@@8andre3 She has been around only for a few years, she still has to build her legacy. But I agree with one comment, she's quite popular I'd say, she went on the top of the game in a flash.
If you listen to both tracks individually they are worlds apart, the Drax tune is much much faster so to make them match like that, that's where the beauty lies, that's the true art of mixing.
No art at all, that's bullshit. Imagine you're an artist who creates that track, you choose tempo, key, you hear it inside, you want it to be that way, but some hack instead of prepare enough decides to mix two absolutely different tracks, pitching your work by 20 bpm, and you call it art?
Ca Reem If I wanted to listen to a track exactly the way the artist intended to I‘d either stay home or go to a gig of said artist. When I go see someone else, I expect to see their creative talent. By your logic, remixes shouldn‘t exist
@@careem3463 DJs "pitching the hell out of tracks" have been the first steps in the creation of some of the more interesting styles of music over the past 40 years
if your mixing with vinyl you can mix in from one tune at a certain bpm and the next could be a fair bit faster and once mixed in you can increase the speed thus upping the key and that can build energy and tension unless your deck has key correction like some of the Stanton decks but you dont have to have it on .
it's not really about the transition, don't understand why people are talking about the mixing. It's just showing how she selects her next track. Second track has a harder snare which makes it more intense and makes the mix feel like it's "building energy"
@@baggers16444 definitely dance and listen and discuss. Have very select few whom I'd go to gigs with so we can discern in blissful harmony and discuss after or during.. But only with facial expressions.
I hope there are more analog mixers like this ex: (rodec, formula sound, etc.) along with vinyl turntables like technics and my mark. Lastly DJ's and producers that want to make tracks that make an impact on the dancefloor must get in touch with there underground roots. Regardless of the styles of the genre your into.
30 seconds is long? I think she was giving a short hand example. This mix isn't long, and at the basic level. Which was the point I think. The EQ was somewhat good good, although it did loose bass when in the mix. Less bass than when the song was playing normally, which defeats the point a little. The mixing of two songs gives that extra pounding of the kickdrum, and some songs join together with a phasing sound. Both deliver hype and energy. Title of video, building energy. Dropping the bass lower loses energy, and deprives you of that thump when two kickdrums are on top of each other. If the DJ did this for two whole hours I would think they were either being lazy or just didn't know how to combine two songs together. The use of the long crossfader was ineffective because the new song was apparent as the volume wasn't smoothed up. The short crossfader would have done exactly the same job. And you can use the short crossfader for Xfading, and playing with fading between the two records, give the crowd a few tricks with the fader, especially with techno. Using the long crossafde is about as useful as setting up the turntables in "battle " mode, but you don't actually beat juggle or scratch. It's kinda pointless, and the mixer is designed so you can transition between two songs smoothly with the middle Xfader. Now when mixes are 2-3 minutes long. Two songs go from break down to end (and vice versa), and one bass dops out, while on the other song the bass kicks in on the perfect timing. You do this for every song for your whole set. No awkward transitions when the mix is ejected 14 beats in or its pulled 3 phrases in, into a basic kickdrum. Beats matched well, a couple of seconds of beat match mistakes here and there because nobodies perfect, nothing more than touching the platter hard a few times. Then you are a good DJ. Its all about knowing your songs, and the placement of your mixes. The longer you can hold two songs together the better. As well as track selection. Its not only holding the songs together, its finding the songs that work really well together, and find the spots in the songs that do this. Back in the day you practised your records and knew them all inside out. Mixed them all multiple times to find those "special" mixes. Today songs are easy come, easy go, and you may not touch two songs together because you've downloaded 10 more songs the next week so it's harder to discover those special mixes and most DJs just slam songs together and hit the loop button so they don't have to take risks. In other words, very basic mixing to get by. You can also do 20 second "transitions", pogo hop up and down, twiddle the tops EQ as if you are getting electric shocks while the outcome is inaudible, beg for attention from the crowd and not learn a thing, then get offended when people call you a button pusher.
