https://edjing.com/xx/9-IWaJsE.js

1import{d as k,c as v,w as n,u as l,S as d,o as h,a as s,b as e,e as a,_ as w,f as x,F as y,r as B,t as u,h as E}from"./BNv7CK9h.js";import{M as A}from"./CBHZsDLH.js";import{M,a as S}from"./D8C0CsLY.js";import{u as Q,M as o}from"./DZLRFsXh.js";import{M as q}from"./DiE_f_xJ.js";import"./ZV8vym6t.js";import"./BZHQ9-sS.js";import"./rNdUKFHu.js";const T={class:"mk-grid mk-grid--2 technique-cards"},j={class:"mk-card"},C={class:"mk-steps practice-steps"},R={class:"technique-followup"},p="DJ mixing basics: timing, EQ, hot cues and loops",c="Improve your DJ transitions in edjing Mix with phrasing, level balance, EQ, hot cues, loops and effects. Practise three exercises after your first mix.",P=k({__name:"dj-mixing-basics",setup(D){const m=[{name:"Practise the entrance",text:"Keep EQ neutral and effects off. Try two entry points for the incoming track. Choose the one that aligns the musical sections."},{name:"Add the bass handover",text:"Repeat the entrance with B’s low EQ reduced. Transfer the bass from A to B at the phrase change without a surge or drop in level."},{name:"Add a loop",text:"Loop an instrumental passage to extend the blend. Repeat your level and EQ changes, then release the loop at a phrase boundary."}],g=[{q:"Do tracks with the same BPM always mix well?",a:"No. Tempo is only one factor. Key, rhythm, vocals and arrangement also affect the blend. Try another passage or a shorter overlap if they clash."},{q:"Does Sync handle phrasing?",a:"No. Sync helps align tempo and beats. You choose the entry point, musical sections and transition length."},{q:"What is the difference between EQ and Stemz?",a:'EQ adjusts frequency ranges across a track. <a href="/features/stemz">Stemz</a> separates vocals and instruments for independent control.'},{q:"Does every transition need effects?",a:"No. Timing, levels and EQ are enough for many transitions. Add loops or effects for a specific musical result."}],{lang:f,breadcrumbs:b}=Q({path:"/guides/dj-mixing-basics",title:p,description:c,crumbs:[{label:"Guides",to:"/guides"},{label:"DJ mixing basics"}],extraSchema:[{"@type":"Article","@id":`${d}/guides/dj-mixing-basics#article`,headline:p,description:c,inLanguage:"en",articleSection:"DJ guides",mainEntityOfPage:{"@id":`${d}/guides/dj-mixing-basics#webpage`}}]});return(I,t)=>{const i=w;return h(),v(A,{lang:l(f),breadcrumbs:l(b)},{default:n(()=>[s(M,{eyebrow:"Mixing techniques",title:"DJ mixing basics: timing, EQ and transitions",lead:"Refine your transitions with phrasing, EQ, hot cues and loops. Practise each technique in edjing Mix with three focused exercises."}),s(o,{id:"timing",title:"Beatmatching and phrasing"},{default:n(()=>[...t[0]||(t[0]=[e("p",null,[e("strong",null,"Beatmatching"),a(" aligns the tempos and beats of two tracks. Sync helps with this alignment in edjing Mix. Tempo is measured in beats per minute (BPM).")],-1),e("p",null,[e("strong",null,"Phrasing"),a(" aligns musical sections. Start the incoming track so its next section arrives at a suitable point in the outgoing track, such as the end of a chorus.")],-1),e("p",null,"In 4/4, count four beats per bar. Many sections run for four, eight or sixteen bars. Listen for changes in the drums, vocals or arrangement to identify the boundaries.",-1),e("div",{class:"phrase-example"},[e("p",{class:"phrase-caption"},"Practice example · two tracks in 4/4"),e("div",{class:"phrase-row"},[e("span",null,"Track A"),e("div",{class:"phrase-block phrase-block--outgoing"},"Final 8 bars of a section")]),e("div",{class:"phrase-row"},[e("span",null,"Track B"),e("div",{class:"phrase-block phrase-block--incoming"},"8-bar introduction")]),e("p",null,"Start B with eight bars remaining in A’s section. Keep their beats aligned so B’s intro ends as A reaches its next section.")],-1)])]),_:1}),s(o,{id:"balance",title:"Balance levels and EQ"},{default:n(()=>[s(S,{class:"mk-guide-visual",name:"home-mix-modes",alt:"The decks and mixing controls in edjing Mix"}),t[6]||(t[6]=e("p",null,"Compare passages with similar energy and adjust the deck levels before mixing. Matching against a quiet intro can make the incoming track too loud when its full arrangement enters.",-1)),t[7]||

