with the mistakes edited out. I want to hear something that wouldn’t even be possible if the mix wasn’t multitracked. Even though you can use the content of my article to do the former, it’s aimed at people that want to do the latter.

  • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

    Just to clarify the intentions of this article – It was written so that you could create mixes that wouldn’t be possible to create live. It turns mixing from something where you’re bound creatively by physical and equipment limitations into something where you’re only really constrained by your own creativity.

    It was not intended as a way to make “perfect” sounding promo mixes that you can hand out to clubs while saying “this is how I sound when I mix live”. I feel that that’s dishonest and it’s not a concept that I want to promote. Editing a promo mix to correct the odd mistake or two is one thing, but passing off a multitracked mix as a live mix is another thing altogether as it doesn’t represent your true live mixing capabilities.

    I’m only saying this because I’ve seen this article linked to on sites that imply that it’s a way to clean up promo mixes to hand out to clubs and it’s not that. There are very few things in DJing that I think are cheating, but passing off a multitracked mix as representative of your live DJing skills is one of them.

    I hope people can appreciate what I’m saying here, cos I would love to hear what some of you guys come up with using the tips I’ve given in this article (and especially in part 2, coming next week), but I don’t want my intentions to be misinterpreted.

    Sigma. :)

  • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

    Just to clarify the intentions of this article – It was written so that you could create mixes that wouldn’t be possible to create live. It turns mixing from something where you’re bound creatively by physical and equipment limitations into something where you’re only really constrained by your own creativity.

    It was not intended as a way to make “perfect” sounding promo mixes that you can hand out to clubs while saying “this is how I sound when I mix live”. I feel that that’s dishonest and it’s not a concept that I want to promote. Editing a promo mix to correct the odd mistake or two is one thing, but passing off a multitracked mix as a live mix is another thing altogether as it doesn’t represent your true live mixing capabilities.

    I’m only saying this because I’ve seen this article linked to on sites that imply that it’s a way to clean up promo mixes to hand out to clubs and it’s not that. There are very few things in DJing that I think are cheating, but passing off a multitracked mix as representative of your live DJing skills is one of them.

    I hope people can appreciate what I’m saying here, cos I would love to hear what some of you guys come up with using the tips I’ve given in this article (and especially in part 2, coming next week), but I don’t want my intentions to be misinterpreted.

    Sigma. :)

  • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

    Just to clarify the intentions of this article – It was written so that you could create mixes that wouldn’t be possible to create live. It turns mixing from something where you’re bound creatively by physical and equipment limitations into something where you’re only really constrained by your own creativity.

    It was not intended as a way to make “perfect” sounding promo mixes that you can hand out to clubs while saying “this is how I sound when I mix live”. I feel that that’s dishonest and it’s not a concept that I want to promote. Editing a promo mix to correct the odd mistake or two is one thing, but passing off a multitracked mix as a live mix is another thing altogether as it doesn’t represent your true live mixing capabilities.

    I’m only saying this because I’ve seen this article linked to on sites that imply that it’s a way to clean up promo mixes to hand out to clubs and it’s not that. There are very few things in DJing that I think are cheating, but passing off a multitracked mix as representative of your live DJing skills is one of them.

    I hope people can appreciate what I’m saying here, cos I would love to hear what some of you guys come up with using the tips I’ve given in this article (and especially in part 2, coming next week), but I don’t want my intentions to be misinterpreted.

    Sigma. :)

  • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

    Just to clarify the intentions of this article – It was written so that you could create mixes that wouldn’t be possible to create live. It turns mixing from something where you’re bound creatively by physical and equipment limitations into something where you’re only really constrained by your own creativity.

    It was not intended as a way to make “perfect” sounding promo mixes that you can hand out to clubs while saying “this is how I sound when I mix live”. I feel that that’s dishonest and it’s not a concept that I want to promote. Editing a promo mix to correct the odd mistake or two is one thing, but passing off a multitracked mix as a live mix is another thing altogether as it doesn’t represent your true live mixing capabilities.

    I’m only saying this because I’ve seen this article linked to on sites that imply that it’s a way to clean up promo mixes to hand out to clubs and it’s not that. There are very few things in DJing that I think are cheating, but passing off a multitracked mix as representative of your live DJing skills is one of them.

    I hope people can appreciate what I’m saying here, cos I would love to hear what some of you guys come up with using the tips I’ve given in this article (and especially in part 2, coming next week), but I don’t want my intentions to be misinterpreted.

