Getting started as a DJ: Mixing, mashups and digital turntables - Cole Plante

1,846,532 views ใƒป 2014-03-03

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Ido Dekkers ืขืจื™ื›ื”: Tal Dekkers
00:06
(Music)
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(ืžื•ื–ื™ืงื”)
00:32
Aw, thank you, thank you.
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ืื”, ืชื•ื“ื” ืœื›ื, ืชื•ื“ื” ืœื›ื.
00:35
As you can probably tell,
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ื›ืžื• ืฉืืชื ื‘ื˜ื— ื™ื›ื•ืœื™ื ืœื”ื‘ื™ืŸ,
00:37
I'm an astronaut.
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ืื ื™ ืืกื˜ืจื•ื ืื•ื˜.
00:39
No, I'm a DJ/Producer, as it says on the screen.
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ืœื, ืื ื™ ื“ื™ื’'ื™ื™ \ ืžืคื™ืง, ื›ืžื• ืฉื ืืžืจ ืขืœ ื”ืžืกืš.
00:42
I am also a high school student,
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ืื ื™ ื’ื ืชืœืžื™ื“ ืชื™ื›ื•ืŸ,
00:44
just like many of you guys.
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ื›ืžื• ื”ืจื‘ื” ืžื›ื.
00:45
How many high school students do we have out here?
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ื›ืžื” ืชืœืžื™ื“ื™ ืชื™ื›ื•ืŸ ื™ืฉ ืœื ื• ื›ืืŸ?
00:47
(Cheers)
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(ืชืจื•ืขื•ืช)
00:48
Oh, okay! A good amount.
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ืื•ื”, ืื•ืงื™ื™! ื›ืžื•ืช ื™ืคื”.
00:50
I'm a proud member of my school's marching band,
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ืื ื™ ื—ื‘ืจ ื’ืื” ื‘ืœื”ืงืช ื”ืžืฆืขื“ื™ื ืฉืœ ื‘ื™ืช ื”ืกืคืจ ืฉืœื™,
00:51
and I run track, as well,
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ื•ืื ื™ ื’ื ืจืฅ ืจื™ืฆื•ืช ืžืกืœื•ืœ,
00:53
so if any of you guys are into that,
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ืื– ืื ืžื™ืฉื”ื• ืžื›ื ืื•ื”ื‘ ืืช ื–ื”,
00:55
it's one of my other passions.
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ื–ื• ื”ืชืฉื•ืงื” ื”ืื—ืจืช ืฉืœื™.
00:57
I have been DJing and producing
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ื”ื™ื™ืชื™ ื“ื™ื’'ื™ื™ ื•ื”ืคืงืชื™
00:58
for a little over three years now,
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ืงืฆืช ื™ื•ืชืจ ืžืฉืœื•ืฉ ืฉื ื™ื ืขื›ืฉื™ื•,
01:00
and I've worked with artists that you may know,
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ื•ืขื‘ื“ืชื™ ืขื ืื•ืžื ื™ื ืฉืืชื ืื•ืœื™ ืžื›ื™ืจื™ื,
01:02
like Avicii, Skrillex, Major Lazer,
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ื›ืžื• ืื‘ื™ืฆ'ื™, ืกืงืจื™ืœืงืก, ืžื™ื™ื’'ื•ืจ ืœื™ื™ื–ืจ,
01:05
Krewella, Porter Robinsion, Carnage, and many others.
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ืงืจื•ืืœื”, ืคื•ืจื˜ืจ ืจื•ื‘ื™ื ืกื•ืŸ, ืงืจื ืื’', ื•ื”ืจื‘ื” ืื—ืจื™ื.
01:08
How many of you guys like dance music?
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ื›ืžื” ืžื›ื ืื•ื”ื‘ื™ื ืžื•ื–ื™ืงืช ื“ืื ืก?
01:12
Show off hands, dance music, oh okay.
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ื”ืฆื‘ืขื”, ืžื•ื–ื™ืงืช ื“ืื ืก, ืื•ื” ืื•ืงื™ื™.
01:14
How many of you guys like rap or trap hip hop?
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ื›ืžื” ืžื›ื ืื•ื”ื‘ื™ื ืจืืค ืื• ื”ื™ืค ื”ื•ืค ื˜ืจืืค?
01:16
Okay, good amount.
