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Group DJ Lessons 
@ Pirate Studios

Content & Exercises to run your lessons

Content & Exercises


Hello DJ Tutor, 

Welcome to your LSEM - DJ Course Lessons Navigator


The point here is to locate resources that can be used in DJ studios to supplement the instruction of DJ course programmes.

This is just the stuff only you can see, and it's meant to go with the pages that DJ students can access through their Member's Area within their accounts.

You can also find links to these pages further down.

These sections are in Beta mode right now, so feel free to share your ideas about what to add, things that need fixing, etc.

Your ideas are always welcome, and you are encouraged to share them and participate in the development.


All the best with your classes and future star-making!

Yours truly,


Pablo Ranacat

Founder & Director




The 3 Level Course


Learn the essential skills from expert tutors to launch your professional DJ career

Entry Level
No experience Needed

You'll learn:

  • How to get new music

  • Download, organise & create playlists on Rekordbox

  • Equipment overview in detail

  • Beat-matching

  • Basic mixing techniques

  • Understanding 'Phrasing'
    to Mix Flawlessly

  • Memory Cues

  • Introducing Loops

  • Harmonic Mixing


Refine your technical skills
Nurture your talent
Earn confidence to DJ  

Beginners Course
or Technical Knowledge

You'll learn:

  • Take your basic knowledge
    to the next level

  • Advanced Set Structure

  • Start preparing your playlists
    to record your first DJ mix

  • Memory Cues & Hot Cues

  • Rekordbox in depth

  • Beat FX to Mix Creatively

  • Mix Harmonically

  • Advanced use of loops


Take it to the next level
Get club-ready
Start to get gigs

Intermediates Course
or Mixing Experience 

You'll learn:

  • Polishing everything
    you’ve learnt so far

  • Advanced Set Structure
    & planning

  • DJ Performance

  • Beat FX to Mix Creatively

  • Advanced use of Loops

  • Execution and recording of
    your first 1 hour DJ Promo Mix

  • This is a general idea of what will be taught throughout the whole course.


  • Please make sure you've read and understand the first tutor's page to get a general idea of the course and its goals, as well as the must-have gadgets you must bring and how it all works at Pirate Studios.


  • Make progress as a group: The above boxes show the content that is advertised on the website, however even though it would be great to follow it quite strictly, it's also good to always make sure that progress is made as a group.


  • Some students are slower to understand, so moving on to more advanced topics should be done when you know that they are all on the same track with what's already been covered.

  • Even if it's tempting to show off some features or more advanced mixing techniques, it's fine to do so as long as you explain that this is an example of what they will be able to do soon.


  • However, especially with FX, it can be tempting for students to start using them right away, which can be a bit of a hassle and make it hard for you and other students who might be a little behind to learn the basics.


  • Some groups never got the chance to start applying FX or Hot Cues to their mixes during this course, which isn't necessarily a bad thing because we can always offer them the opportunity to continue their learning journey by taking further, more advanced courses or even 1-1 lessons with us.

Every Lesson

Every Lesson:

Begin by reviewing what was covered in the previous lesson.

It's best to ask so they can explain; otherwise, you'll have to teach them again.


It's always a good idea to ask and remind them:

  • The one-hour mix is their final assignment.

  • Expand their collection of music.

  • Listen to the new songs they've got.

  • Have you put together any playlists?

  • Help them with their playlists. Have they set some memory cues on your tunes?

  • Have questions about Rekordbox?

  • Who wants to show us what you've made at home? Either on their laptops with Rekordbox or with CDJs.

Finish every session by reminding them of this same stuff and give them a general idea of what's coming next.


L1: Music, Rekordbox & Equipment Overview

Lesson 1

The first lesson, I usually compare to how warm-up sets pave the way for the rest of the journey.


I like to set the tone by easing in and allowing them to talk about themselves as much as possible.


Allowing them to introduce themselves one at a time and asking the standard questions about how they got into electronic music, how they decided to join the course, what parties they go to, if they have experience as DJs, and so on goes a long way toward making them feel at ease and leading to a nice introduction about yourself.


If you are the type of person who feels uncomfortable when the topic turns to you, you should try to force yourself to break the mould.


They want to know why you'll be their tutor, and by telling them about all of your accomplishments, you'll establish yourself as an authority figure and earn their respect.


You will do most of the talking in the first class.


Inform them that they will learn the majority of the technical aspects of the equipment during this first lesson. 