    Sigma. :)

  • Dirk

    Definitely not the greatest program for actually dj’ing… MixMeister is my weapon of choice for making mixtapes.

  • http://www.facebook.com/rob.ticho Robert Ticho

    In the next article I’d like to hear your thoughts on distributing the mixtapes. 

    I burn a lot of them to CDs and hand them out to people at music venues. Unfortunately many people rarely listen to CDs except maybe in their cars. 

    It’s all about iPod/iPhone these days. It’s not the same to chat with someone in a club and tell them to look you up on SoundCloud (I do like soundcloud) and handing out flash drives is too expensive. Thoughts?

    • http://www.facebook.com/pablostanley Pablo Stanley

      Here’s an idea:
      Business cards with a QR Code pointing to your Soundcloud page.
      That way, they’ll instantly load in their phones your music.
      It’s cheap and effective.

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hi Robert. As I said in another reply, I don’t think that a multitracked mixtape is great as a promo tool for trying to get live gigs simply because it represents an entirely different set of skills, so this article wasn’t written with that in mind.

      As far as distributing mixtapes goes generally though, I think it’s best to take a “use every tool available” approach. I use Mixcloud, SoundCloud and MixCrate, my own website, forums, blogs and torrents as well as social networks.

      In terms of approaching club/bar owners, I agree that using flash drives isn’t that cost effective, so a CD combined with a business card that has a link to your site (or SoundCloud/Mixcloud or whatever) is the way to go.

      • http://www.facebook.com/rob.ticho Robert Ticho

        Steve,

        I like the “use every tool available” mentality. For clarification, I’m not distributed mixtapes to get gigs. I have more gigs than I can handle. I distribute them to strangers to build new audiences on my off nights.

      • http://www.facebook.com/rob.ticho Robert Ticho

        Steve,

        I like the “use every tool available” mentality. For clarification, I’m not distributed mixtapes to get gigs. I have more gigs than I can handle. I distribute them to strangers to build new audiences on my off nights.

      • http://www.facebook.com/rob.ticho Robert Ticho

        Steve,

        I like the “use every tool available” mentality. For clarification, I’m not distributed mixtapes to get gigs. I have more gigs than I can handle. I distribute them to strangers to build new audiences on my off nights.

      • http://www.facebook.com/rob.ticho Robert Ticho

        Steve,

        I like the “use every tool available” mentality. For clarification, I’m not distributed mixtapes to get gigs. I have more gigs than I can handle. I distribute them to strangers to build new audiences on my off nights.

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hi Robert. As I said in another reply, I don’t think that a multitracked mixtape is great as a promo tool for trying to get live gigs simply because it represents an entirely different set of skills, so this article wasn’t written with that in mind.

      As far as distributing mixtapes goes generally though, I think it’s best to take a “use every tool available” approach. I use Mixcloud, SoundCloud and MixCrate, my own website, forums, blogs and torrents as well as social networks.

      In terms of approaching club/bar owners, I agree that using flash drives isn’t that cost effective, so a CD combined with a business card that has a link to your site (or SoundCloud/Mixcloud or whatever) is the way to go.

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hi Robert. As I said in another reply, I don’t think that a multitracked mixtape is great as a promo tool for trying to get live gigs simply because it represents an entirely different set of skills, so this article wasn’t written with that in mind.

      As far as distributing mixtapes goes generally though, I think it’s best to take a “use every tool available” approach. I use Mixcloud, SoundCloud and MixCrate, my own website, forums, blogs and torrents as well as social networks.

      In terms of approaching club/bar owners, I agree that using flash drives isn’t that cost effective, so a CD combined with a business card that has a link to your site (or SoundCloud/Mixcloud or whatever) is the way to go.

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hi Robert. As I said in another reply, I don’t think that a multitracked mixtape is great as a promo tool for trying to get live gigs simply because it represents an entirely different set of skills, so this article wasn’t written with that in mind.

      As far as distributing mixtapes goes generally though, I think it’s best to take a “use every tool available” approach. I use Mixcloud, SoundCloud and MixCrate, my own website, forums, blogs and torrents as well as social networks.

      In terms of approaching club/bar owners, I agree that using flash drives isn’t that cost effective, so a CD combined with a business card that has a link to your site (or SoundCloud/Mixcloud or whatever) is the way to go.

    • http://twitter.com/REALDJCHINO Freddy Hung

      today, almost everyone has an smarthphone of some sort of type. Those phones always have wireless conectivity and even bluetooth. you can bring a netbook/laptop/tabletop to the venue and start sharing your mixtape with the smarthphones of all. You can make some sort of sticker or something to let the people know !