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ืื•ืงื™ื™, ื›ืžื•ืช ื™ืคื”.
01:18
Jazz? Classical?
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ื’'ืื–? ืงืœืืกื™?
01:21
That's good, you guys have smart minds, that's good.
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ื–ื” ื˜ื•ื‘, ื™ืฉ ืœื›ื ืžื•ื—ื•ืช ื—ื›ืžื™ื, ื–ื” ื˜ื•ื‘.
01:23
What's great about DJing
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ืžื” ืฉื˜ื•ื‘ ื‘ืœื”ื™ื•ืช ื“ื™ื’'ื™ื™
01:24
is that you can combine all these genres into one idea,
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ื–ื” ืฉืืชื ื™ื›ื•ืœื™ื ืœืฉืœื‘ ืืช ื›ืœ ื”ืกื’ื ื•ื ื•ืช ื”ืืœื” ืœืจืขื™ื•ืŸ ืื—ื“,
01:27
and what I like to do is combine
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ื•ืžื” ืฉืื ื™ ืื•ื”ื‘ ืœืขืฉื•ืช ื–ื” ืœืฉืœื‘
01:29
dance, hip hop, trap, dubstep, even movie samples,
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ื“ืื ืก, ื”ื™ืค ื”ื•ืค, ื˜ืจืืค, ื“ืื‘ืกื˜ืค, ืืคื™ืœื• ื“ื•ื’ืžื™ื•ืช ืžืกืจื˜ื™ื,
01:33
and kind of combine them into one set.
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ื•ืกื•ื’ ืฉืœ ืœืฉืœื‘ ืื•ืชื ืœืกื˜ ืื—ื“.
01:36
DJing creates this, sort of, combined culture
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ื“ื™ื’'ื™ื™ ื™ื•ืฆืจ, ืžืขื™ื™ืŸ, ืกื•ื’ ืฉืœ ืชืจื‘ื•ืช ืžืื•ื—ื“ืช
01:38
that really unites many fans.
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ืฉื‘ืืžืช ืžืื—ื“ืช ื”ืจื‘ื” ืื•ื”ื“ื™ื.
01:40
A good example of this
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ื“ื•ื’ืžื” ื˜ื•ื‘ื” ืœื–ื” ื”ื™ื
01:41
is Skrillex and A$AP Rocky's collaboration
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ืฉื™ืชื•ืฃ ื”ืคืขื•ืœื” ืฉืœ ื“ืงืจื™ืœืงืก ื• A$AP ืจื•ืงื™
01:43
"Wild for the Night"
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"ื•ื•ื™ืœื“ ืคื•ืจ ืช'ื” ื ื™ื™ื˜"
01:45
or, most recently, Avicii and Ella Black's "Wake Me Up."
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ืื•, ืœืื—ืจื•ื ื”, "ื•ื•ื™ืง ืžื™ ืืค" ืฉืœ ืื‘ื™ืฆ'ื™ ื•ืืœื” ื‘ืœืืง.
01:48
How many of you guys know that song?
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ื›ืžื” ืžื›ื ืžื›ื™ืจื™ื ืืช ื”ืฉื™ืจ ื”ื–ื”?
01:50
It's a great track.
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ื–ื” ืฉื™ืจ ืžืขื•ืœื”.
01:52
Now, what exactly does a DJ do?
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ืขื›ืฉื™ื•, ืžื” ื‘ื“ื™ื•ืง ืขื•ืฉื” ื“ื™ื’'ื™ื™?
01:54
Well, as you just saw earlier,
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ื•ื‘ื›ืŸ, ื›ืžื• ืฉืจืื™ืชื ืงื•ื“ื,
01:56
they mix tracks.
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ื”ื ืžืขืจื‘ื‘ื™ื ื˜ืจืืงื™ื.
01:58
What I just did
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ืžื” ืฉืขืฉื™ืชื™
02:00
was mix a Kanye West intro from "Black Skinheads"
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ื”ื™ื” ืœืขืจื‘ื‘ ืืช ื”ื”ืงื“ืžื” ืฉืœ ืงื ื™ื” ื•ื•ืกื ืž "ื‘ืœืืง ืกืงื™ื ื”ื“ืก"
02:02
with a track called "LRAD."
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ืขื ื˜ืจืืง ืฉื ืงืจื "LARD."