It'll be the most boring because they won't be playing music.


You'll go over: 

  • Where to get their music. Display websites to them. Give them some pointers.

  • Rekordbox fundamentals. A tour of Performance mode, including playlist creation and exporting them from Export mode.

  • CDJs basic features

  • Explain 'Signal Flow' by showing them the main knobs and faders from when the song leaves the CDJ until it finishes playing out the speakers

  • Prepare in advance and play them a few really good mixes and demonstrate how it's done

Lesson 1 Content

Extensive pages for you and your students are being created. These will be available through the member's area. They are a work in progress, so here is some information to get you started.


This is a free course I created last year that I am no longer using because the plan is to start producing high-quality video content. 

Anyway, I'm happy to share it with you so you can get some inspiration.


These are two videos, along with a few others, that serve as an introduction to becoming a DJ.


Ideas for where to get your music and how to get started DJing at home using Pioneer's free-forever version of the professional Rekordbox DJ Software, as well as an introduction to using the DDJ-400 USB Controller.

Music Websites + Rekordbox

Music Websites + Rekordbox

Music Websites + Rekordbox
Where to find and buy your music from - Online Stores

Where to find and buy your music from - Online Stores

Play Video
Rekordbox & the DDJ-400 Controller + Your first mix

Rekordbox & the DDJ-400 Controller + Your first mix

Play Video

The next video below is of the first lesson of a course I taught a few months ago. 

A student was unable to attend the lesson, and because the first one is so technical and difficult to catch up with, I had her on Zoom while recording the entire session.


It's a little disorganised, but you can definitely get the gist of how to proceed, the pace, and the amount of content to cover.

All of these pages will be expanded. 

In order to accomplish this goal, I really hope that I can count on your input and participation.

Nevertheless, everything will be done in due course.

Lesson 2

Let me begin by saying that what I'm writing down here is simply the method that I thought up and refined over time.


I don't mean to tell you exactly what to say at any point. The goal here is to give you some ideas for how to lead the class, with content and activities that work with a group of learners while also assisting them in making significant progress on the course's syllabus and learning to DJ as quickly as possible.


But, by any means, I am aware that you are an expert in the field.

So take everything with a pinch of salt and make it your own!

You can start every lesson by:

  • Reviewing everything you taught in the last lesson.

  • Ask them, make them talk.

  • Asking them if they have new tunes. Listen to them. 

  • Any doubts about Rekordbox? Open your laptop and show them around again. See how they sorted their tunes, etc

  • Any further features about Rekordbox at this point would be great to show at this point. Like how to move and reset the Grid, for instance.

Begin the lesson:

To demonstrate what needs to be done, mix two tracks yourself. Make it simple for them. Prepare them in advance.

This usually makes them happy and even quite excited.

At this point, feel free to follow the previous Step-by-Step mixing instructions above in this same page.


From here, I introduce the following exercise...


The Two 32s


  • One 32-beat loop must be set on each CDJ in order to accomplish this.

  • This summarises the most basic information needed to start beatmatching and mixing.

  • You'll be syncing the beginning and end of these two loops, playing them simultaneously, beatmatching, and synchronising your mixing moves to the first beat.

  • Choose two easy loops with enough sounds on each EQ band but not in a busy/intense section of the track. Full drums plus some sounds coming in and out are usually sufficient.

  • I like loops that have something different going on during the last bar so you can explain how producers use this to mark the end of a phrase and anticipate the start of the next one. This is useful so that students become accustomed to recognising the phrases not only by looking at the screen but also by listening to the song arrangement.


The exercise is good for:

  • After you've started the class by doing a review of all of the CDJs' basic functions and features, you can dive in and start using them.

  • You'll review and use:

    • Loading tracks

    • Select tracks for harmonic mixing by using the Filter section (press and hold the button below the rotary knob)

    • Introduction to Loops. There's no need to go into detail here; just demonstrate how to make a 32-beat loop by setting the playhead to the first beat of a phrase and accessing it via the touchscreen display. Going into detail here would be too much for some students.

    • 32 Beats = 1 Phrase in a song. Perfect for sharpening your phrase detection skills and learning how to use EQs and faders to mix to the beat.

    • Set the BPM to the same value as the other song using the Pitch Slider

    • Beat matching: Set the Tempo Range to +/- 6 and compare to +/- 10.