    • http://twitter.com/REALDJCHINO Freddy Hung

      today, almost everyone has an smarthphone of some sort of type. Those phones always have wireless conectivity and even bluetooth. you can bring a netbook/laptop/tabletop to the venue and start sharing your mixtape with the smarthphones of all. You can make some sort of sticker or something to let the people know !

    • http://twitter.com/REALDJCHINO Freddy Hung

      today, almost everyone has an smarthphone of some sort of type. Those phones always have wireless conectivity and even bluetooth. you can bring a netbook/laptop/tabletop to the venue and start sharing your mixtape with the smarthphones of all. You can make some sort of sticker or something to let the people know !

    • http://twitter.com/REALDJCHINO Freddy Hung

      today, almost everyone has an smarthphone of some sort of type. Those phones always have wireless conectivity and even bluetooth. you can bring a netbook/laptop/tabletop to the venue and start sharing your mixtape with the smarthphones of all. You can make some sort of sticker or something to let the people know !

  • http://www.facebook.com/rob.ticho Robert Ticho

    I’d 

  • a guy named Eric.

    Im in the process of making a multitrack. I recorded a half hour live mix using Traktor Pro and an S4. Initially there were a few spots in the mix that I wanted edit or do a little differently. Im now sprinkling in some sound bites, loops, and extra effects on top that couldn’t be done live due to the lack of time, and a third hand. Lots of fun. 

    The article says to go all out with the editing, and if you don’t, you’re missing the point, which is great if your sole mission is to create an epic mix. But I would think that if you are using the mix to get work with clubs, you still want to keep it fairly realistic to your live skills and capabilities so you don’t look like an ass when you can’t back it up live. The main thing is to figure out the purpose of the mix, and then proceed from there.

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hey, Eric. I would never multitrack a mix to use as a promo tool to try and get gigs, simply because I feel that it offers an unrealistic picture of what you can actually do. Maybe I would use a multitracked intro/outro just to add a bit of flavour, or I’d edit out the odd mistake, but I think any promo mix should be representative of the skills you’d be displaying when you’re actually doing the job.

      Pz,

      Sigma.

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hey, Eric. I would never multitrack a mix to use as a promo tool to try and get gigs, simply because I feel that it offers an unrealistic picture of what you can actually do. Maybe I would use a multitracked intro/outro just to add a bit of flavour, or I’d edit out the odd mistake, but I think any promo mix should be representative of the skills you’d be displaying when you’re actually doing the job.

      Pz,

      Sigma.

      • Eric

        Cool. Do you guys have any articles related to creating a mix thats geared toward a promo type mix as well?

        • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

          I don’t have an article about it, but I’ll give you my thoughts on it: -

          1. Make a mix that represents your live DJing skills. So, don’t give out a perfect, edited and multitracked mix if that’s not how you sound when you mix live. A cool pre-made intro/outro is good though, and editing out a mistake or record skip is fine, but if you’ve gotta edit out lots of mistakes, then it doesn’t represent you.

          2. Musically, again, represent what you would do live, but in a condensed format. You want a 30-60 minute mix that shows off the kind of tracks you’d play. Consider the venues you’re approaching when selecting your tracks.

          3. Make sure the mix is recorded properly, so the sound quality is good, the levels are consistent (and no clipping!) and it’s split into separate tracks so the listener can skip around and check it out.

          4. Include a track listing and a business card. Make the CD (if you use CDs) look as professional as you can. I’ve used custom CDs that look like Technics 1200 platters in the past, but you can get regular CDs that have printable tops and print your logo, details etc. straight on there so it looks a lot nicer than a CD with some writing scrawled onto it.

          Hope that helps!

          Sigma.

        • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

          I don’t have an article about it, but I’ll give you my thoughts on it: -

          1. Make a mix that represents your live DJing skills. So, don’t give out a perfect, edited and multitracked mix if that’s not how you sound when you mix live. A cool pre-made intro/outro is good though, and editing out a mistake or record skip is fine, but if you’ve gotta edit out lots of mistakes, then it doesn’t represent you.

          2. Musically, again, represent what you would do live, but in a condensed format. You want a 30-60 minute mix that shows off the kind of tracks you’d play. Consider the venues you’re approaching when selecting your tracks.