1(t[7]=e("p",null,"The crossfader blends the decks. EQ adjusts the low, mid and high frequencies within each track.",-1)),e("div",T,[t[5]||(t[5]=e("article",{class:"mk-card"},[e("h3",null,"Swap the basslines"),e("p",null,"Bring in B with its low EQ reduced. At the phrase change, reduce A’s bass while restoring B’s. Keep the bass level consistent through the handover.")],-1)),e("article",j,[t[4]||(t[4]=e("h3",null,"Avoid overlapping vocals",-1)),e("p",null,[t[2]||(t[2]=a("Choose an instrumental passage or shorten the overlap when two vocals compete. EQ affects the whole frequency range; use ",-1)),s(i,{to:"/features/stemz"},{default:n(()=>[...t[1]||(t[1]=[a("Stemz",-1)])]),_:1}),t[3]||(t[3]=a(" for separate vocal control on supported tracks.",-1))])])]),t[8]||(t[8]=e("p",{class:"technique-followup"},"Reset the EQ on the outgoing deck before loading your next track.",-1))]),_:1}),s(o,{id:"worked-transition",title:"A 16-bar blend with one bass handover"},{default:n(()=>[...t[9]||(t[9]=[e("p",null,"Choose two tracks in 4/4 at a shared tempo. A needs 16 bars before its next section; B needs a 16-bar intro. Avoid competing lead vocals and keep effects off for this exercise.",-1),e("div",{class:"mk-steps"},[e("div",{class:"mk-step"},[e("div",null,[e("h3",null,"Bars 1–4: introduce B"),e("p",null,"Start B on the phrase boundary with its bass reduced. Bring in enough of B to hear the beats together. If they drift, correct the alignment before extending the overlap.")])]),e("div",{class:"mk-step"},[e("div",null,[e("h3",null,"Bars 5–8: establish the blend"),e("p",null,"Raise B to the level you want for the handover. Listen to the combined midrange and percussion; reduce a competing part rather than increasing both decks.")])]),e("div",{class:"mk-step"},[e("div",null,[e("h3",null,"Bar 9: transfer the bass"),e("p",null,"Reduce A’s low EQ as you restore B’s. Rehearse the exchange until the low end stays consistent without a surge or a hollow gap.")])]),e("div",{class:"mk-step"},[e("div",null,[e("h3",null,"Bars 9–16: complete the handover"),e("p",null,"Fade A out before B’s next main section arrives. Stop A once it is inaudible and reset its EQ. B now carries the mix.")])])],-1),e("p",null,"If A has an eight-bar outro and B a 16-bar intro, start B eight bars before A’s outro begins, provided that passage leaves room. If it does not, choose another entry point or a shorter blend.",-1)])]),_:1}),s(o,{id:"cues",title:"Set hot cues"},{default:n(()=>[t[12]||(t[12]=e("p",null,"A hot cue saves a track position. Set one at your chosen entry point, then use it to repeat the transition.",-1)),t[13]||(t[13]=e("p",null,"Check the phrase before placing the cue: a vocal pickup may start before the first beat of the bar.",-1)),e("p",null,[t[11]||(t[11]=a("Rehearse the entrance until its timing is consistent, then add the EQ handover. ",-1)),s(i,{to:"/guides/hot-cues-and-loops"},{default:n(()=>[...t[10]||(t[10]=[a("Prepare hot cues and performance loops →",-1)])]),_:1})])]),_:1}),s(o,{id:"loops",title:"Extend a passage with a loop"},{default:n(()=>[...t[14]||(t[14]=[e("p",null,"Loop a steady instrumental passage to extend the overlap. Check that the repeat point stays in time.",-1),e("p",null,[a("In 4/4, "),e("strong",null,"four beats equal one bar"),a("; eight beats equal two bars. Check the loop length shown in the controls.")],-1),e("p",null,"Release the loop at a phrase boundary so the track continues into its next section.",-1)])]),_:1}),s(o,{id:"effects",title:"Use effects at the transition"},{default:n(()=>[...t[15]||(t[15]=[e("p",null,"Try a brief Echo on the outgoing deck at the end of a phrase, then fade the deck out. Compare the result with a transition using only levels and EQ.",-1),e("p",null,"Keep the effect below the lead vocal and check its ending. Switch it off before loading the next track.",-1)])]),_:1}),s(o,{id:"practice",title:"Three exercises for your next session"},{default:n(()=>[t[18]||(t[18]=e("p",null,"Use the same two tracks for all three exercises. Choose steady beats and similar tempos. Access to tools depen

1ds on your app version and offer.",-1)),e("div",C,[(h(),x(y,null,B(m,r=>e("div",{key:r.name,class:"mk-step"},[e("div",null,[e("h3",null,u(r.name),1),e("p",null,u(r.text),1)])])),64))]),e("p",R,[t[17]||(t[17]=a("Record each attempt and compare the timing and balance. ",-1)),s(i,{to:"/guides/how-to-record-a-dj-mix"},{default:n(()=>[...t[16]||(t[16]=[a("Record your practice set →",-1)])]),_:1})])]),_:1}),s(o,{id:"next",title:"Build a short set"},{default:n(()=>[t[22]||(t[22]=e("p",null,"Combine several transitions. Use longer blends where the arrangements complement each other and shorter handovers where they compete.",-1)),e("p",null,[s(i,{to:"/guides/harmonic-mixing"},{default:n(()=>[...t[19]||(t[19]=[a("Choose harmonically compatible tracks →",-1)])]),_:1})]),e("p",null,[s(i,{to:"/guides/mix-songs-with-different-bpm"},{default:n(()=>[...t[20]||(t[20]=[a("Mix tracks with different tempos →",-1)])]),_:1})]),e("p",null,[s(i,{to:"/guides/how-to-mix-two-songs-together"},{default:n(()=>[...t[21]||(t[21]=[a("Review the first-transition guide →",-1)])]),_:1})])]),_:1}),s(q,{items:g})]),_:1},8,["lang","breadcrumbs"])}}}),$=E(P,[["__scopeId","data-v-ee5e9876"]]);export{$ as default};