To Beatmix or Not to Beatmix 2

March 12, 2018 by Brian S. Redd

Welcome to another “To Beatmix or Not to Beatmix” video. Got a good response from the last one we put up yesterday. So we’ll do another one and expand a little bit on some of my personal philosophy on this. This is not gospel. This is just how I feel about things and what I’ve observed from my audiences over the past years. Long time.

Anyhow, what I’m suggesting is is that it’s not enough to know how to beatmix. You need to know when to do it and why to do it, how to do it, obviously. But just because you can doesn’t mean you should. If you’re doing the same beatmix all night long, whether it be two, four, or eight measure transitions, it gets repetitive after a while. I’ve been on the dance floor and I’ve seen it happen from my — from a crowd perspective.

When I first hear it, I’m, like, “Oh. Something’s coming. Something’s different. What’s going to happen? It’s coming. Oh. Okay. I know this song. I wasn’t sure what it was, but I know it. It came in on the beat mix.” After about 20 minutes of this, you’re, like, come on, let’s go. Next tune, please. Why do we need the stupid transition where we really can’t tell what’s going on between every song?  

So I’ve lined up a couple of songs here. And before I play them, I just want to say that there’s heavy flanger on this. And the reason that I’m doing this is because I don’t want to get flagged. I’m trying to make the song sound a little different, but you should get the general idea.

Now, these first two songs are rock songs from the early ’80s. You should know them. I’m going to play transition number one for you beatmixed. These tunes are at, let’s see, 126 and 128 BPM. All right. Here it comes, the mix. So two rock songs with a live drum that you can absolutely beat mix. They’re only 2 BPM off. So not a big deal. You know, most monkeys with pitch control can make that change and beatmix it. Absolutely. They are in different keys, but I don’t think it sounds terrible. However, I don’t know if this is effective — as effective as mixing it in another way.

Let me play you part two. This is more of a slam mix of this. Check it out. Okay. The slam mix, in my opinion, was much more dramatic than the beatmix. When you’re beatmixing, what you’re kind of doing is playing the Jedi mind trick on your dance floor. They’re already dancing to something and now you’re going to beatmix in something else and they’re going to be, like — they’re not going to notice. The same beat’s going on. I’m just going to stay out here.

Well, sometimes we can’t assume everybody who likes John Cougar is going to like AC/DC because they’re not. If we make this more dramatic in the mix, maybe somebody who was waiting for an AC/DC song is alert not. Oh. The AC/DC song came on. I got to go dance. Put my drink down. I’m going to go.

Something else that I try to do is keep things as familiar as possible. Why? Because people like things that are familiar. And what’s familiar to them? The radio edit tracks. Typically what they’re hearing on the radio or what they’re hearing on the CD they bought in the car, whatever. If we heavily remix tracks all the time or we get into long 12 extended versions of songs, they’re no longer familiar to people. So sometimes it’s best to just play the songs that they know in the fashion that they’re familiar with. And a lot of times, they’ll appreciate that more than a heavily remixed track. It’s all psychology.

I just watched a video by Ben Stowe called Event Lighting. And a lot of the technical stuff gets real geeky. Some of it we know, some of it don’t. But the most interesting part of this video was where he talked to two psychiatrists at the beginning on how the brain works with lights. There’s a real psychology to this. I recommend this video to anybody, by the way. It’s so interesting. Just that bit, it just blew my mind. I got to watch it again because there’s a lot of stuff I didn’t absorb and I want to absorb it because it’s fascinating. If there’s that much psychology on lighting, imagine how much psychology there is with the music itself and how it’s presented to the people.

So that’s it. That’s a quick part two for you. I hope you got something out of it. If you got any questions or if there’s something you want me to cover I am not covering, give me some ideas. I’ll do my best to do that. So let me know down here in the comments sections. Practice, and enjoy.

We’re going to do one more “To Beatmix or Not to Beatmix” video; this is number three. So go back and watch the last two if you’d like and leave comments and rate, please. Appreciate it.

 

Brian S. Redd Brian S. Redd (56 Posts)

Although he can be seen Djing in places like Los Angeles, Las Vegas, or even the UK & Europe, DJ Brian Redd is proud to call Milwaukee home. Brian specializes in mobile events such as wedding receptions, corporate events, quinceañeras, parties and special occasions. He has also been a resident DJ at several major Milwaukee night clubs and also performs at Summerfest, the world’s largest music festival. From the beginning Brian has had a passion for music. His talent emerged at the young age of 13 when he was asked to DJ at a local skating rink. After realizing his calling he progressed on to weddings and mobile gigs and by age 18 he was DJing regularly at nightclubs. He understands people & what motivates them music wise, which helps keep them on the dance floor. Brian has been recognized for his work in various DJ publications both domestic and abroad. He has made a name for himself in the DJ community where he is known and respected as an industry consultant. This recognition has led to his contributions as a writer for Disc Jockey News. A true international DJ, Brian travels worldwide to not only perform but to educate and share industry ideas and concepts with DJs everywhere. His career has gone to the next level working with industry leading manufactures bringing new products and services to his peers helping them become better DJs.


Filed Under: Digital DJing, Mobile DJ Performance Tips