Transitioning from high BPM (EDM etc) to Low BPM (Hip-Hop etc)

[Mixxed]

Transition tracks FTW.

[mosca]

So many ways to transition in a song of very different BPM. A slam is not the worst thing in the world, and crowds of mobile gigs (as in weddings) are much more forgiving about it, even expect it as they understand there are several different generations to cater to at the event so don't sweat it--I never did when I did weddings years back. So long as I played in blocks--extended sets of various genres before moving on to another block--they were pretty freaking satisfied so long as each individual block was arranged properly whether by song selection or beat-matched, whatever the particular genre called for.

Clubs are less forgiving, and nuance and timing make a big difference in major transitions. If you can logically, and over a good span of time, transition naturally from song to song to go from 130 to 125 to 120 to 115, etc, or in reverse, that's optimal, but for today's commercial clubs that's hardly feasible and you will find yourself needing to go from 130 to 90 instantly (or the reverse), primarily because there isn't a lot of material available in the 100-125 range. At least, not a lot of current material commercial crowds will want to hear. My personal preference whenever slamming from EDM to HH is to make sure that first HH song is iconic or at least something the crowd is waiting for. If they can identify the song in the first few notes, then a slam won't be a total disaster, depending how you deliver it.

Pre-produced transitional tracks work but I'm not a big fan of them. They're used by so many DJs that crowds hear the same transitional tracks (and the same mash-ups, but that's another thread) to the point that DJs sound all the same to them after they pick up on these cues. If you make your own transitional tracks (or mashups, for that matter), then knock 'em dead, play them at will.

The one thing I really don't like hearing is a DJ who feels the need to beat-match songs of extreme bpm differential, especially if the songs in question are widely recognizable or classics. If you can loop the first bar of a song where it's not instantly identified by the crowd, and mix said loop out of a previous song then pitch the loop slightly up or down before releasing the loop into the first notes that are then identified by the crowd? Then bravo, well done. But if you take a song that is widely known or iconic and pitch it up or down 10 or more bpm just to make it blend with the previous track, it will be noticed by the crowd when you gently bring it to its original speed, regardless if you have the pitch bend locked in.... an even worse offense is if you keep a highly recognizable song at its new, highly-corrupted speed throughout the time you play it. Can't tell you how many times I've heard the original "Billie Jean" played at 130 bpm or "This is how we do it" at 115 or more. Just doesn't sound right.

ETA: mind you, that last sentence I was referring to original recordings of songs that are highly sped up or slowed down. Remixes are a different story as much faster or slower versions are expected and (usually) sound fine.

[Drewbdo]

There are a few tricks that would work for club gigs, festivals, stuff like that, but it really doesn't apply to mobile since you're all over the scale. For mobile gigs, I rarely do any mixing because of how much the BPM fluctuates throughout the night.

For mobile gigs, I rarely do anything except mixing because of how much the BPM fluctuates throughout the night.

I average ~100 events annually, including 30-35 weddings yearly, corporate, schools, and private parties. Occasionally, I get a small club or bar. For most events, I mix almost the entire event, or at least the dance portion of weddings, networking portion of corporate gigs, etc. That lets me play most requests, no matter the BPM.

So many ways to transition in a song of very different BPM. A slam is not the worst thing in the world, and crowds of mobile gigs (as in weddings) are much more forgiving about it, even expect it as they understand there are several different generations to cater to at the event so don't sweat it--I never did when I did weddings years back. So long as I played in blocks--extended sets of various genres before moving on to another block--they were pretty freaking satisfied so long as each individual block was arranged properly whether by song selection or beat-matched, whatever the particular genre called for.

For a quick transition from 114 to 65, for example, I'd probably loop the 114, then slowly bring the volume down, and announce drink specials or something, then begin the 65 BPM song from the start. This is also a great way to clear the floor at a bar/club. (You probably already know this, but you want to clear the floor from time to time, so the patrons will spend money at the bar. If the customers are on the dance floor the whole night, the bar won't sell as much. I learned that the hard way... I kept a packed dance floor, but the manager was mad because sales were lower. Now, I try to rotate the floor every 20-30 minutes. )

If you have more time, you can transition over a few songs or genre blocks....

For example,
- disco 104, 106, 108, 112 BPM, into
- 90's hip-hop 110, 114, 115 to
- 80's pop at 118, 120, 125, to
- current Top 40 at 125, 128, 130,
- to a 65 BPM slow grind.

I usually only play about half of most songs (intro, 1st verse, chorus, outro), so this doesn't really take very long.

I also like to find a song with an extended instrumental bridge, and set a loop in Serato. When it hits that, throw in the hook from another song, then release the loop and jump to the chorus on the first track, or cue up the next track and mix out. For example, Usher's "Yeah!". At the bridge, drop the hook from "More Bounce To The Ounce", and then mix in the chorus of "Fire"... you get the modern club anthem with Yeah!, plus the funky melody of More Bounce, and a great segue into a disco set with Fire. Or "Brick House" into "This is How We Do It".

I don't pre-make my sets, and every gig has a unique playlist, but I do like to pre-mark new tracks with cue points and loops.

[Drewbdo]

For example, Usher's "Yeah!". At the bridge, drop the hook from "More Bounce To The Ounce", and then mix in the chorus of "Fire"... you get the modern club anthem with Yeah!, plus the funk of More Bounce, and a great segue into a disco set with Fire. Or "Brick House" into "This is How We Do It".

Just watch for clashing vocals or bass lines. Using the instrumental bridge on one song and reducing your bass EQ will help with that.

[mosca]

This is also a great way to clear the floor at a bar/club. (You probably already know this, but you want to clear the floor from time to time, so the patrons will spend money at the bar. If the customers are on the dance floor the whole night, the bar won't sell as much. I learned that the hard way... I kept a packed dance floor, but the manager was mad because sales were lower. Now, I try to rotate the floor every 20-30 minutes. )

That's a huge fact more newbie DJs need to learn (and as a result, adjust their ego), and a fact more crowds (I wish to God!!) would learn. DJs who can continually rotate the floor in open-format clubs have very long staying power. I had back-to-back eight-year gigs at two different clubs doing this. Mind you, some nights we had a very focused genre, whether house or hip-hop or classics, in which case we played accordingly; but most nights were open-format where you sort of treat it like a wedding but with less cheese--in my case, no electric slides of any sort, no songs before 1975, beat-mix as often as possible when it didn't sound stupid, make sure most hot women were satisfied (given the format) because then most everyone else will stay even if they hate the music you're playing.

[Scribbl3]

I use a lot of transition tracks to jump between 100 and 128, I don't really use them to go the other direction. One thing I do is bring the intro of a song that has an original tempo of 70 slowed down to 64 and speed it up. Then I work my bpm up to 100 in increments (70-80-88-95) rinse and repeat.