The key takeaway from the above is that you just don’t have the luxury of tightly beatmatching two disco tunes, and then laying one on top of the other in a heavily EQed minute-long blend. Disco and funk? Anything from 95 to 130 BPM is possible, meaning that the chance that you can realistically beatmix two random tunes is much slimmer. A typical house tune these days is (give or take) in the 123 to 128 BPM range, with similarly tight ranges applying to other EDM genres. We take that precision for granted now, but in 1970s, dance tracks were recorded with a live drummer. Because of this, the tempo of a typical disco track fluctuates ever so slightly, making keeping two tunes in sync by ear very hard. Live drummer. Early 1980s marked the advent of drum machines, which brought computer precision to the timing of drum kicks in dance tracks.This means that you have very little time to transition into and out of the track. Short intros and outros. Unless you’re playing a 12-inch “disco version” of a track (that’s how longer DJ-friendly remixes were called back in the day), what you have on your hands is a 3- or 4-minute tune with a very short intro and outro.There are three things that make mixing classic disco and funk harder than mixing your typical house or techno tunes. In this article, I’m going to share how I address some of the unique challenges to mixing these genres, as well as explain how I approach building disco and funk sets in general. KITTENS is an LA-based DJ and producer, known for her distinctive blend of hip hop and gritty electronic timbres.I fell in love with 1970s disco early in my DJ career, but I started to add disco and funk to my DJ sets only very recently. While she continues to actively DJ while also having a handful of powerful original releases today, KITTENS wasn’t always so comfortable with both pursuits. “I started just playing around with Ableton back in 2014,” she recalls. And I feel like that is so much harder because, you know, you just have expectations and high standards.” “My peers and the people around me – most of them started out as producers and became DJs, but I was going the other way… from having DJing under my belt already to learning how to produce. “I took a long time to be able to make stuff that I was actually not even proud of, but comfortable enough to share with people,” she continues. Learn how to make music transitions in this music production tutorial. Speaking in regard to sampling plugin Serato Sample, she says, “I feel like if something like this existed back then, when I was getting started, I wouldn’t have been so hard on myself and I would have felt more comfortable trying new things, because it was a bit more familiar, and it’s so user-friendly. This will teach you how to make transition sound effects. You see everything you need, there’s not a lot of extra stuff going on – and it’s kind of f**k-up proof.” #CREATE MUSIC TRANSITIONS DJ HOW TO# In the video above, KITTENS opens up an Ableton session and demonstrates how she uses Serato Sample to flip existing sounds into unique musical ideas. Effects are a cool way to get from one track to another. Try Serato Sample for free, and then Rent-to-Own the plugin for $4. Reverb allows you to create huge washes of sound. Slowly apply reverb to your current track while fading in the incoming track.
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