02:04
One of the main goals is to really
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ืื—ืช ื”ืžื˜ืจื•ืช ื”ืขื™ืงืจื™ื•ืช ื”ื™ื ื‘ืืžืช
02:05
trigger samples, tracks, or clips
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ืœื”ืคืขื™ืœ ื“ื•ื’ืžื™ื•ืช, ื˜ืจืืงื™ื, ืื• ืงืœื™ืคื™ื
02:07
and kind of create this long journey.
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ื•ืกื•ื’ ืฉืœ ืœื™ืฆื•ืจ ืžืกืข ืืจื•ืš ื›ื–ื”.
02:09
I'm going to do another little example for you guys right now
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ืื ื™ ืืขืฉื” ืขื•ื“ ื“ื•ื’ืžื” ื‘ืฉื‘ื™ืœื›ื ืขื›ืฉื™ื•
02:11
of what DJs call a "mashup,"
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ืฉืœ ืžื” ืฉื“ื™ื’'ื™ื™ื ืงื•ืจืื™ื ืœื• "ืžืืฉืืค,"
02:13
which is taking two or more tracks
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ื›ืฉืœื•ืงื—ื™ื ืฉื ื™ ื˜ืจืืงื™ื ืื• ื™ื•ืชืจ
02:15
and combining them into one.
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ื•ืžืฉืœื‘ื™ื ืื•ืชื ืœืื—ื“.
02:17
This mashup was made famous
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ื”ืžืืฉืืค ื”ื–ื” ื”ืคืš ืœืžืคื•ืจืกื
02:18
by a Hungarian duo Myon & Shane 54,
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ืขืœ ื™ื“ื™ ืฆืžื“ ื”ื•ื ื’ืจื™ ืžื™ื•ืŸ ื•ืฉื™ื™ืŸ 54,
02:21
and it takes the vocals from Krewella's "Alive."
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ื•ื–ื” ืœื•ืงื— ืงื•ืœื•ืช ืž"ืืœื™ื™ื‘" ืฉืœ ืงืจื•ื•ืœื”.
02:24
How many of you guys know that song? "Alive"?
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ื›ืžื” ืžื›ื ืžื›ื™ืจื™ื ืืช ื”ืฉื™ืจ? "ืืœื™ื™ื‘"?
02:26
Yeah, okay.
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ื™ื™ื”, ืื•ืงื™ื™.
02:28
I'm going to take the vocals from that track
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ืื ื™ ื”ื•ืœืš ืœืงื—ืช ืืช ื”ืงื•ืœื•ืช ืžื”ื˜ืจืืง ื”ื–ื”
02:30
and the song "Language" by Porter Robinson.
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ื•ื”ืฉื™ืจ "ืœื ื’ื•ืื’' ืฉืœ ืคื™ื˜ืจ ืจื•ื‘ื™ื ืกื•ืŸ.
02:32
So, let me just play you the vocals first.
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ืื–, ืชื ื• ืœื™ ืคืฉื•ื˜ ืœื ื’ืŸ ืืช ื”ืงื•ืœื•ืช ืงื•ื“ื.
02:36
(Music)
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(ืžื•ื–ื™ืงื”)
02:43
So, that's the vocals,
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ืื–, ืืœื” ื”ื™ื• ื”ืงื•ืœื•ืช,
02:45
and here's the actual track.
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ื•ื”ื ื” ื”ื˜ืจืืง ืขืฆืžื•.
02:47
(Music)
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(ืžื•ื–ื™ืงื”)
02:50
So, what I'm going to do is I'm going to fill these vocals
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ืื–, ืžื” ืฉืื ื™ ื”ื•ืœืš ืœืขืฉื•ืช ื–ื” ืฉืื ื™ ืืžืœื ืืช ื”ืงื•ืœื•ืช ื”ืืœื”
02:51
on top of the track
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ืขืœ ื”ื˜ืจืืง
02:52
and create a new song, a kind of combined song,
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ื•ืืฆื•ืจ ืฉื™ืจ ื—ื“ืฉ, ืกื•ื’ ืฉืœ ืฉื™ืจ ืžื—ื•ื‘ืจ,
02:54
with the two vocals.
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ืขื ืฉื ื™ ื”ืงื•ืœื•ืช.