      • +/- 6 = 0.02% variation per notch. You get 4 possible settings without moving away from the BPM number, including decimals.

      • +/- 10 = 0.05% variation per notch. You get 2 possible settings without moving away from the BPM number, including decimals.

      • Start off with +/- 6 to give yourself a better chance of accurately matching the speed. Explain that the more precise you are in your track preparation and mixing, the more time you have to spend at the mixer concentrating on the transition rather than on such technical details. Both are important, but how they work together is what makes people feel and what we should care most about. Initially, beat matching seems difficult, but with practise, we become accustomed to it and it just becomes a necessary step in creating a great mix.

    • On the mixer

      • Plug everyone into the headphone splitter.

      • Listen to the track on your headphones.

      • Explain how to set the level of each track (trim) by playing it at one of the loudest possible points while having all EQs set at 12 o'clock.

      • Explain EQs again. How they work: 12 o'clock is unaltered, move it to the right, it boosts, and to the left, it cuts off.

      • Show how you can turn down the EQs before mixing. I call this 0-9-9, with 0 being the bass all the way down and roughly 9 o'clock for mids and highs.

      • This is obviously just a starting point for them to learn the basics, and then all rules are theirs to break as they make progress.


Once all is set, move on to playing one track, pretending is the Master track, playing out to the dancefloor, or Track A, and cueing Track B on the headphones.



  • Tap the Cue while counting the beats. You could say that while it's not necessary, doing so does help you get in the zone before you finally... Play on the first beat of Loop A, syncing both loops from the start. Let them run initially, then demonstrate how to compare the two tracks using the phase metre on the CDJ's display. Explain how you can switch between the two modes by tapping the screen, and demonstrate:

  • Both are made by beats and bars, and they read the Grid on the track that Rekordbox set while doing the track analysis.

  • 'The Squares' go from left to right, kind of like racing cars.

  • The Lines' go from right to left, and the one that's arriving at the playhead first is the one that's going faster.

  • Allow it to run for as long as necessary until the beats drift apart. If necessary, make it evident by changing the speed a bit.

  • This is what you'd do on the headphones while the track is playing out, so you have a couple of minutes to do all these adjustments.

  • Since we are always racing against time, as Track A plays, we need to get to play Track B towards the end of Track A , normally at the beginning of a phrase within the last 2 minutes. So even if you are not exactly ready to mix, you should just go for it and start playing it to mix it anyway, and then continue with these adjustments while already mixing, so you don't miss the opportunity to mix before you run out of time to do a good transition.

  • Once you are ready to mix, press Cue to get back to the beginning of the loop, Tap the Cue to the beat until you press Play at the beginning of Loop A.

  • Match the beats.

  • Call 0-9-9

  • Start mixing to the beat by applying each fader mix-in and EQ adjustment to Beat 1 of the loop. While waiting to get to beat 1 again, ensure that the beats continue to match and, if necessary, adjust with the job wheel and pitch slider. It might be a bit of a long wait, but it's a nice amount of time for students to get their heads around the whole thing.

  • Continue doing this repeatedly. When you're finished mixing, simply switch the tracks on your headphones and start mixing them the other way around for fun.

  • In order for this to work, you must ensure that the Master CDJ is also switched so that the Phase metre is comparing to the "New track A."

Simply have them repeat this process by taking turns. It should be nice and simple, but complex enough to keep them interested throughout the class.


This is an exercise that I return to from time to time because, as I previously stated, it completely encapsulates all of the knowledge required to mix two tracks.


You can conclude by telling them that from now on, we'll try to figure out when to mix the tracks so that we can always come up with great mixes.

L2: Two 32-beat loops

Lesson 3:
Basic Beatmatching & Mixing

You covered the 32-beat loop last week, and I usually take it from there and start making them mix whole tracks, which makes the sessions more enjoyable.


For today, just have them mix using:

  • The beginning and end of both tracks,

  • Pressing play towards the end of track A, the Master (ie, after the last breakdown or gap, within the last two remaining minutes)

  • And from the very first beat of track B, the one mixing in.

  • Always keeping the phrasing in mind


I typically have them play the entire third class so they can become accustomed to everything they have learned.

Make sure everyone connects their headphones to the splitter, and try to keep them attentive to what everyone is doing so they can continue to engage in conversation and offer each other their opinions.


The more they work together, the more they learn, and the more fun the class is.