          3. Make sure the mix is recorded properly, so the sound quality is good, the levels are consistent (and no clipping!) and it’s split into separate tracks so the listener can skip around and check it out.

          4. Include a track listing and a business card. Make the CD (if you use CDs) look as professional as you can. I’ve used custom CDs that look like Technics 1200 platters in the past, but you can get regular CDs that have printable tops and print your logo, details etc. straight on there so it looks a lot nicer than a CD with some writing scrawled onto it.

          Hope that helps!

          Sigma.

        • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

          I don’t have an article about it, but I’ll give you my thoughts on it: -

          1. Make a mix that represents your live DJing skills. So, don’t give out a perfect, edited and multitracked mix if that’s not how you sound when you mix live. A cool pre-made intro/outro is good though, and editing out a mistake or record skip is fine, but if you’ve gotta edit out lots of mistakes, then it doesn’t represent you.

          2. Musically, again, represent what you would do live, but in a condensed format. You want a 30-60 minute mix that shows off the kind of tracks you’d play. Consider the venues you’re approaching when selecting your tracks.

          3. Make sure the mix is recorded properly, so the sound quality is good, the levels are consistent (and no clipping!) and it’s split into separate tracks so the listener can skip around and check it out.

          4. Include a track listing and a business card. Make the CD (if you use CDs) look as professional as you can. I’ve used custom CDs that look like Technics 1200 platters in the past, but you can get regular CDs that have printable tops and print your logo, details etc. straight on there so it looks a lot nicer than a CD with some writing scrawled onto it.

          Hope that helps!

          Sigma.

        • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

          I don’t have an article about it, but I’ll give you my thoughts on it: -

          1. Make a mix that represents your live DJing skills. So, don’t give out a perfect, edited and multitracked mix if that’s not how you sound when you mix live. A cool pre-made intro/outro is good though, and editing out a mistake or record skip is fine, but if you’ve gotta edit out lots of mistakes, then it doesn’t represent you.

          2. Musically, again, represent what you would do live, but in a condensed format. You want a 30-60 minute mix that shows off the kind of tracks you’d play. Consider the venues you’re approaching when selecting your tracks.

          3. Make sure the mix is recorded properly, so the sound quality is good, the levels are consistent (and no clipping!) and it’s split into separate tracks so the listener can skip around and check it out.

          4. Include a track listing and a business card. Make the CD (if you use CDs) look as professional as you can. I’ve used custom CDs that look like Technics 1200 platters in the past, but you can get regular CDs that have printable tops and print your logo, details etc. straight on there so it looks a lot nicer than a CD with some writing scrawled onto it.

          Hope that helps!

          Sigma.

      • Eric

        Cool. Do you guys have any articles related to creating a mix thats geared toward a promo type mix as well?

      • Eric

        Cool. Do you guys have any articles related to creating a mix thats geared toward a promo type mix as well?

      • Eric

        Cool. Do you guys have any articles related to creating a mix thats geared toward a promo type mix as well?

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hey, Eric. I would never multitrack a mix to use as a promo tool to try and get gigs, simply because I feel that it offers an unrealistic picture of what you can actually do. Maybe I would use a multitracked intro/outro just to add a bit of flavour, or I’d edit out the odd mistake, but I think any promo mix should be representative of the skills you’d be displaying when you’re actually doing the job.

      Pz,

      Sigma.

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Hey, Eric. I would never multitrack a mix to use as a promo tool to try and get gigs, simply because I feel that it offers an unrealistic picture of what you can actually do. Maybe I would use a multitracked intro/outro just to add a bit of flavour, or I’d edit out the odd mistake, but I think any promo mix should be representative of the skills you’d be displaying when you’re actually doing the job.

      Pz,

      Sigma.

    • http://twitter.com/mlairdturner Matthew Laird Turner

      What are you using to route the audio and what program are your routing the audio into?

    • http://twitter.com/mlairdturner Matthew Laird Turner

      What are you using to route the audio and what program are your routing the audio into?

    • http://twitter.com/mlairdturner Matthew Laird Turner

      What are you using to route the audio and what program are your routing the audio into?

    • http://twitter.com/mlairdturner Matthew Laird Turner

      What are you using to route the audio and what program are your routing the audio into?

  • Guest

    Good article but the timeline is wrong – I made multitrack mixes as early as 1990 using a Tascam portastudio and a Roland S10 sampler, and I was inspired by a number of other DJs who had been doing this since the mid-late 80s (Trinidad’s Chinese Laundry was renown for his multitrack mix tapes throughout the Caribbean, Toronto, New York, Miami and London).