02:56
(Music)
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(ืžื•ื–ื™ืงื”)
03:10
If you turn it down,
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ืื ืชื—ืœื™ืฉื• ืืช ื–ื”,
03:11
you can just hear I'm playing it a capella
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ืืชื ื™ื›ื•ืœื™ื ืœืฉืžื•ืข ืฉืื ื™ ืžื ื’ืŸ ืืช ื–ื” ืื” ืงืคืœื”
03:14
or just the song by itself.
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ืื• ืจืง ืืช ื”ืฉื™ืจ ืขืฆืžื•.
03:15
(Music)
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(ืžื•ื–ื™ืงื”)
03:26
Now, what I'm going to do after this drops
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ืขื›ืฉื™ื•, ืžื” ืฉืื ื™ ื”ื•ืœืš ืœืขืฉื•ืช ืื—ืจื™ ืฉื–ื” ื™ืจื“
03:28
is change it into another song.
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ื–ื” ืœืฉื ื•ืช ืื•ืชื• ืœืฉื™ืจ ืื—ืจ.
03:30
One of the most important things about dance music
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ืื—ื“ ืžื”ื“ื‘ืจื™ื ื”ื›ื™ ื—ืฉื•ื‘ื™ื ื‘ืžื•ื–ื™ืงืช ื“ืื ืก
03:31
is really the drop,
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ื–ื” ื‘ืืžืช ื”ื“ืจื•ืค,
03:33
so I'm going to change it into another song
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ืื– ืื ื™ ื”ื•ืœืš ืœืฉื ื•ืช ืืช ื–ื” ืœืฉื™ืจ ืื—ืจ
03:35
and really catch you by surprise.
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ื•ื‘ืืžืช ืœื”ืคืชื™ืข ืืชื›ื.
03:37
(Music)
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(ืžื•ื–ื™ืงื”)
04:05
And that's one example right there.
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ื•ื–ื• ื“ื•ื’ืžื” ืื—ืช ืคื”.
04:07
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
04:09
So, as you saw, I took three different songs
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ืื–, ื›ืžื• ืฉืจืื™ืชื, ืœืงื—ืชื™ ืฉืœื•ืฉื” ืฉื™ืจื™ื ืฉื•ื ื™ื
04:13
and kind of combined them into one new idea,
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ื•ืกื•ื’ ืฉืœ ืฉื™ืœื‘ืชื™ ืื•ืชื ืœืจืขื™ื•ืŸ ืื—ื“ ื—ื“ืฉ,
04:15
which is something plenty of DJs do out there
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ืฉื–ื” ืžืฉื”ื• ืฉื”ืจื‘ื” ื“ื™ื’'ื™ื™ื ืขื•ืฉื™ื
04:18
on the professional circuit.
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ื‘ืžืขื’ืœ ื”ืžืงืฆื•ืขื™.
04:20
There are plenty of ways to get started DJing.
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ื™ืฉ ื”ืจื‘ื” ื“ืจื›ื™ื ืœื”ืชื—ื™ืœ ืขื ืœื”ื™ื•ืช ื“ื™ื’'ื™ื™.
04:22
One of the main things I did
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ืื—ื“ ื”ื“ื‘ืจื™ื ื”ืขื™ืงืจื™ื™ื ืฉืขืฉื™ืชื™
04:23
was really take the time to study DJs that inspired me.
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ื”ื™ื” ื‘ืืžืช ืœืงื—ืช ืืช ื”ื–ืžืŸ ืœืœืžื•ื“ ื“ื™ื’'ื™ื ืฉื ืชื ื• ืœื™ ื”ืฉืจืื”.
04:26
Whether it was watching podcasts,
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ื‘ื™ืŸ ืื ื–ื” ื”ื™ื” ืœืฆืคื•ืช ื‘ืคื•ื“ืงืืกื˜,
04:28
watching live sets,
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ืœืฆืคื•ืช ื‘ื”ื•ืคืขื•ืช ื—ื™ื•ืช,
04:30
or just really looking them up online.
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ืื• ืคืฉื•ื˜ ืœื”ื‘ื™ื˜ ื‘ื”ื ื‘ืจืฉืช.
04:32
I really tried to take in what it meant
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ื‘ืืžืช ื ื™ืกื™ืชื™ ืœื”ื‘ื™ืŸ ืžื” ื”ืžืฉืžืขื•ืช
04:33
to be a fantastic DJ.
