DJ

I run into this problem too. Fortunately the recorder will keep recording once you activate it regardless of what layout mode TP2 is in so I just hit record then switch it back to whatever layout I was using and everything works out fine. Whenever you’re done recording, switch it back to mixer mode to turn the recorder off.

Fair one, I initially monitor (PFL) everything at 100% to make sure beat matching, gains, etc. are correct before bringing all the EQs down in order to mix them back in. This is why it’s so important to really know all of the tracks you’re playing. When you’re familiar with each track, you can just listen and EQ through the master. You can then be confident that you know what’s going on the whole time even without the monitor playing the original, un-EQ’d track.

It depends both on the track you’re mixing out of and the one you’re mixing into. This may be a bit difficult to explain, but what’s worked for me is to just make sure that I’ve always got a “full EQ meter.” What I mean by that is to always ensure that a single track, as well as the combination of tracks when you’re mixing, has 100% of each “total EQ” (treble, mid, and bass of both tracks). Sorry if this is really basic but just in case, treble is going to be the hi-hats and cymbals, mid is vocals and melody, and bass is kicks and low frequency bass (obviously).

Take for example that you want to do a slow, gradual, drawn-out mix (like with trance or something similar). When you’ve just got deck A playing, all your EQs are at 100 (I assume). Once you bring in deck B, all EQs are at 0 (or at least this is the way I would start it). I would gradually bring up the treble of B, say to 25%. I would simultaneously bring A’s treble down to 75%, making sure that the “total EQ” remains at 100% (75% A, 25% B). Continue to gradually increase the B treble and decrease the A until you’ve got 100% B and 0% A, then do the same with the mids followed by the bass. At the end you’ll end up with just B coming through the master, yet your “total EQ” stayed at 100% the whole time, resulting in a smooth mix.

The percentages above aren’t accurate, don’t just set A and B both to 50% thinking it’ll sound good because it totals 100% (your ears should be always be the ultimate judge) but this principle has always worked well for me. The order of the EQs is up to you too, I just seem to normally like it best when I start with treble and end with bass.

And finally, I will generally always bring in the bass on the 1, although a great trick I’ve learned is that instead of bringing it fully in, only bring it in to about 75% for a few bars to get everyone used to it when they think it’s already dropped, then hit them with the full 100% when you think the time’s right. I hope some of this helps.

How is your setup hooked up? Controller, speakers, etc.

Wow I couldn’t believe this! It’s a proper illustration of the current American music scene though (at least that which I’m familiar with). I found a bit of Ferrer’s response to the incident:
http://blogs.miaminewtimes.com/crossfade/2012/02/dennis_ferrer_comments_mansion_miami_incident.php

It’s funny that I stumbled upon this post because this is what I did in my latest mix for a competition. I wanted to show off my versatility so I started with 122 bpm house and ended with 175 drum & bass in 25 minutes. It’s 14 tracks instead of 7 but the principle is the same. I meant to pull it off so you can’t tell the tempo is increasing. Thoughts?
http://www.mixcloud.com/MichaelWilliams/ultra-music-festival-aerial7-dj-competition/

Your show sounds good, I’d like to be involved but I’ve got absolutely no experience with hip-hop or rnb. I’m not familiar with it at all. All I’ve got any experience with is four-on-the-floor stuff (house, trance, electro, dubstep, etc.). If you can’t find any other takers though, I’m sure it would be a good experience and I’d like to give it a shot. Just let me know. I’m in Texas, USA.