318 – As Long As You Love Me (Playlist)

Here’s a few ways we fit The Bieb’s latest hit “As Long As You Love Me” into our sets.

Dj JD’s Example:
Climax (Vaski Remix)
As Long As You Love Me (Audiobots Remix)
Happy Violence (Drankenstein Remix)

Dj Jay Spring’s Example:
Whistle (Mike Gloria Remix)
As Long As You Love Me (Dj Noodles Remix)
Good Times (Jason Nevins & Cosmic Dawn Remix)

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  1. question. why is it important to know what key you song is in?

    • Because songs that are out of keys, will clash. Meaning they don’t sound right. You don’t necessarily have to know the exact key, after a while of DJ’ing you learn what sounds good with what, and when you check it (via Mixed in key, or Serato/Virtual DJ) they are in key or with different keys that sound good together.

  2. Cuz certain keys clash … So if you are mixing 2 songs together that having clashing keys its going to sound boo boo

  3. interesting . i shall try and learn this technique..

  4. Hey guys, just finally got around to watching this episode from last week. Regarding Remixer, Producer,and DJ drops, I’m sure as you and many DJs can attest to, there are many reasons to why a DJ, Producer or Remixer chooses to insert their own Drops on their Productions. I know from back in the day I’ve heard everything from it was a way to let a mass audience know and decipher who the Remixer on the track was, and I even heard many go as far as saying it was their way of copyrighting their track. I don’t believe that it serves a purpose for copyrighting at all, because DJs can and do either edit the drops out or start to play or mix into the tracks after the drop if and when possible.

    My main reason is to just uniformally tag each Production so as a collective DJs and non DJs can identify the Remixer. Doing it way before the conception of the Serato/Computer era, many DJs, like myself would get these Data CDs or just regular Wav CDs with the track names on them with no name on the playlist of who remixed it, or even further, someone would hand you a CD with 20 remixes on it with no playlist at all, leaving out even the names and artists of the original song. This left for a frustrating frenzy of calling up all your DJ friends, playing the remix over the phone until one of them could ID who it was that remixed it, so you could then properly make a nice playlist for it. Today, all that has changed. Why, a DJ can easily “Shazam” a track and instantly know what the track is(seeing the remix is official, and from a label) to the vast resources the internet provides as well, so in today’s era of the DJ, maybe tagging a track with a drop is less needed vs. yesteryear! But for myself, coming from the days of trying to ID a track off of a “no playlist Wav CD” would prove frustrating when you were trying to keep a uniform library of playlists for each CD. For me personally, I just carry on that tradition of using them for the DJs benefit, not for anyone elses. Although utilizing the drop on the Production for non DJs and everyday people listening is not such a bad idea either. For anyone hearing the full track from the start not having the original tagged MP3, will automatically allow one to know who the Remixer on the Production is. I guess it is a smmmmmaallllll part within Marketing as well, but for me that is not the primary reason, rather its from one I explained above regarding the non-computer days!

    I always keep mine after the 8 bar flat drum intro, keeping it less intrusive into the rest of the remix. That gives the DJ the option to play right after my drop, and also is why my tracks run longer at times(using the 8 bar flat drum intro just to get to the drop). I already plan on DJs playing from after my drop, so the first 8 bars are really just their as a vehicle to allow a drop, then right after, have the drums build up, thinking it is from that point where a DJ will start mixing from. Having a drop after the 8 bars also allows a DJ to start the mixing of the track from the beginning within the headphones, and after the drop bringing in the track to the audience. Although, I have heard some of my tracks on mixtapes online where some keep the drop, and I’m always surprised to hear that. I usually am so nit picky when doing the remix, that I make sure that the end of my drop doesn’t bleed over into the downbeat of the beginning of the 9th bar, so if someone was to slam mix my remix from the 9th bar downbeat after my drop, they wont have to hear the tail end of the drop on the beginning of that 9th bar downbeat!

    So for me personally, it is just there as a humble way of IDing the Remixer! Im not a fan of drops all over the remix at all, although the way Jumpsmokers do it, is very acceptable and works. As JD says, it is less intrusive. And I think to your point Spring, having a drop on an original Production isn’t seen to some in the same light as DJ drops on a mixtape. From my clubbing days, as a patron, if I really liked a remix a DJ was playing, I would just go to the DJ and try to ask what remix that was, and If he or she would tell me, that would be the way. I never kept an ear out for these drops, if and when a DJ would play them while mixing, and again, as you mention Spring, no one in the crowd is going to know either way. I have an old school DJ friend I came up with DJing and he and I were total opposites on inserting drops, he would never, and I would, based on what I was talking about, pre Serato and computer days, and we would always debate the “If both of our Remixes landed on a CD with no playlist, no one would know his remix, and would be a disservice to the DJ, having that DJ find out who the Remixer was” Again, at that time, for me it was just a curtious way to let other DJs know who the Remixer was in the case of getting the track on a CD with no playlist. Gotta love those old days of the Wavs on CDs, lol!!!! :)

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