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ืฉืœ ืœื”ื™ื•ืช ื“ื™ื’'ื™ื™ ืžืขื•ืœื”.
04:35
One of the best ways to really learn
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ืื—ืช ืžื”ื“ื‘ืจื™ื ื”ื›ื™ ื˜ื•ื‘ื•ืช ื‘ืืžืช ืœืœืžื•ื“
04:36
is to ask a friend, you know, a friend who knows how to DJ.
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ื”ื™ื ืœืฉืื•ืœ ื—ื‘ืจ, ืืชื ื™ื•ื“ืขื™ื, ื—ื‘ืจ ืฉื™ื•ื“ืข ืœื”ื™ื•ืช ื“ื™ื’'ื™ื™
04:39
Just go over there, ask him a few questions.
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ืคืฉื•ื˜ ืœืœื›ืช ืœืฉื, ืœืฉืื•ืœ ืื•ืชื• ืฉืืœื•ืช.
04:42
If no that, thankfully we have a lot of great online resources.
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ืื ืœื ื–ื”, ืœืžื–ืœื ื• ื™ืฉ ืœื ื• ื”ืจื‘ื” ืžืฉืื‘ื™ื ื‘ืจืฉืช.
04:45
One of the things you can do is check out YouTube,
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ืื—ื“ ืžื”ื“ื‘ืจื™ื ืฉืืชื ื™ื›ื•ืœื™ื ืœืขืฉื•ืช ื”ื•ื ืœืฆืคื•ืช ื‘ื™ื•ื˜ื™ื•ื‘,
04:47
check out some demonstrations.
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ืœืจืื•ืช ืืช ื”ื”ื“ื’ืžื•ืช.
04:51
Now, many DJs, a high percentage of them,
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ืขื›ืฉื™ื•, ื”ืจื‘ื” ื“ื™ื’'ื™ื™ื, ืื—ื•ื– ื’ื‘ื•ื” ืžื”ื,
04:53
check out Beatport or Soundcloud to find a lot of the tracks.
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ืžืฉืชืžืฉื™ื ื‘ื‘ื™ื˜ืคื•ืจื˜ ืื• ืกืื•ื ื“ืงืœืื•ื“ ื›ื“ื™ ืœืžืฆื•ื ื”ืจื‘ื” ืžื”ื˜ืจืืงื™ื.
04:56
There are also many other blog sites,
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ื™ืฉ ื’ื ื”ืจื‘ื” ืืชืจื™ ื‘ืœื•ื’ื™ื,
04:58
such as Billboard's CODE, EDMTunes, EDM Sauce,
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ื›ืžื• CODE ืฉืœ ื‘ื™ืœื‘ื•ืจื“, EDMTunes, EDM Sauce,
05:02
or Dancing Astronaut.
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ืื• ื“ืื ืกื™ื ื’ ืืกื˜ืจื•ื ืื•ื˜.
05:04
Now, there are multiple ways to DJ,
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ืขื›ืฉื™ื•, ื™ืฉ ื”ืจื‘ื” ื“ืจื›ื™ื ืœื”ื™ื•ืช ื“ื™ื’'ื™ื™,
05:05
and what could originally only be done on turntables and vinyl,
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ื•ืžื” ืฉื‘ืžืงื•ืจ ื”ื™ื” ื™ื›ื•ืœ ืœื”ืขืฉื•ืช ืจืง ืขื ืคื˜ื™ืคื•ื ื™ื ื•ื•ื™ื ื™ืœ,
05:09
by legends
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ืขืœ ื™ื“ื™ ืื’ื“ื•ืช
05:10
such as Larry Levan, Grandmaster Flash, and Paul Oakenfold,
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ื›ื™ื• ืœืืจื™ ืœื‘ืื ืก, ื“ืจืื ื“ืžืืกื˜ืจ ืคืœืืฉ, ื•ืคื•ืœ ืื•ืงืคื•ืœื“,
05:14
can now be done with many more pieces of equipment,
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ื™ื›ื•ืœ ืขื›ืฉื™ื• ืœื”ืขืฉื•ืช ืขื ื”ืจื‘ื” ื™ื•ืชืจ ืฆื™ื•ื“,
05:17
such as CDJs,
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ื›ืžื• CDJ,
05:19
which are, sort of, digital turntables
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ืฉื”ื, ืกื•ื’ ืฉืœ, ืคื˜ืคื•ื ื™ื ื“ื™ื’ื™ืœื™ื™ื
05:21
and what I learned on and what I still use to this day.