Could anybody please explain to me why one might leave all the EQ knobs up so high like we see here? Why not just turn up the gain and leave the EQ knobs at center?
Gwen Wolfenbarger this doesn't apply to this mix as much but record natively have low volume so a lot of the time you're playing with high gain and eq's turned up, at least in my experience.
Gwen, i always do the same in my mixes. This is a way to give a consistent colour shape to the songs (each one with different mix/master), in order to keep the same "pressure" on the dancefloor. Imo it doesnt make sense let the Eq always flatted. And yes, the most important thing is never clip the channel or master bus.
This mixer actually has the middle of the EQ moved clockwise a bit (I think because the range of it is -12 to +6 dB or something like that), so It looks like she's over-EQing.
dr rubuinsteinm when u do a live set of techno or ur djing in a club or venue ure not there to just press play. n walk away you're there to take em on a journey. you're there the guide em. tell em when to dance, when to chill out a bit, or when to get all excited for a big drop. you gotta use a high pass filter for that, the crowd go wild for that. But what i recommend is u keep it on a wee bit longer just to set yourself apart from everybody else. the crowd go wild for that, really wild for that. ur building up, hehe they'll start laughing cause they know your playin with 'em. some might get pissed but remember, stan yor ground. remember, you're in charge. you decide whether they dance or no
@@Brokout oh god you really watched and read all of this content, clearly stating that this mix shows how selections matters in terms of build-up in dancefloor contexts and the public's perception of these decissions. its not even about matching or the mixing itself
Exactly, also more is never more. Less is always more. Try Keeping low/mid/high knobs lower Than 12 oclock not past 3 That is insane. Completely the opposite. WOW. New DJs out there do the opposite of that you see here. And since you do have a gain knob use it to your ADVANTAGE if you want more heat not the eq section. Lol that was wrong in so many ways.
Not trying to be a smart arse or take anything away from her but this is what you’re supposed to do when you’re DJng isn’t it?Great mix nevertheless, both tracks were in the same key and the second one was more “energetic” because of the hyped percussive patterns. If mixing like this is a revelation to you, you’ve probably been doing it wrong.
You would be amazed how many people that (learn to) DJ do not feel (!) or hear the energy and have to be taught that hyped percussive patterns brings energy to the dance floor. I've seen many a DJ performing a mix by the numbers and acting like a DJ according to those numbers. ;)
That low for the second track went a little To high while eq'ing out the first track, if you do that it prevents turning up the low for the second half of the song to increase the energy and reduce repetitiveness
Wowowow WOWOWOWOWOW WOOOOOOWWWWW OMG WWOOOOWWWW WOOOwowowowowoOMGGGGGGGG THIS IS JUST WOWOWOWOWOWOWOWOWOW HOLY MOLY WOOOOWWWWWWW WOOOOOWWWWWO OMGGGGGG HOW DID SHE DO THIS????? HOOOWW ITS JUST WOWOWOWOWOWOWOWOW Cansomeone explain i mean its just genius!! GENIUS I TELL YOU!! WOW..............
So her tip to make things more intense, is to play two tracks together ? Basically what a DJ do, i don't criticize in a bad way, i just don't get the utility of what she showed us here
Listen to what she is saying. One way to build up intensity is by going from one song with a simple element like rhythm pattern oder synth lines to another one with more complexity regarding this element. Knowing your tracks well and selecting them accordingly is the lesson here.
Where she said snares, she meant hihats. Stop the time! Hahaha Cool nerd chick btw. Now use this technic to mix 3 records at the same time. You gotta understand how a quartz works. Hehehe
Chasen Smith nope. I know that 909 hihat pattern very well. Since mid ‘90’s. The higher energy comes from the hihats. Listen to liquid summer by josh wink. Same accent use and more random open hihats filling in the close hihats. Also sounds great on my tr 606. Reese - inside out/funk funk funk takes it even further with mixing 808 and 909 hats and rides. Study polyrhythms and you’ll understand.