This is also crucial so that they don't get restless or bored while waiting. Some people are selfish and they just jump ahead loading the next track, while others may be too shy to complain about it and end up not happy.


So please come up with rules in advance as to how this interaction will go, making sure they all spend roughly the same time on the decks.

Considering that they all shell out the same amount of cash to attend, it's crucial to keep their expectations in check.

There should be 1–2 mixes per person; if someone is taking too long, it's fine to wait till they do the right thing, but everyone should be aware that time is passing and others must be compensated.

The next step, which will take place next week, will be to get them to find the right moment to mix, cleverly aligning the phrases to create greater impact, chasing perfect mixes, and crafting beautifully designed sets. I usually don't get too deep into this in Lesson 3, but I do let them know where we're going with it. I prefer that they figure out how to get around all of this stuff first, and then refine it from Lesson 4.

Then the idea is to move on to a more calculated method of preparing your sets, which entails more searching for perfect mixes, so we line up or match moments between both songs and calculate the distance so we know when to press play and make the two tunes arrive at the same time at a certain point.


You can let them know what's coming so they're prepared, but make sure to keep the focus on this exercise for the time being. They especially love it because it allows them to finally let their guard down while simultaneously fulfilling their desire to pretend to be a DJ.

How to mix 2 tracks by beatmatching

Basic way for beginners

This is a PDF with basic instructions to get students started with some structure. Please feel free to forward it to them.

I've pasted everything below, but you can download it here

Tip: Open it on your laptop and go through it step by step.


Step-by-Step Instructions

-  1 track is already playing out – this one is the “MASTER”

-  Load another track on the other CDJ


-  ‘Cue’ it on your headphones by pressing the CUE button on the correspondent channel on the mixer


-  ‘Cue’ it on the CDJ, by deciding where you’ll play it from and setting the CUE position there with the CUE button.


-  Tap the Cue button to the beat on top of the Master track


-  Match the tracks BPM by using the Pitch Slider – you can also set the Percentage Range to the lowest figure within the exact BPM number, so you know that if you need to match the beat, it will be by pushing the jog wheel forward. This is optional but useful!


-  Make sure all the EQ knobs are set to 12 o’clock or ‘MIDNIGHT’ position.


-  Wait to press Play at the first beat of the beginning of a Phrase on the

Master track to match the phrases on both tracks.


-  Match the beat and wait to see what happens.


-  If the beats drift away from each other, match them back together until you hear that both tracks sound like just one track. This is done by using the outer ring of the Jog wheel. You must do it by listening to the tracks and you can also do it with the help of the Phase Meter on the CDJ’s display.


-  Once you’ve done this a couple of times until the tracks hold the beat matching for around 20 seconds, you are ready to mix.


-  Press CUE to go back to where you want to play the track from


-  Wait till the moment when you want to press play on the Master track and

Play it.


-  Match the beats


-  ‘Call 0-9-9’ on the EQs right before mixing

(Zero is the bass, then 9 o'clock on mids and highs)


-  Turn up the fader to start mixing


-  Start replacing frequencies by turning the EQs up on the new track and down on the track you are mixing out, starting with either the Highs or the Mids and leaving the Bass for the end. This is a basic way to do it so feel free to explore different ways to achieve a nice mix/transition. These adjustments sound better if you do them every 4 or 8 bars.


-  Once you’ve done this, you are ready to start mixing out the ‘older’ track completely. To achieve a nice transition, you can do this slowly, taking your time until it makes sense so it’s not a very sudden move...


-  To achieve this, now you need to keep on matching the beats, but now you must do it by adjusting the job wheel on the track you are mixing out, since it’s now the quietest one, therefore the adjustments will not be so noticeable.


-  To do this, switch the Cue buttons on the mixer to listen on the headphones to just the track you are mixing out.


-  You can change the ‘Master track’ to the one you just mixed in by pressing the ‘Master button’ on the CDJ. This way you can now use the Phase Meter to help you beat-match.


-  At this point, once you are matching the beats, you are in control, sounding great, mixing out this track slowly, until finding a moment at the end of a phrase, to mix it out completely.


-  Repeat!

L3: Beatmatching & Mixing

Lesson 4:

This lesson completes the first month.


