Transitioning with Effects and Tempo
Well we have some time I do want to show you really quick how to do um how to take what we did in the earlier session with the effect and then be able to transition into something um so I'm gonna just play to two different records uh who is that last track we're practicing want to shout out to those guys second um this is alive and I'm going to need zach to give me a heads up for who the artist was j fennessy and zach powers I think tj finnessey or finance and fennessy finnessey deejay finnessey and zach powers yeah thank you to those guys for allowing us tio use their track with friends seen yeah and estrada bradshaw suite go ah let's see I wonder if there's an actual francine and estrada bradshaw out there that might be a good thing that google um all right so let me go back to this ah creative live crate all right I'm going to use um two songs of different tempos song it's a little bit higher in tempo here so I'm gonna show a few different ways to transition one of most popular ways...
is an echo so actually let me let me stop using the mic here for a second you know what I'm going to use them like to let me show you how this weekend transition all this here you recognize this sound give me give me one second you recognize you recognize it now? Okay, so if you two ways that I could do this first one is I'm going to use an echo I'm gonna blow this thing out let me collect my echo on my affection in here. Wait. All right? So that's how the effect is going to sound so let me go back and what we want to do is you want to use the right point in this record or the right right sort of place to echo out so that would be at the end of a phrase ah, and probably would be best at the end of a, um like a section. So the end of, like, the course to then echo out at the end of the course, probably the best way to do this thing being that it's mostly just instrumental final race that sounds pretty interesting. There's also this point that's coming up, I think where you can drop sound clean that up a little bit, so, um, I keep hitting the volume off, which he shouldn't do it get this stuff. Okay, so we go back a little bit. I'm gonna hit an echo on let it tail off, drop on the one into the next track. Ok, wait, wait okay, so I'm using that as a way of, like, echo to then drop on the one that you noticed I just hit start I didn't do any other sort of fancy scratch anything like that but I could I can incorporate a scratch that way so we wanted back again student again this's really important to mention that when you are shifting tempo uh you are deliberately wanting people to stop so if your plane you're playing for a dance for and you are shifting tempo, you don't want to sneak this in like nobody's going to seamlessly be ableto like they're dancing to something that's at this tempo and then you're sneaking something in and yeah, they're going to catch it right away and just like, oh yeah ok, cool no, they're going to stop for a second and you want them to stop you want to create that separation? Um, you know, we talk about we're talking about this yesterday actually I think that lunch about silence and how silence as a deejay often the general consensus is like no, you never want silence, you don't want silence there's times where you want silence and having some silence can create a dramatic effect can allow for this now this and make a nicer sort of transition, so don't be afraid of the silence piece of it when it's planned that's good science when it's unplanned yeah that's the signs you should be afraid of is the unplanned silence so is every okay on this this echo high how I did that um sweet okay so I hit the echo on I uh hit stop on this this thing kind of echoes itself out by then drop into something else I can obviously as a extra piece can get on the microphone say something to then like a transition that's over obviously you can see though this then becomes a challenge of only have two hands like microphone switch hit echo like do all that like you can get difficult if you trying to do too much so um that's one way another way transitioning tempo there's a this is built off of what happens on the turntable so let me show you kind of how this works on a turntable okay so this's called like a platter killer power kill right we're just kind of like slows down you could see that I could use this type of transition to be ableto go from high to low also so I can change the way that this turntable breaks eso in this case I just killed the power and that's what transition it down that's the origin of of something like this of this sort of sound effect but I can also do that by changing the break so I changed the brake the brake speed the way that it breaks right so then that slows down to it gives it a different affect power can be longer so you have to do some testing of this to figure out what is the best way to do that um there's obviously ah where's it c t j um there's a break ah, just here too on the c t j so I can do that on the seizure as well um and then I can do that on a controller to so stop stop time slow let's see what this looks like? Wait, so let's make that a little bit less let's make this stop stop stop time a little bit less like I'm saying make sure herman with so that finishes a little bit faster make sure that sounds pretty cool, right? So cool make sure you've experiment with the stop time um figure out like where it should be at some of this is also going to be adjusted on the fly if for some reason you don't you hit it and it stops too too soon you can also use like the platter as a as a way of doing that I mean that way like the platter as a way of like up stopped you really let me spin it back and that actually goes for a good thing tio forward if you spend back though one of the best the better ways to do would be teo kill the low on spin before this been back because that sounds better than theo the kicks get muddy so if you take a lot of the low frequency out before back it's going to give it a little bit higher of ah sound um another way to do this would be to set a loop real quick luke I'm gonna set a uh wait it is I say I said an auto lou you know just like a little one beat loop everybody's gonna be like what is happening this is looping something skipping what's happening and as soon as they stop and look at you you're already into the next one and I got it what's important is the song that you go into two should be a song that like hits hard like that that's also a big part of this when you're transitioning tempo you want to make sure that you're choosing songs that start with like a recognizable like oh because people had to stop and they're like what and then you drop something crazy turn down for what like and people go nuts or whatever you know like that's a good situation for how to use a temple transition there's a ton of them there's a ton of other ones that you conduce you um these are just a couple that you can practice so we have a turntable off like a kill platter they're using like the break speed or using off on the turntable um we also have a quick loop that you can set a quick auto loop and fade that out. You can combine some of those things by using a loop and then killing the power. Some point that you like used combo of them up can also use an effect like a delay. Then, like, let this the laboring out and then drop on the one going into the song you can scratch and drop on the one you can get a few point and then drop. Um, you could simply just start it, but either way, like, you know, have confidence when you do these things key to all of this, from the mikes to the temple transitions is all confidence. Confidence comes from practice, so the key to all of this really is practice and really knowing the material like what's her name, francine and his name is estrada, and their name now is bradshaw. You know, and like, knowing that and like making that knowledge that, you know it is super important.