@@Madrrrrrrrrrrr She definitely meant snares, i don't think Dr. Rubinstein is gonna confuse hi hats with snares haha. Although the hats do add energy too, it just wasn't what she was talking about.
@@dookuuuu I heard what she said. But listen to the tracks. Snares stay at the 2 and 4. Maybe a bit gated reverb with the second track. But the upstep in energy comes from the hats.
Wow. Whoever pressed up that vinyl on the right hand turntable should be hanging their head in shame at their poor handiwork... look how distorted and out of round it is! What on earth did they use?
Nothing special about this vinyl mix , I'm original club vinyl DJ from rave breakbeat era , no djs mixed records this way I'm telling you Back then it was sped up on pitch to get the flow going and mixing n blending with the faders , but lot of djs today seem to be stuck on master tempo and can't mix without it unfortunately in club's bars They can't mix with pitch fader and their ears
No disrespect but this is no where near the art of djing especially on vinyl. You are meant to mix songs much slower then this and aim for smooth transitions cutting off a song that quick kills the vibe as you are supposed to take the crowd on a journey.
Видеоклипы
![3-Decks Mixing - SPFDJ - My DJing Fundamentals [Preview]](http://i.ytimg.com/vi/rABXY1a18Fk/mqdefault.jpg)
"Aciiiid hehe"
ruclips.net/video/up1ptfsUfN0/видео.html
hehe
Probably the most underrated DJ on planet Earth? Her acid digging is just historical heritage of mankind.
Saw her love a couple a weeks ago and it was super good, lots of energy
What? Can't agree she is everywhere, played in some prettiy prestige places and has won the heart of techno fans around the world years ago
@@ekaterinastaneva9922 yeah but at the same time her name doesn't come up that often when people think about the best acid techno DJs
@@8andre3 She has been around only for a few years, she still has to build her legacy. But I agree with one comment, she's quite popular I'd say, she went on the top of the game in a flash.
*Acid...get you some! Dope mix!*
*For The Infinite Love of Vinyl!*
Her acid selection is just miles ahead of everyone else
Yeah, when I saw her she played Morgan's - Flowerchild from 1995. It's not like anyone else has ever played that tune. Miles ahead of everyone...
If you listen to both tracks individually they are worlds apart, the Drax tune is much much faster so to make them match like that, that's where the beauty lies, that's the true art of mixing.
No art at all, that's bullshit. Imagine you're an artist who creates that track, you choose tempo, key, you hear it inside, you want it to be that way, but some hack instead of prepare enough decides to mix two absolutely different tracks, pitching your work by 20 bpm, and you call it art?
Ca Reem If I wanted to listen to a track exactly the way the artist intended to I‘d either stay home or go to a gig of said artist. When I go see someone else, I expect to see their creative talent.
By your logic, remixes shouldn‘t exist
@@100nni don't you feel the difference between remix and pitching the hell out of track?
clearly you have never had the pleassure to hear her live.
@@careem3463 DJs "pitching the hell out of tracks" have been the first steps in the creation of some of the more interesting styles of music over the past 40 years
Dam that's a slow pitch on the turntable
Heard her once, a while ago and she absolutely rocked the place !
First time i saw someone with that mixer..nice work..
That Mixer tho 🤘🏼
beautiful, heard her in objekt klein a in Dresden years ago... , my friends and I were dancing like hell!!
that was really sick
Thanks, so that's how it's done.
Nice track!!
Great Mixer
if your mixing with vinyl you can mix in from one tune at a certain bpm and the next could be a fair bit faster and once mixed in you can increase the speed thus upping the key and that can build energy and tension unless your deck has key correction like some of the Stanton decks but you dont have to have it on .
ok now I need some punctuation
Great tips
Beautiful
Look at those pitches!
