Bring down the outgoing track’s channel fader over the course of the next 4 beats, i.e.At the end of an outgoing track’s phrase, hit Play for the incoming track.Cue up the incoming track on its first beat.The beatmatching doesn’t have to be perfect because the transition will be very short, and the live drumming will mess up your beatmatching anyway. Beatmatch the incoming track to the outgoing one.The one-bar beatmix only works when the tracks’ BPMs are not too far apart (my rule of thumb is +/-4% max) otherwise, you risk pitching the incoming tune up or down too much, making it sound weird. In the one-bar beatmix, you beatmatch the incoming track to the outgoing one and overlay the tracks’ beats on top of each other during a short transition. This is where the one-bar beatmix and the synced beatmix come in. However, if the BPMs of the incoming and outgoing tracks are close enough to each other, you might as well try something a little more exciting. The cut is a perfectly acceptable way of transitioning between tunes in a set with diverse genres and tempos. At the end of an outgoing track’s phrase, hit Play for the incoming track and simultaneously close the outgoing track’s channel fader.As the outgoing track is approaching its ending, bring the channel fader for the incoming track all the way up.Cue up the incoming track on its first beat, or the first beat of a phrase where cutting in makes sense.The cut is probably the easiest way to go from one track to another, and it also works great for tracks with very different BPMs. You need different kinds of transitions, and below are the three that work well for me. The key takeaway from the above is that you just don’t have the luxury of tightly beatmatching two disco tunes, and then laying one on top of the other in a heavily EQed minute-long blend. Disco and funk? Anything from 95 to 130 BPM is possible, meaning that the chance that you can realistically beatmix two random tunes is much slimmer.
A typical house tune these days is (give or take) in the 123 to 128 BPM range, with similarly tight ranges applying to other EDM genres. We take that precision for granted now, but in 1970s, dance tracks were recorded with a live drummer. Because of this, the tempo of a typical disco track fluctuates ever so slightly, making keeping two tunes in sync by ear very hard.
In this article, I’m going to share how I address some of the unique challenges to mixing these genres, as well as explain how I approach building disco and funk sets in general. I fell in love with 1970s disco early in my DJ career, but I started to add disco and funk to my DJ sets only very recently.
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