By today, everything on this checklist should be covered:

  • How to get new music

  • Download, organise & create playlists on Rekordbox

  • Equipment overview in detail

  • Beat-matching

  • Basic mixing techniques

  • Understanding 'Phrasing'

  • Memory Cues

  • Introducing Loops

  • Harmonic Mixing

So before jumping to covering Phrase Mixing and introducing Loops in depth, please make sure to:


  • Make a quick review of everything listed above.

  • Open Rekordbox to ask them if they have any questions or issues and show...

  • How to create memory cues in Rekordbox and on the CDJs.

  • Beat Jump on both Rekordbox and CDJs, as they will be used today.

  • Loops and Memory Cue Loops + Active Loops to them.

  • Hot Cues should only be used to demonstrate to users how they differ from Memory Cues; otherwise, they could prove to be a bit confusing. Please inform them of this so they don't take things too far. You can mention how Memory Cues are better suited to the task at hand because they allow for easy creation of landmarks and browsing through them, rather than playing music when pressed, which is what we intend to use them for in the future. If they use Hot Cues right away, they will only be used as landmarks to indicate when to press play, mix in or out, switch the bass, etc. As a result, all the hot cues were already in use when you wanted to use them for more inventive purposes during your performance, which caused quite a bit of confusion.

Phrase Mixing:

Aligning Specific Phrases

  • This above video was made at the studios and is only for tutors.

  • All of the information below is also on the student page, where they can only see how to do this on Rekordbox. 

  • This means you can show this on CDJs at the studio.

We can say that there are two primary DJing styles:


One is more improvisational, while the other is more structured.


Now let's focus on the more organised one, which will show us the fundamentals of making fantastic mixes and preparing them for replication later.


Once you learn this method and start using it, you'll be able to break all these rules and start improvising more without having to do all this preparation.


We can look at this from the point of view of a musician...


As an example, if you're a guitarist in a band, you might go to rehearsals to learn the songs and then play the same chord structures and arrangements when you play live or in a recording studio.

There might be some room for improvisation, but it's up to you where to draw the line.

This way, you can be sure that, since you've prepared, you'll likely get good results because you know what you're doing.


However, you might be more of a jazz musician who prefers to participate in jam sessions. This in a way means that you are more of a free spirit and someone who likes to go with the flow. You show up to your performances without preparing much, trusting that your knowledge is good enough to adapt to the situation, interact with other musicians on the spot, and come up with a great performance that will make you and the audience happy.


Obviously, if you're a great jazz player, you're a true professional who knows your stuff inside and out and you have the self-assurance to confidently walk on stage and begin playing without any special preparation.


Now, that's obviously a bit of an understatement, as getting to that point requires years and years of dedicated study, practice, and preparation, during which time you'll learn the basics and the rules so thoroughly that you can break them on the spot without batting an eye.


The idea here is that this is exactly the case with DJing.

We want to encourage you to begin by applying this structured method to prepare your mixes and even your whole sets, especially while you are still learning.

Learn the basics, and when you start to feel more like a confident jazz musician, you can try improvising, which is fun when you know what you're doing.


Even from a statistical point of view, things can go wrong when we improvise. There's always a bigger chance that we'll make mistakes, which can be embarrassing, leading to a bad performance that might not only make people feel bad but also cause us to not get booked again, for example.


What we really want is:

  • Rock the dance floor.

  • Make mixes that people will enjoy and celebrate.

  • Create promotional mixes that will astound our friends, party promoters, and future fans!


Let's not forget that we have the chance to make people on the dance floor feel a certain way and take them on a journey. We are in charge of making the ship go through time and space and giving the passengers the best trip of their lives! 

So let's get ready for it!


If you want to get off to a good start as a DJ, we recommend that you follow the steps we'll show you today. This way, you can first learn to craft your mixes in an organised way and create things ahead of time to make sure it sounds great.


This technique allows you to replay your mixes exactly the same way in the future, so you'll know what you're doing and be pleased with the results, while rocking your dance floor, a promo mix, or even a video you may create.

And to be fair, and especially at this point, using this technique could be the difference between a mix that makes the crowd roar and one that clears the dance floor.


Ask yourself: Which type of DJ do you want to be?


"Let's do the Maths...

In the search for the perfect mix"

A detailed explanation of this technique by Pablo

In a nutshell:


We line up important parts of the two songs where we think they will have the most impact. This creates a smooth transition between the songs and makes them fit together well.


When we do this, we're using the backwards method:

On the song we are Cueing / mixing in (Track B): Look for an important moment to "Switch the Bass"


Measure the distance between this moment and where we want to press play from.