    The original Portastudio came out in the late 70s

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      Thanks for your comment and I stand corrected! That’s really interesting too. I’m going to have to try and track down some of those old mixes you’re talking about. :)

      • Beat_kiste

        check this :

        The Latin Rascals – the Godfathers of Multitrack Mastermixes (early 80′s done with reel to reel)

        and there is a good amount of Multitrack Mixes on vinyl too

        DJ Prince Ice – Dopemix Vol. 1 (1988)

        nice mix on soundcloud thanks

      • Beat_kiste

        check this :

        The Latin Rascals – the Godfathers of Multitrack Mastermixes (early 80′s done with reel to reel)

        and there is a good amount of Multitrack Mixes on vinyl too

        DJ Prince Ice – Dopemix Vol. 1 (1988)

        nice mix on soundcloud thanks

      • Beat_kiste

        check this :

        The Latin Rascals – the Godfathers of Multitrack Mastermixes (early 80′s done with reel to reel)

        and there is a good amount of Multitrack Mixes on vinyl too

        DJ Prince Ice – Dopemix Vol. 1 (1988)

        nice mix on soundcloud thanks

      • Beat_kiste

        check this :

        The Latin Rascals – the Godfathers of Multitrack Mastermixes (early 80′s done with reel to reel)

        and there is a good amount of Multitrack Mixes on vinyl too

        DJ Prince Ice – Dopemix Vol. 1 (1988)

        nice mix on soundcloud thanks

    • DjFields

      Chinese Laundry and Dr. Hyde were killing it back in the 80s.  Awesome djs who spun everything and had the best mixtapes. 

    • DjFields

      Chinese Laundry and Dr. Hyde were killing it back in the 80s.  Awesome djs who spun everything and had the best mixtapes. 

    • DjFields

      Chinese Laundry and Dr. Hyde were killing it back in the 80s.  Awesome djs who spun everything and had the best mixtapes. 

    • DjFields

      Chinese Laundry and Dr. Hyde were killing it back in the 80s.  Awesome djs who spun everything and had the best mixtapes. 

  • Rossi

    Would recording in Ableton be any good ?

    • deejaesnafu

      yes ableton is great for many uses including multi-tracking

    • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

      I’m not an Ableton user and have never used it, but the main requirements of the software you choose are that it lets you record in multiple tracks independently and allows you to edit what you’ve recorded, so that you can build up your composition in layers. Audition, for instance, has 128 separate tracks that you can record into. As long as Ableton allows something like this, then you’re fine. 

    • http://www.facebook.com/pablostanley Pablo Stanley

      Yeap. Ableton would actually be a better option.
      Don’t get me wrong, I love Audition (and I love that it’s on Mac now), but I only use it to edit samples, waveforms and final mixes.
      But I find Ableton easier to use for multitrack recordings.

    • Jamie Clark

      I was going to comment that the whole article should have focused on Live instead of other linear DAWs, because Live lets you sample for one hits, and create loops in the interface even further beyond what you can do on platters.

    • Jamie Clark

      I was going to comment that the whole article should have focused on Live instead of other linear DAWs, because Live lets you sample for one hits, and create loops in the interface even further beyond what you can do on platters.

    • Jamie Clark

      I was going to comment that the whole article should have focused on Live instead of other linear DAWs, because Live lets you sample for one hits, and create loops in the interface even further beyond what you can do on platters.

    • Jamie Clark

      I was going to comment that the whole article should have focused on Live instead of other linear DAWs, because Live lets you sample for one hits, and create loops in the interface even further beyond what you can do on platters.

  • Bigwev102

    I did my first mixtape using ableton on a APC40 starting out arranging  everything in the arrangement viewer then I hit the global record button and let it rip. I then finished it up in the session view adjusting levevals and effects before rendering it to wav file then used audacity to convert to MP3

    • Rswaterdamage

      You can also drop the wav. into iTunes and convert it to mp3 there as well. :)

    • http://www.facebook.com/pablostanley Pablo Stanley

      Audition is a good way to convert your wavs to mp3s too. And, you can add some ‘mastering effects’ to the final file :)

    • http://www.facebook.com/pablostanley Pablo Stanley

      Audition is a good way to convert your wavs to mp3s too. And, you can add some ‘mastering effects’ to the final file :)

    • http://www.facebook.com/pablostanley Pablo Stanley

      Audition is a good way to convert your wavs to mp3s too. And, you can add some ‘mastering effects’ to the final file :)

    • http://www.facebook.com/pablostanley Pablo Stanley

      Audition is a good way to convert your wavs to mp3s too. And, you can add some ‘mastering effects’ to the final file :)

  • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

    Hey guys, it’s D.J. Sigma here. I’m glad you enjoyed the article, although the bulk of the actual tutorial part will appear next week in part 2, so that will be more helpful from a practical point of view if you want to try making your own multitracked mix. 