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ืฉืขืœื™ื™ื”ื ืœืžื“ืชื™ ื•ืขื“ื™ื™ืŸ ืžืฉืชืžืฉ ื‘ื”ื ื”ื™ื•ื.
05:24
There are many other amazing programs now,
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ื™ืฉ ื”ืจื‘ื” ืชื•ื›ื ื•ืช ืžื“ื”ื™ืžื•ืช ืื—ืจื•ืช ืขื›ืฉื™ื•,
05:26
such as Ableton, Traktor Pro,
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ื›ืžื• ืื‘ืœื˜ื•ืŸ, ื˜ืจืงื˜ื•ืจ ืคืจื•,
05:29
Serato, or even apps for tablets and touchscreens.
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ืกืจื˜ื•, ืื• ืืคื™ืœื• ืืคืœื™ืงืฆื™ื•ืช ืœื˜ืื‘ืœื˜ื™ื ื•ืžืกื›ื™ ืžื’ืข.
05:32
There are many hardware systems
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ื™ืฉ ื”ืจื‘ื” ืžืขืจื›ื•ืช ื—ื•ืžืจื”
05:35
just like my APC40 here
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ืžืžืฉ ื›ืžื• APC40 ืฉืœื™ ืคื”
05:37
that can launch samples, clips and tracks.
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ืฉื™ื›ื•ืœื•ืช ืœื”ืคืขื™ืœ ื“ื•ื’ืžื™ื•ืช, ืงืœื™ืคื™ื ื•ื˜ืจืืงื™ื.
05:41
You can also just use turntables, CDJs,
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ืืชื ื™ื›ื•ืœื™ื ื’ื ืœื”ืฉืชืžืฉ ื‘ืคื˜ื™ืคื•ื ื™ื, CDJ,
05:43
an S4 controller, or an Novation Launchpad.
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ื‘ืงืจ S4, ืื• ืœืื ืฆ'ืคื“ ื ื•ื‘ื™ื™ืฉืŸ.
05:46
And all of these really kind of do the same thing,
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ื•ื›ืœ ืืœื ื“ื™ ืขื•ืฉื™ื ืืช ืื•ืชื• ื”ื“ื‘ืจ,
05:49
and that's mix tracks.
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ื•ื–ื” ืœืขืฉื•ืช ืžื™ืงืก ืœื˜ืจืืงื™ื.
05:52
So, what I'm going to do now
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ืื–, ืžื” ืฉืื ื™ ืืขืฉื” ืขื›ืฉื™ื•
05:53
is show you guys another mix demonstration.
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ื–ื” ืœื”ืจืื•ืช ืœื›ื ืขื•ื“ ืžื™ืงืก.
05:57
I'm going to start with one of my own songs
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ืื ื™ ืขื•ืžื“ ืœื”ืชื—ื™ืœ ืขื ืื—ื“ ืžื”ืฉื™ืจื™ื ืฉืœื™
05:58
that I did with my friend Matt Dzyacky,
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ืฉืขืฉื™ืชื™ ืขื ื—ื‘ืจ ืฉืœื™ ืžืื˜ ื“ื–ื™ื™ืงื™,
06:00
and from there I'm going to go
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ื•ืžืคื” ืื ื™ ืืขื‘ื•ืจ
06:01
in a sort of medley of different tracks
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ืœืกื•ื’ ืฉืœ ืขืจื•ื‘ ืฉืœ ื˜ืจืืงื™ื
06:03
and show you the different styles of mixing that you can do.
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ื•ืืจืื” ืœื›ื ืืช ื”ืกื’ื ื•ื ื•ืช ื”ืฉื•ื ื™ื ืฉืœ ืžื™ืงืกื™ื ืฉืืชื ื™ื›ื•ืœื™ื ืœืขืฉื•ืช.
06:10
(Music)
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(ืžื•ื–ื™ืงื”)
06:18
So I'll show you guys when I start mixing the new track,
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ืื– ืื ื™ ืืจืื” ืœื›ื ื›ืฉืื ื™ ืžืชื—ื™ืœ ืœืขืฉื•ืช ืžื™ืงืก ืฉืœ ื”ื˜ืจืืง ื”ื—ื“ืฉ,
06:21
so you can hear it coming in.