I knoooow
bosh! Goood mixer that. Lovley Eq on 'em.
What mixer is it?
her mixing skill set me back a little bit. a little bit where if you had to walk the distance you‘d run through three pairs of shoes. my favorite dj.
PERFECT!
Tight mix. Lesson 2: 'Coming in on the correct bar'.
shutup snob
@@bobbynetz5058 Never heard of him...
lol
@@InspiredGuesswork hahah
Wow, that was a skilled blend.
More of this!!!
Saw her at DGTL Amsterdam a couple weeks ago. Fuck she's good!!!
💣💣💣Dr. Rubinstein🖤🖤🖤
I wish this video was lasting for hours😍
i like her but don't get what was so special about this, just the most simple transition
it's not really about the transition, don't understand why people are talking about the mixing. It's just showing how she selects her next track. Second track has a harder snare which makes it more intense and makes the mix feel like it's "building energy"
I dont get why peopleare so obssessed about mixing skills and showing off.
Are you there to dance or to watch?
@@AmelAmaruRestrepoCasas definitely watch ...and write down the tracks .....in order.....and discuss with others ....in a sage and knowing way.
@@AmelAmaruRestrepoCasas seems like it shouldn't matter what one enjoys in a performance or why someone's there, ya know?
@@baggers16444 definitely dance and listen and discuss. Have very select few whom I'd go to gigs with so we can discern in blissful harmony and discuss after or during.. But only with facial expressions.
Vinyl Master :)
I hope there are more analog mixers like this ex: (rodec, formula sound, etc.) along with vinyl turntables like technics and my mark. Lastly DJ's and producers that want to make tracks that make an impact on the dancefloor must get in touch with there underground roots. Regardless of the styles of the genre your into.
Wow what a skills 👍 you’ve got
Bassiani soon !
Nice
LOOVE
Nice i like long mixes .That dj knows what shes doing
that's actually an insanely short mix for techno..... just over a minute?
30 seconds is long? I think she was giving a short hand example. This mix isn't long, and at the basic level. Which was the point I think. The EQ was somewhat good good, although it did loose bass when in the mix. Less bass than when the song was playing normally, which defeats the point a little. The mixing of two songs gives that extra pounding of the kickdrum, and some songs join together with a phasing sound. Both deliver hype and energy. Title of video, building energy. Dropping the bass lower loses energy, and deprives you of that thump when two kickdrums are on top of each other. If the DJ did this for two whole hours I would think they were either being lazy or just didn't know how to combine two songs together. The use of the long crossfader was ineffective because the new song was apparent as the volume wasn't smoothed up. The short crossfader would have done exactly the same job. And you can use the short crossfader for Xfading, and playing with fading between the two records, give the crowd a few tricks with the fader, especially with techno. Using the long crossafde is about as useful as setting up the turntables in "battle " mode, but you don't actually beat juggle or scratch. It's kinda pointless, and the mixer is designed so you can transition between two songs smoothly with the middle Xfader.
Now when mixes are 2-3 minutes long. Two songs go from break down to end (and vice versa), and one bass dops out, while on the other song the bass kicks in on the perfect timing. You do this for every song for your whole set. No awkward transitions when the mix is ejected 14 beats in or its pulled 3 phrases in, into a basic kickdrum. Beats matched well, a couple of seconds of beat match mistakes here and there because nobodies perfect, nothing more than touching the platter hard a few times. Then you are a good DJ. Its all about knowing your songs, and the placement of your mixes. The longer you can hold two songs together the better. As well as track selection.
Its not only holding the songs together, its finding the songs that work really well together, and find the spots in the songs that do this. Back in the day you practised your records and knew them all inside out. Mixed them all multiple times to find those "special" mixes. Today songs are easy come, easy go, and you may not touch two songs together because you've downloaded 10 more songs the next week so it's harder to discover those special mixes and most DJs just slam songs together and hit the loop button so they don't have to take risks. In other words, very basic mixing to get by.