On Track A, decide where you want your Track B's "Switch the Bass" moment, and applying this same distance allows us to perfectly align both moments.


You'll be using these functions:

  • Memory Cues (not Hot Cues)

  • Beat Jump


Memory cues are designed for preparing your sets and not for performing.


In the future, we'll use Hot Cues for more advanced techniques that have to do with performance.

A common mistake we see is when students start using Hot Cues at this stage, and when we get to the advanced part of the course, you willneed to replace them with Memory Cues so you can use Hot Cues for performance.

So let's start with just Memory Cues for now.


The main difference is:


Memory Cues "Don't Play": Once set, you can browse through them and have them as visual landmarks. The playhead jumps through your set positions by using the arrows on the CDJs.


Hot Cues "Play": No matter where you are on the song, when you hit a Hot Cue, you'll jump to its set position and continue to play.

Set Memory Cues on CDJs


  • Position the Playhead where you wish

  • Set the Cue (above Play)

  • Press 'Memory'

  • A red triangle will show up

  • For Rekordbox check the video above!

Aligning Phrases


We are mixing two tracks, making sure to pick two songs that we feel will sound good together. It's a good idea to try to do a quick mix to see if we're onto a good one.


  • Track A will be playing out, and we are about to mix Track B.

  • Let's mix using:

    • Track B's Intro

    • Track A's Outro


  • At this point, we work on the mix, but we don't mix it yet. Just listen to the songs on the CDJs or Rekordbox, count the beats with Beat Jump, and mark important spots with Memory Cues.


Start On Track B:

  • Switch the BassLook for a good moment to do this...

  • After the introduction, the tracks typically build up for a while, and then there is normally a moment when all the main sounds come together powerfully, creating an "explosive" moment that makes you believe that this is the first best part of the song. If we use that time to finally "Switch the Bass" after a while of mixing the two tracks together, we can emphasise this part even more, making an amazing, high-energy event in the mix that will make people cheer.




  • Set a Memory Cue at the first beat of this phrase.

  • Count the number of beats between now and the beginning of the song, or from where you wish to Cue or Play the track.

  • Use Beat Jump to count the beats, located on:

    • CDJs. Touchscreen button on the top right.

    • Rekordbox: Both Beat Jump and Memory Cues are selectable on the drop-down menu under each song player.


  • 16 Beat Jump value is recommended.


  • Count "how many 16s there are from the Memory Cue you set to where you'll press play from." Most often, this is the beginning of the song.


Now on Track A:


  • Switch the Bass: Where would you like this to happen? Figure out and decide where you want this to happen by remembering how this same moment sounds in Track B. This will also be the beginning of a phrase, most likely towards the end of the track.


  • Set a Memory Cue to mark this moment


  • Use Beat Jump to go back the same distance you measured on Track B (how many 16s?) and...

  • Mark another Memory Cue where you land.


By now, you'll have marked two Memory Cues on each song.


And the distance or the number of beats between them will be the same in both songs.


Like this you will always know where to press play on each song, always reaching the same 'Switch the Bass' moment.


Try out the mix and see how it sounds. If you like the way it sounds, keep it that way. If not, try something else until it sounds great and creates the best possible transition.


You can use this method to make your sets by making playlists and following these steps for each mix.


As was already said, if you learn how to do this, you'll be able to make great sets and become more willing to improvise.


But one thing is for sure: you will always be ready to rock those dance floors or prepare your promo mixes to create amazing flows and tell stories with your selections and transitions, making it very pleasant to everyone's ears and making sure people get into it more and more with each mix.


It's a good idea to record your mixing while you're practising, so you can really listen to what you're making later on and pay attention to it. We are doing so many things at once while we are mixing that we sometimes lose track of what we are doing. When we listen back, we often realise mistakes we didn't notice at first, or we can think of better ways to improve different parts.


In order to get a good feel for what we're talking about, we recommend listening to the following mixes, which were all created by our top DJ students!


Keep in mind that by taking our DJ course, you have the opportunity to leave with your very own finished first mix.


That being said, we can't wait to listen to what you are about to come up with by trying this technique out!

L4: Phrase Mixing: Alignment of Specific Phrases

Phrase Mixing:

Needle Countdown

Do the maths on the fly!

After going through 

Using Needle Countdown pressing play from a Cue position

L5: Needle Countdown CDJs Feature
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