Tips and Tricks - Turntablist Techniques Part 8

Hi all, this is the 8th part of Turntablist Technique Article sets. Enjoy:)


ONE, TWO, THREE, FOUR

As you learn how to beat-mix, you will start to listen to music differently. Analyzing music as groups of bars helps you recognize common patterns in all music. Recognizing those patterns can help you better mix two songs together, because you will have a clearer idea about how to match the patterns.

Hip-hop and dance-music tracks typically consist of 4-beat bars, with 4, 8, or 16 bars forming series of logical, almost mathematical, groupings. A song's sounds will usually change predictably after that established number of bars. For example, new musical elements such as a busy hi-hat pattern may be introduced, whereas others, like a guitar riff, may disappear. You probably already understand that rhythmic structure on an unconscious level. Think about it: when listening to a mixed CD, don't you know when the kick will come in or when the bass will disappear for the breakdown? Listen to a variety of songs while counting beats and bars. Concentrate as you nod your head to the beats, and you should begin to grasp those mathematical patterns.

Proper beat mixing, however, requires more than just beat and pattern matching. Beyond a song's tempo and structure are other melodic elements, including, most importantly, song key — a more musical than rhythmic quality. Explaining the concept of correct and incorrect keys is beyond the scope of this lesson; suffice it to say that if the keys don't match or complement each other, you will probably know. Even if the beats are matched as perfectly as a new pair of sneakers, your mix still won't sound right if the musical notes clash.

PRACTICING BEAT MATCHING

You should already know how to release a second record in time with the first during a beat mix using two copies of the same record with the pitch set to zero. Using those same records, you can also practice other beat-matching techniques. Play the first record but randomly adjust its pitch to something other than zero. Without noting exactly where the setting is, cover the pitch fader so that you can't see the setting. Adjust the second record's pitch setting by ear until the records match again. Repeat that exercise, mixing the two copies of the song back and forth until you can quickly determine the rough zone in which to place the pitch fader.

One quality of a good beat mixer is the ability to adjust the incoming record manually to get it back on beat if the mix drifts off. No song — or any beat mix — is perfect. Frequently, a perfectly matched pair of songs will go off beat suddenly or drift off beat gradually. That happens for a variety of reasons: a song's tempo may change slightly, or your mix may have been somewhat off beat to begin with — a discrepancy not noticeable at first that grows more significant as the records play on. It's important to be able to quickly and precisely adjust the records to get them back in sync by making adjustments to the pitch fader.

To practice, set the two copies of the record to the same pitch setting and play them simultaneously. Hopefully, they will stay on beat with each other. Adjust one of the record's pitch faders up or down and count to five. The mix should begin to drift off beat. Gently put your hand on the outer edge of the vinyl and practice pushing the slow record or dragging the fast record so that you bring them back into sync for a beat or two. Then quickly adjust the pitch settings so that the records continue to play at the same tempo.

Being able to save potentially embarrassing mixes on the fly helps you mix more quickly and improve your ability to read beat-mixed records. No one wants to be a train wrecker.

SPECIAL EFFECTS

As the saying goes, once you know the rules, you can break them. The same applies to beat mixing. Once you have the concept down, you can experiment to perform some pretty cool audio effects. Here are a couple to try.

Flanging. Beat-match two identical records so they play perfectly in sync at precisely the same spot on both records; then adjust one very slightly so it drifts a tiny bit out of sync. The adjustment required is minimal, and you can achieve it simply by pinching the platter spindle with your fingers for a moment. If you do it right, you will hear a natural flanging effect. Adjusting the amount of drift can vary that effect, sometimes to the point of cutting out the bass tones of the song you are playing.

That concept may be difficult to grasp on paper, but if you have been trying to match beats with two copies of a song, you have probably already heard that effect. Use it to add variety to your scratch performances.

Echo. The basic echo effect is also achieved by using two copies of the same record. Instead of matching them to play simultaneously, match them so they are off by a half or whole beat. The best setting varies from song to song, so experiment. By playing only the leading record and alternately opening and closing the crossfader, you can create an echo effect on the beats or vocal parts of the song. When pulled off correctly, the aptly named echo effect could make the phrase “That stuff is really fresh!” sound like “That that stuff stuff is is really really fresh fresh!”

That is also one of the most basic concepts behind beat juggling, a technique involving vinyl manipulation and speed in which you play alternating parts from two different records. By understanding and being able to perform the basic echo, you will be on your way to understanding the basic skills of beat juggling.

Practicing the beat-mixing skills and techniques outlined here and in last month's column will help you not only master the art of beat mixing but also better understand music composition and become a better DJ and remixer.

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