Hello there, I’m GreenVirus and I don’t particularly like writing, so let’s get to the point. TWMIX → TsundereWorks Mix is the name for our DJ Sets. They are in Catalog Number form so that they’re easy to identify. Originally, I intended for them to be in chronological order, but as you may know, I don’t stick to plans well most of the time.

About five years ago, when I was under personal stress, I stumbled upon a streamer’s channel by the name of UTriggy on Ustream. He broadcasted a set that contained Touhou arrangements, and other J-Pop songs from artists like Capsule, etc. He had a Vestax Spin, an iMac with the magic touchpad, and various other Vestax products. He would sometimes cosplay or cuddle a pillow. I thought it was pretty cool so I downloaded some of his sets, listened to them a few times, and considered picking up DJ mixing as a hobby. I play a lot of JRPGs and grinding/quest completion can get tedious, so I thought about making sets of my favorites songs so I could listen to them nonstop during my sessions. It turns out some people actually really like them, so I guess this is where I am now.

Some of my sets do not have a TWMIX name. That is because it they are demos, requests, or something spontaneous I decided to do. These tend to be shorter and are in a different style than my usual mixes. My first sets did not have a TWMIX name, and are currently archived online. I do not recommend listening to these.

Sets made after TWMIX-004 are made without using auto-sync, and sets later than that are mixed using cue points and/or tempo. As I get better at this, I will try different things, such as mixing by key.

At this point I think I will try to mix sets that I think listeners will enjoy. If you want more information about a set or if there is a broken download link, please let me know and I will fix it. Please do not ask to download individual tracks.


Posterity Demonstration

It is a template for use in making DJ mix videos. As its name suggests, it is designed to be used for a long time. Previously, I had to make templates for long videos from scratch, and animations would have to be keyframed for each individual track, every time. Video production would take a very long time, but Posterity separates static elements from dynamic ones, and animations are now applied using presets.

Adobe Premiere is used in this case because Posterity requires using the Razor Tool and Rate Stretch Tool, which Adobe After Effects does not have.

Layers / Elements
Static elements include the placeholders for the Elapsed Time, Audio Waveform, Track Title, Social Media, and Track Indicator. These do not change and can be imported into each new project. Dynamic elements include the Waveform, Time, Track Title, and Background. These change for each project but I already have compositions that can produce them easily while I do something else like search for images.* The Title element is a Title object in Premiere that only requires that the track titles be pasted from a plain text file. Elements such as Track Progress are animated but contained as a Nested Sequence. I can treat them as a static element and scale them for the duration they are needed for using the Rate Stretch Tool.

Animation / Keyframing
Posterity still requires manual keyframing for two reasons:
1. Advancing the next track’s title in Track Title.
2. Aligning the next Track Triangle to Track Indicator.

Both animations occur at the same time based on music cues, specifically, the point when a track finishes transitioning to the next. Each animation takes 30 frames in a 60 FPS sequence. Ideally, each Background element is placed into the sequence first so I can use their positions in the timeline as a reference. Background elements are faded into each other using 30-frame presets.

The placeholders at the top, which are static elements, are used as masks for the Track Title and Waveform & Time Indicator in the sequence. The Track Title has to be completely keyframed and turned into a Nested Sequence before the Track Matte Key can be applied else the mask will not work. When done correctly, the space occupied by the dynamic elements (Waveform, Time & Title) will cause the placeholder to become transparent at those points, resulting in a clean look.

Posterity Workflow

Here is what the template looks like in Premiere when all the elements have been added. See if you can identify what each layer does! There is also an Extra layer for anything else I might need, and an FX layer for the particle composition I like using in my videos. Fade.png is a simple vignette that is present on the top and bottom of the videos and helps visibility of the dynamic elements against light Backgrounds.

*Simple After Effects compositions. They output video files that are then imported in Premiere and only require that the content be fitted into its appropriate placeholder. Rendering a black video in the background is fine because a mask can be applied to it later anyway or you can use a Blend Mode to remove it. (Under Opacity in Effect Control when the content is selected in Premiere.)


TWMIX-011 J-Core Remix!! 2.5

Listen on Mixcloud. Download from Mega.

There is a problem with continuity in that I decide to do things ahead of time when there are plenty of things that I should be working on that are several months late. For example, TWMIX-011 at this time of writing is already completed when we still have yet to release TWMIX-008 and TWMIX-010. Despite this, I still wanted to create a new J-Core Remix!! work but because of timing being right in line with Comiket 88 and towards the end of the Summer Anime season, I decided it to release it as J-Core Remix!! 2.5. I will ensure that next time, for J-Core Remix!! III, I will have fresh new bangers for everyone. Aside from this fact, it is structured exactly as you would expect, but it doesn’t build upon J-Core Remix!! II like TWMIX-006 or TWMIX-009 did. It features the remix of Signal Graph that I couldn’t include in TWMIX-005, and it has Anime bootlegs scattered throughout the set, but the emphasis this time is on technique, or in other words, exactly how I do this type of thing to begin with.

The video for TWMIX-011 shows a screen capture of the session in Traktor, along with a camera feed that shows my hand movements and information of the current and previously played tracks. I use all four decks on my controller this time, and the purpose is to be able to cue more songs in advance so that I have more time to focus on the current ones rather than constantly feel the need to load the next one immediately as I transition into the next song. I felt this was more useful than finding a way to use samples in my sets like Traktor seems to intend for you to do.

Pocotan’s “Seaside Girl,” was a track I’ve been wanting to use for a while now in a set, but it always bothered me how I wanted to include the outro but not have to play the entire track front to back. This time, I used two cue points and the idea was that I would immediately advance to the other point in the track upon hitting that cue point. If timed correctly, the difference would sound completely natural. Please decide for yourself if I succeeded at this. Once at the end, transitioning to the other track becomes very easy.

I feel the only real mistake here lies in the transitions to and from “The drug that took me to heaven – Spy47.” It is a track that was also in “The Best of J-Core Masterz,” composed of two disks, one containing full songs and the other that is a seamless DJ mix. The version I used was from the original “J-Core Masterz Vol. 4.” It is a track that is heavily concentrated in the mids and has a very dissonant sequence just before the melody, which is the only reason I bothered playing it to begin with. In the CD, the transition is simply a rough fade to and from the previous song. As for the outwards transition, that was my mistake as I began playing “Sweetness and Love – 3R2 Ft. DJ Mashiro” right on the cue point I was supposed to end on. The part just before the breakdown on the latter track has a break using the kickdrum that sound offbeat when both tracks are playing.

All in all, it helped me notice the importance of mixing in key, which I try out for TWMIX-008.