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ื›ืš ืฉืชื•ื›ืœื• ืœืฉืžื•ืข ืื•ืชื• ืžื’ื™ืข.
06:22
(Music)
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(ืžื•ื–ื™ืงื”)
06:32
You can hear in the back, a new song is mixing in.
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ืืชื ื™ื›ื•ืœื™ื ืœืฉืžื•ืข ื‘ืจืงืข, ืฉื™ืจ ื—ื“ืฉ ื ื›ื ืก ืคื ื™ืžื”.
06:34
(Music)
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(ืžื•ื–ื™ืงื”ื‚ื‚)
06:43
Now, another thing that DJs use is what's called a mixer,
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ืขื›ืฉื™ื•, ืขื•ื“ ืžืฉื”ื• ืฉื“ื™ื’'ื™ื™ื ืžืฉืชืžืฉื™ื ื‘ื• ื”ื•ื ืžืฉื”ื• ืฉื ืงืจื ืžื™ืงืกืจ,
06:45
and a mixer has many different effects,
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ื•ืœืžื™ืงืกืจ ื™ืฉ ื”ืจื‘ื” ืืคืงื˜ื™ื ืฉื•ื ื™ื,
06:47
such as a beat roll,
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ื›ืžื• ื‘ื™ื˜ ืจื•ืœ,
06:54
filter effects,
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ืืคืงื˜ ืคื™ืœื˜ืจ,
06:56
and any other different ones.
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ื•ื›ืœ ืžื ื™ ืกื•ื’ื™ื ืื—ืจื™ื.
06:58
There's plenty of effects to use.
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ื™ืฉ ื”ืจื‘ื” ืืคืงื˜ื™ื ืœื”ืฉืชืžืฉ ื‘ื”ื.
07:00
(Music)
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(ืžื•ื–ื™ืงื”)
07:15
So, now I'm going into a new song,
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ืื–, ืขื›ืฉื™ื• ืื ื™ ื ื›ื ืก ืœืฉื™ืจ ื—ื“ืฉ,
07:17
and after this drops,
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ื•ืื—ืจื™ ืฉื–ื” ื™ื•ืจื“,
07:18
I'm going to drop it in another song
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ืื ื™ ืื›ื ื™ืก ืฉื™ืจ ืื—ืจ
07:19
and kind of change it up.
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ื•ืกื•ื’ ืฉืœ ืืฉื ื” ืื•ืชื•.
07:21
(Music)
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(ืžื•ื–ื™ืงื”)
07:42
And that's a new song bite.
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ื•ื–ื” ื—ืœืง ืฉืœ ืฉื™ืจ ื—ื“ืฉ.
07:45
(Music)
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(ืžื•ื–ื™ืงื”)
08:01
So I'm just going to straight mash up
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ืื– ืื ื™ ืคืฉื•ื˜ ื”ื•ืœืš ืœืขืฉื•ืช ื™ืฉืจ ืžืืฉืืค
08:02
another song right when this one breaks down.
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ืฉืœ ืฉื™ืจ ื ื•ืกืฃ ื‘ื“ื™ื•ืง ื›ืฉื–ื” ื™ื’ืžืจ.
08:05
(Music)
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(ืžื•ื–ื™ืงื”)
08:13
Now, if I want to change up the music,
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ืขื›ืฉื™ื•, ืื ืื ื™ ืจื•ืฆื” ืœืฉื ื•ืช ืืช ื”ืžื•ื–ื™ืงื”,
08:15
let's say, throw in some new beats,
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ื‘ื•ืื• ื ื’ื™ื“, ืœื”ื›ื ื™ืก ื›ืžื” ืžืงืฆื‘ื™ื ื—ื“ืฉื™ื,
08:16
I can just choose a trap beat I want to throw over the breakdown.
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ืื ื™ ื™ื›ื•ืœ ืœื‘ื—ื•ืจ ื˜ืจืืค ื‘ื™ื˜ ืฉืื ื™ ืจื•ืฆื” ืœื”ื›ื ื™ืก ืขืœ ื”ืฉื‘ื™ืจื”.