    To respond to a couple of points, I beatmatch tracks manually before I record them into Audition. Other multitracking software may be able to auto-sync the tracks for you. You can adjust the tempo of a track after recording it, but in Audition that’s not a practical way to mix one track with another as it takes far longer than beatmatching manually.

    As for the mix running at the same speed throughout, it’s not really any different to mixing live in that respect. You can gradually increase the BPM of a track as you’re recording it. You can use other methods to go from a slower track to a faster track (or vice versa), such as power downs, spinbacks, using echo and then dropping the next song, using clips from movies or other quirky samples – there are a lot of things you can do!

    Regarding MixMeister, thanks for the suggestion. I’ll have to give that a go. I use Audition because it’s what I know, not because it’s necessarily the best tool for the job, so I’m always up for trying new software. I do like manually tweaking everything though, so Audition is great in that respect, but creating a multitracked mix with it can take a long time depending on the complexity.

    Thanks again, and please check out part 2 next week!

  • Daniel Hamilton

    Audacity is not great for complex multitrack editing, if you want to use 2 tracks with songs switching between them. You can use audacity for putting each song on a separate track, but that soon becomes difficult to change if you want to make an edit in the middle section. try and see if you can get a demo version of Audition and use that. imho.

  • Mr stifffy

    Im suprised you havent mentioned mixmeister… This is like a daw aimed at dj’s, you can record your songs 1 by 1 with scratching, fx, cue juggling etc, then paste them all together perfectly in mixmeister and get your levels and everything perfect, pan, eq, adjust tempo, and all match up beat perfect…

  • Vjstupid

    I use ableton for the more flashy mixtapes I make. I wish I could layer 6 tracks at once on the fly perfectly but Im not quick enough to cram them in (live I can manage an average of 2 songs per minute tops) your dead right its not cheating if your using it to create things that are impossible to do with the boundaries of a normal dj environment.

  • Scenic

    Great article. As a recording engineer first, and a DJ second, I can really relate to and appreciate this stuff. I hope many other DJ’s also take some time to study up on recording, editing, and mixing techniques as it gives you great insight when you get back on the tables.

  • Guest

    Great article. The one thing I was always wondering when doing layered mixtapes is how to beatmatch to the previous track. Of course you can manually beatmatch but doesn’t cause this to run the mixtape always in the same speed? Are you changing the speed of the record during the recording of the track, or are you applying speed changes in the software afterwards?

    • Scenic

      With “warp” functionality in most DAW’s, it’s quite easy to match 2 songs together even if they were recorded at different tempos. Although, digital DJ software makes it easy to sync all the songs to a master clock, allowing you to seamlessly layer audio in the DAW.

      • Guest

        But how would you then work with Tempo transitions creating Mixtapes that start with 80 bpm and going up to 120. When I mix i usually change the pitch during the track and then drop a new tune with this i then go up to 120bpm. This seems to be a lot of work to be done in a DAW, isnt it?

        • http://www.facebook.com/people/Steve-Bluck/100000873832072 Steve Bluck

          You can do just the same thing here. Here’s how I would do it, but there are other ways: -

          Let’s say that the last song in the project is 90 BPM. I would beatmatch my next track (so it’s also 90 BPM of course), then as I’m recording it, I can gradually slide the pitch slider up to increase the tempo. That way it starts at 90 so it will mix in with the previous track, but it ends at 95 (or whatever I increased the BPM to) ready for the next song.

          The last multitracked mix I created started at 85 BPM and went all the way up to 130, dropping down to about 90 for the last track, so I gradually (and smoothly) increased the pitch during some of the tracks.

          It’s not really that different from live mixing in that respect, only you’re recording each track separately.

          You don’t even have to record each track separately in fact, as you could do a live mix and edit/add to it, or do sections of live mixing, stitch them together, then edit/add to that.

        • Kundabuffer

          Actualy, most DAWS make this quite easy. You just need to put a tempo automation track into the session. How to do this differs from DAW to DAW, but most support it.

  • Pavel Pachouli

    Great article!