When I said nudge forward I meant only by a tiny fraction of a kick duration. Itll still sound matched but remove the phase cancellation.
When I said nudge forward I meant only by a tiny fraction of a kick duration. Itll still sound matched but remove the phase cancellation.
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When I have phase-cancellation on the bass, I tend to use the EQ to kill the main track's bass and use the transitioning track's bass. Another method is to use a filter to introduce the transition track (this works very well)... or just short cut into the next track (via vinyl brake or simple cut).
There's many ways to address this. The thing to realize is that long drawn-out transitions won't work.
-KLH
Didn't read thread.
Beats may be matched but you don't have them on top of each other perfectly.
Tempo is aligned, but phase position is off. Either nudge the track with the spindle, slow it down by gently running your finger over the platter strobe dots, push/pull the platter, ride the pitch fader and stop when your ear hears it properly aligned or push the nudge button and call it a day. Don't always trust grid markers as the start of a beat transient.
Your ears will tell you things your eyes cannot....
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The sine wave basses on the same note are likely to cancel, that's the only sound I can think of being that common it's something you'd run across. You are probably also sticking pretty close into one genre with simple basses.
What's cool is if you get them a bit off and they are detuning and therefore chorusing instead of canceling. This way you make it wide before you take it centered when the new track runs solo.
lol i didnt realise the science on beatmatching was so compacted, i just get em lined up and mix, not even thinking about having the beat slightly off etc, is that not just reading into it a bit deep?? i dont think we need anything else to think about whilst were picking tunes, lining up, looking to add a bit of efx, layers etc
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