08:19
(Music)
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(ืžื•ื–ื™ืงื”)
08:29
So, I get ready to throw in my new beats now.
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ืื–, ืื ื™ ืžืชื›ื•ื ืŸ ืœื”ื›ื ื™ืก ืืช ื”ืžืงืฆื‘ื™ื ื”ื—ื“ืฉื™ื ืขื›ืฉื™ื•.
08:32
(Music)
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(ืžื•ื–ื™ืงื”)
09:43
And that is the end of that demo.
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ื•ื–ื” ืกื•ืฃ ื”ื“ืžื• ื”ื–ื”.
09:45
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
09:50
Thank you, thank you!
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ืชื•ื“ื” ืœื›ื, ืชื•ื“ื” ืœื›ื!
09:52
Now, the great thing about technologies now
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ืขื›ืฉื™ื•, ื”ื“ื‘ืจ ื”ื’ื“ื•ืœ ื‘ื˜ื›ื ื•ืœื•ื’ื™ื•ืช ืขื›ืฉื™ื•ื™ื•ืช
09:54
is whether it's a two dollar app
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ื”ื•ื ืฉื‘ื™ืŸ ืื ื–ื” ืืคืœื™ืงืฆื™ื” ืฉืœ ืฉื ื™ ื“ื•ืœืจ
09:56
or a couple hundred dollar equipment,
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ืื• ืฆื™ื•ื“ ื‘ืฉื•ื•ื™ ื›ืžื” ืžืื•ืช ื“ื•ืœืจื™ื,
09:58
which I'm sure most parents
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ืฉืื ื™ ื‘ื˜ื•ื— ืฉืจื•ื‘ ื”ื”ื•ืจื™ื
09:59
won't want to buy for their child,
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ืœื ื™ืจืฆื• ืœืงื ื•ืช ืœื™ืœื“ ืฉืœื”ื,
10:01
is that almost anyone who has a passion for DJing
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ื–ื” ืฉื›ืžืขื˜ ื›ืœ ืžื™ ืฉื™ืฉ ืœื• ืชืฉื•ืงื” ืœื”ื™ื•ืช ื“ื™ื’'ื™ื™
10:03
and a passion for the music
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ื•ืชืฉื•ืงื” ืœืžื•ื–ื™ืงื”
10:05
and who might want to pursue a career in it
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ื•ืฉืื•ืœื™ ืจื•ืฆื” ืœืขืฉื•ืช ืงืจื™ื™ืจื” ืžื–ื”
10:07
really has the ability to, well, pursue it,
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ื‘ืืžืช ื™ืฉ ืœื• ืืช ื”ื™ื›ื•ืœืช, ื‘ืขืฆื, ืœืขืฉื•ืช ืืช ื–ื”,
10:09
such as myself.
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ื›ืžื•ื ื™.
10:11
You can start with an app on a tablet
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ืืชื ื™ื›ื•ืœื™ื ืœื”ืชื—ื™ืœ ืขื ืืคืœื™ืงืฆื™ื” ืขืœ ื˜ืื‘ืœื˜
10:13
or an app on your phone, even, an app on your iPad,
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ืื• ืืคืœื™ืงืฆื™ื™ื” ืขืœ ื”ื˜ืœืคื•ืŸ ืฉืœื›ื, ืืคื™ืœื•, ืืคื™ืœื™ืงืฆื™ื” ืขืœ ื”ืื™ื™ืคื“ ืฉืœื›ื,
10:15
and then move on to bigger equipment.
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ื•ืื– ืœื”ืžืฉื™ืš ืœืฆื™ื•ื“ ื™ื•ืชืจ ื’ื“ื•ืœ.
10:17
The opportunities are endless,
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ื”ื”ื–ื“ืžื ื™ื•ืช ื”ืŸ ืขืฆื•ืžื•ืช,
10:19
and, as you saw, you can mix
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ื•ื›ืžื• ืฉืจืื™ืชื, ืืชื ื™ื›ื•ืœื™ื ืœืขืฉื•ืช ืžื™ืงืก
10:21
many different styles of music.
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ืฉืœ ื”ืจื‘ื” ืกื’ื ื•ื ื•ืช ืฉืœ ืžื•ื–ื™ืงื”.
10:22
So, thank you!
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ืื–, ืชื•ื“ื” ืœื›ื!
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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