Weeks 1–3 · Beatmatching
By ear, before anything else.
The programs, in detail
Four programs of 6 to 12 weeks, reviewed on mixes and tracks you record each week.
Program 01 · Beatmatch, EQ, phrase
Mixing
Sync buttons hide the skill rather than replacing it. We work on beatmatching by ear, on EQ through a transition so two basslines never fight, and on phrasing — coming in on the right bar, which is what separates a mix that flows from one that stumbles every eight minutes.
Weeks 4–6 · EQ
Swapping bass cleanly between tracks.
Weeks 7–8 · Phrasing
Counting bars until it's automatic.
Weeks 9–10 · Transitions
Five you can do without thinking.
Weeks 1–2 · The pool
Cutting to tracks you know intimately.
Weeks 3–4 · Arc
Building and releasing energy across an hour.
Weeks 5–6 · Slots
Warm-up, peak and closing, which are different jobs.
Weeks 7–8 · Reading rooms
Adjusting without abandoning your plan.
Program 02 · Read the room
Sets & selection
A warm-up set is not a shortened peak-time set, and most DJs learn that the hard way. We work on energy curves, on a manageable track pool you actually know, and on reading a room — including the discipline of playing the record the floor needs instead of the one you're excited about.
Program 03 · Past the eight-bar loop
Finishing tracks
Everyone has forty unfinished projects. We fix the arrangement stage, work on sound choices that leave room in the mix, cover a straightforward mixdown, and impose deadlines — because a finished imperfect track teaches more than a perfect loop.
Weeks 1–3 · From loop to sketch
Breaking the eight-bar habit.
Weeks 4–6 · Arrangement
Intro, build, drop, and knowing when to change something.
Weeks 7–9 · Mixdown
Levels, low end and clarity.
Weeks 10–12 · Finish two
Two tracks declared done and exported.
Weeks 1–2 · The promo mix
Thirty minutes that represent you.
Weeks 3–4 · Local scene
Venues, nights and useful contacts.
Weeks 5–6 · Releasing
Labels, self-release and distribution.
Weeks 7–8 · Rights
What you can legally play, remix and distribute.
Program 04 · Without pestering promoters
Gigs & releasing
We cover a promo mix that gets listened to past two minutes, how to approach small venues and local promoters, and what releasing involves today. We also cover rights plainly: you need to own or license what you distribute, and we do not clear samples or give legal advice.
Want honest notes on a mix?
Thirty minutes of your mix, twenty minutes of feedback, free.