You can also do 20 second "transitions", pogo hop up and down, twiddle the tops EQ as if you are getting electric shocks while the outcome is inaudible, beg for attention from the crowd and not learn a thing, then get offended when people call you a button pusher.
I like your nails 💅 😍
Could anybody please explain to me why one might leave all the EQ knobs up so high like we see here? Why not just turn up the gain and leave the EQ knobs at center?
I was also wondering why that is
@@595EuroPerEye ohhhh that makes sense. Thank you!
Gwen Wolfenbarger this doesn't apply to this mix as much but record natively have low volume so a lot of the time you're playing with high gain and eq's turned up, at least in my experience.
Gwen, i always do the same in my mixes. This is a way to give a consistent colour shape to the songs (each one with different mix/master), in order to keep the same "pressure" on the dancefloor.
Imo it doesnt make sense let the Eq always flatted.
And yes, the most important thing is never clip the channel or master bus.
Also you must what to bring different elements in at different times, not all
in the same proportion.
Aciiiiid!
Mega
💘
The first track seems to be way more energetic than the second one! Great tune though - ID anyone?
Bloody Mary - Knockout
Genius
Why were all her EQs at 2 o clock? 🤔
That eq’s???
This mixer actually has the middle of the EQ moved clockwise a bit (I think because the range of it is -12 to +6 dB or something like that), so It looks like she's over-EQing.
what mixer is that?
I think it says Soundcraft Urei 1603 :)
💙❤️💙❤️💙
Как её в соцсетях найти? м?
It feels like she questions all of a sudden at the end of the sentence ?
Well taught.
I hate myself for loving your accent so much.
looking for the ID on that first track?
Bloody Mary - Knockout (Original Mix)
Please, does anyone know the tunes ?
1st: Knockout - Bloody Mary
drax interior
Acid 🤣🤣🤣✌️
dr rubuinsteinm when u do a live set of techno or ur djing in a club or venue ure not there to just press play. n walk away you're there to take em on a journey. you're there the guide em. tell em when to dance, when to chill out a bit, or when to get all excited for a big drop. you gotta use a high pass filter for that, the crowd go wild for that. But what i recommend is u keep it on a wee bit longer just to set yourself apart from everybody else. the crowd go wild for that, really wild for that. ur building up, hehe they'll start laughing cause they know your playin with 'em. some might get pissed but remember, stan yor ground. remember, you're in charge. you decide whether they dance or no
wise words limmy 😂
staun yer groond
thats called beat matching. thats it.
neoN I have no idea why they posted this video up, she’s just mixing, what’s the deal?
@@Brokout oh god you really watched and read all of this content, clearly stating that this mix shows how selections matters in terms of build-up in dancefloor contexts and the public's perception of these decissions. its not even about matching or the mixing itself
acid 303 omg
Gotta say i find this mix quite messy and not giving a good example of 'building energy'. And if it did than the point didn't come through to me.
yes. and shes overrotating the knobs
@@Lukas-dr7vo doesn't really matter when you have the main gain quite low right..
all that knobs
Exactly, also more is never more.
Less is always more.
Try Keeping low/mid/high knobs lower Than 12 oclock not past 3
That is insane.
Completely the opposite.
WOW.
New DJs out there do the opposite of that you see here.
And since you do have a gain knob use it to your ADVANTAGE if you want more heat not the eq section. Lol that was wrong in so many ways.
@@Ronoez no not the same.
Gain boost is different Than eq boost.
Not trying to be a smart arse or take anything away from her but this is what you’re supposed to do when you’re DJng isn’t it?Great mix nevertheless, both tracks were in the same key and the second one was more “energetic” because of the hyped percussive patterns. If mixing like this is a revelation to you, you’ve probably been doing it wrong.
