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14. If you can get your tracks in sync and in something approaching the right key, then you're pretty much sorted as the arrangement can be altered as you see fit. For example, it's possible to extend or curtail an instrumental section to fit with a vocal's arrangement. You can also forge extended breakdowns or build-ups to create a more dance-floor friendly track should you wish.

15. Avoid using too many disparate elements and conflicting melodies - mash-ups work best when the melody of the vocal fits with the chord progression of the backing track. If you have multiple melodies playing at the same time the results are likely to be a confusing mess. Remember, with digital technology you're free to re-edit tracks at will, so include everything you want - just not at the same time.

16. When it comes to adding a bit of processing to a mash-up track, the most important tool is without a doubt equalisation. EQ should be used to make the tracks sit together comfortably - you may find easing up on the bottom or top end of a track will help it sit much better with another track. Don't go too over the top - if your processing is too extreme you'll end up taking away from the feel of a track. Instead, try to get it so that both tracks sound like they're being played in the same space. If one of the tracks you're using has been sampled from vinyl, you may find that a low-frequency (around 50Hz) high-pass filter cuts out any unwanted bass rumble.

17. If you're attempting to make a big dance-floor anthem but your track doesn't have the necessary bottom end, try sampling a rhythm part from another, more dance-based track. If more bass is what you need, try downloading a MIDI file of a song you're using and play the bass part through a soft synth to beef things up. MIDI files can be found on the internet through sites such as MusicRobot.

18. As well as getting your tracks in key and in time, take a little time to check the level of the vocals - if they're too quiet, people may not be able to make them out.

Processing

19. When using effects on full tracks, you may find the bass frequencies become indistinct, or too much stereo information is added to the signal. These problems can be remedied by adding a high-pass filter or EQ to your effect channel to tame the bass frequencies, and using an effect such as dfx monomaker to control the stereo panorama.

20. Non-sequenced tracks with loose live playing can be another bootlegging nightmare, but if you have a sequencer with audio quantisation or warping features, such as Live or Cubase, you can manually adjust the timing of the track yourself. Getting the timing as close to your sequencer's metronome as possible is a good idea if you intend to use the

track in a DJ set - rogue beats can make a track sound like it's being mixed badly.

21. If you're attempting to mix together two tracks with uncomplimentary basslines, you can use a high-pass filter to cut the bass part out of one of the tracks. Should a filter sound too extreme, a more subtle effect can be achieved via EQ.

22. When attempting to mix two tracks with a severe tempo difference (a 90bpm hip-hop track with a 175bpm drum 'n' bass track, for example), try to see if you can get the slower track to work at half the tempo of the faster track rather than full speed. This can cause some unusual polyrhythms if you're using two full tracks, but if you have an instrumental and an acappella this won't be a problem.