How to fade the bass over the last 8 bars of a DJ track

Turn on Bass fades last 8 bars under 06 · DJ mix edit in the Club Ready Music studio; it is off by default. During mastering the track is split at 120 Hz, and the low band is faded out over the final eight bars, which is 15.2 seconds at 126 BPM, then summed back with the untouched high band. The prompt also tells the model "bass fades over the last 8 bars". The result is an outro whose kick and bassline step aside so the next track's low end can come in without a clash.

Steps

1. Decide whether you mix by bass swap

If you blend by cutting the outgoing track's bass with an EQ kill and bringing in the new one, this toggle does that move for you on the file. If you mix with full-spectrum fades or cut hard on a drop, you do not need it. It is a DJ-tool choice, not a sound-quality one.

2. Set the outro first

Choose Outro bars of 16, 32 or 64. The fade is always the last 8 bars of the file, inside the outro. With a 16-bar outro, half of it is fading; with 64, the fade is the final eighth. See set outro bars.

3. Turn on the toggle

Bass fades last 8 bars is the fourth toggle under the bar rows. On a phone it is on step 4, DJ settings. The setting is saved in your browser draft.

4. Keep mono bass on

Mono bass < 120 Hz under 07 · Master & export uses the same crossover. With both on, the low band is folded to mono and then faded, which is what club systems want. See mono bass below 120 Hz.

5. Describe the outro content

The fade only removes the low band. If the outro is drums and bass only, the last 8 bars become hats and kick click, which is ideal for blending. If the outro has pads and a lead, they stay at full level. Say which you want in 02 · Vibe.

6. Render and check the end

Play the last 20 seconds of each take. You should hear the sub and the kick's weight roll off smoothly over the final bars while the top end stays. The outro start cue marks where the outro began; the fade is the last 8 bars after it.

7. Test it in a blend

Load the track in your DJ software, bring in a second track over the outro, and leave both bass EQs flat. The incoming bass should sit cleanly under the fading outro by the final bars.

Tips

• Pair with a 32- or 64-bar outro. A long vocal-free outro with the bass fading at the end is the most forgiving mix-out a file can have.
• The fade is computed from the real length. It is placed from the end of the trimmed file, so even if the model ran long the fade ends at the last sample.
• Loudness is measured before the fade shape matters. The fade does not change the integrated LUFS target much because it is a small part of the track.
• Kick weight goes with the bass. Below 120 Hz includes the kick's body, so the last bars feel lighter, which is the point.
• Energy setting does not matter here. The fade is applied in mastering regardless of Warm-up or Peak time.

Common problems

I cannot hear the fade. The outro may have little low end to begin with. Check on headphones or a system with sub; also confirm the toggle was on for that render, since it is off by default.

The fade starts too early. It is always 8 bars. If it feels early, your BPM is low and 8 bars is long, for example 20 seconds at 96 BPM. Accept it or turn it off and EQ live.

The track ends on an awkward drop in level. The fade is a triangular ramp over 8 bars, not a cut. What you are hearing is the model's own ending. Add "outro runs at full groove to the last bar" to the brief and re-render.

The fade is in the WAV but not the MP3. Both come from the same processed audio. Re-download from the crate; you may have an earlier file.