You would be amazed how many people that (learn to) DJ do not feel (!) or hear the energy and have to be taught that hyped percussive patterns brings energy to the dance floor. I've seen many a DJ performing a mix by the numbers and acting like a DJ according to those numbers. ;)
What’s the track id on track number 2 ?
Bloody Mary - knockout
I think I make mixing every time soo? .. Or I learn it right from the begin 20y ago.. Cool 😎 video
Who is the first record?
It's Bloody Mary
aced
second track ID?
drax - interior
That low for the second track went a little To high while eq'ing out the first track, if you do that it prevents turning up the low for the second half of the song to increase the energy and reduce repetitiveness
?
Every knob in the EQ section was at 2:30?.... ok, fuck the quality signal then.
ahahahahahaha
So just throwing tracks wherever you want in Measure is how it’s done now?
Duh
Wowowow WOWOWOWOWOW WOOOOOOWWWWW OMG WWOOOOWWWW WOOOwowowowowoOMGGGGGGGG THIS IS JUST WOWOWOWOWOWOWOWOWOW HOLY MOLY WOOOOWWWWWWW WOOOOOWWWWWO OMGGGGGG HOW DID SHE DO THIS????? HOOOWW ITS JUST WOWOWOWOWOWOWOWOW Cansomeone explain i mean its just genius!! GENIUS I TELL YOU!! WOW..............
So her tip to make things more intense, is to play two tracks together ? Basically what a DJ do, i don't criticize in a bad way, i just don't get the utility of what she showed us here
She is highlighting the importance of selection. Technique is present here, just not explained.
Listen to what she is saying. One way to build up intensity is by going from one song with a simple element like rhythm pattern oder synth lines to another one with more complexity regarding this element. Knowing your tracks well and selecting them accordingly is the lesson here.
The first track has a softer snare, you can feel the energy build up when she is bringing in the second track that has a more harder snare.
It just works, ok?!
Blue nail polish.
Where she said snares, she meant hihats. Stop the time! Hahaha Cool nerd chick btw. Now use this technic to mix 3 records at the same time. You gotta understand how a quartz works. Hehehe
Nah she def meant snares
Chasen Smith nope. I know that 909 hihat pattern very well. Since mid ‘90’s. The higher energy comes from the hihats. Listen to liquid summer by josh wink. Same accent use and more random open hihats filling in the close hihats. Also sounds great on my tr 606. Reese - inside out/funk funk funk takes it even further with mixing 808 and 909 hats and rides. Study polyrhythms and you’ll understand.
@@Madrrrrrrrrrrr She definitely meant snares, i don't think Dr. Rubinstein is gonna confuse hi hats with snares haha. Although the hats do add energy too, it just wasn't what she was talking about.
@@dookuuuu I heard what she said. But listen to the tracks. Snares stay at the 2 and 4. Maybe a bit gated reverb with the second track. But the upstep in energy comes from the hats.
Wow. Whoever pressed up that vinyl on the right hand turntable should be hanging their head in shame at their poor handiwork... look how distorted and out of round it is! What on earth did they use?
It's the slipmat, not the record.
Should learn to drop a track
2nd one came in way too loud lol
Nothing special about this vinyl mix , I'm original club vinyl DJ from rave breakbeat era , no djs mixed records this way I'm telling you
Back then it was sped up on pitch to get the flow going and mixing n blending with the faders , but lot of djs today seem to be stuck on master tempo and can't mix without it unfortunately in club's bars
They can't mix with pitch fader and their ears
GET OFF MY LAWN!
was ist daran dj art? sie mixt alte "TROPE" Platten - und nu?
No disrespect but this is no where near the art of djing especially on vinyl. You are meant to mix songs much slower then this and aim for smooth transitions cutting off a song that quick kills the vibe as you are supposed to take the crowd on a journey.
Sorry but this NOTHING special ... °_°
Lame...