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The quality of those ingredients has to be technically spot on (no dodgy YouTube rips), but also your mixing and programming needs to be absolutely on point: you’re committing something to record for life here. It’s noisy anyway, the sound system is not under your control, people are not always listening intently to everything you do… but on a mixtape, you are opening yourself to total scrutiny. Look, the truth is you can get away with murder, sound quality wise, in a live venue. Greg Wilson’s SoundCloud page: Simple, striking, effective… and consistent. That means good artwork (varying the colours on a set logo is a good move), great samples / idents that identify the mix as “yours” (just listen to how The Essential Selection is branded with on-the-beat idents, or how Gorgon City subtly but effectively brand their mixes, such as the SoundCloud example by them under point 3).
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You need to have a very strong visual brand for your mix series (because it has to be a series…), and an equally good sonic brand. I was sometimes guilty of not doing this, but it’s so important.
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You’ve got Remix Decks and Serato Flip and free DAWs to chop and change your music, before you even get near to mixing it together: Use them! 2.
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The Sasha and Digweed compilation is full of their own re-edits of the tunes of the day, and it transforms the mix into something much bigger than the sum of its parts. And you need to get versions that work in the mix you’re planning, too. You don’t need all the best new tunes: you need the best blend of tunes for what you’re trying to say. Going the extra mile to get great material and then compiling it with creativity is key. And you can’t make a good DJ mix from the same old tunes everyone else has. Great ingredients make a great recipe Sasha & Digweed’s seminal mix for Renaissance in 1994 was already looking past just mixing unedited tunes.Īs any decent cook will tell you, you can’t make great food from poor ingredients. And we want to share them with you today. I made scores of mixtapes and CDs myself over the years I was DJing full time professionally.Īlongside our chief tutor Steve Canueto (who mixed hundreds of CD compilations for Ministry of Sound for over 10 years), we reckon we’ve spotted some common traits that all DJs who’ve really “got” mixtapes know. I have booked DJs for my own club nights for over 15 years on the back of quality mixtapes (and rejected many, many more). I remember buying what is widely regarded as the first commercial mixtape, back in 1994 ( Sasha & Digweed’s Renaissance: The Mix Collection). Why is it that some DJs seem to make mixes that are eagerly awaited by their fans, that forge them opportunities in their careers that they wouldn’t otherwise have had – or indeed, that ultimately they become known for just as much as their live gigs? And why is it, conversely, that 90% of mixtapes fall on deaf ears – no likes, no plays… no point? How is it that some DJs get their mixes to the top of the pile, and others get lost in the deluge? Find out some time-tested secrets of successful DJs when it comes to mixes in today’s post.