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-- do you mix to key?

do you mix to key?

sorry if its been done, kill some time to do it again?

curious about our community's preference.

Yes, I do mix in key most of the time.

I go back and forth. It doesn't always sound good if you stick to one key the entire time.

I tend to mix harmonically and sometimes in key if that's that's what you are really asking, although not always as it's nice to just experiment with random selections and I often get some really interesting results doing that. Harmonic mixing is a safe way to keep a tight flow going though.

I do, generally, but i dont let it limit me. I use it more as a tool to build a vibe.

quote:

Originally posted by miamitranceman I go back and forth. It doesn't always sound good if you stick to one key the entire time.

I'd still say you mix in key, or perhaps more accurately you are "key aware".

I just slap it on and mix it in............

I don't..

Although i believe i'm also 'key aware' as the Meister says.

im not djeing anymore but i know i wouldnt use much effort to mix in key, except for a few lucky ones, not even today when its getting easier.

quote:

Originally posted by miamitranceman I go back and forth. It doesn't always sound good if you stick to one key the entire time.

Mixing in key doesn't mean you have to stay in the same key all the time.

I mix harmonically, but that said, I don't strictly use the guidelines used by the Camelot system as there are plenty more musical systems that you can use.

It can depend on if the track starts with bass or high end, with high end stuff you can start using scales and it opens up your selection a bit more.

If you break down the chord of E minor on a guitar you get a few extra options. You have the root of E repeated three times in three different octaves (still all counts as E), and you also have B, but in there you also get a G. Now the G is not accounted for in Camelot's theory, but does work as a mixture of a harmonic mix and a modulation mix. You often find that the High end stuff in a track in G sounds less clangerous than if you are just going up one on the chromatic scale and gives a better musical result.

I have mentioned that in the HM thread. But there are also other variations of this and it is always worth experimenting to see what you can find out.

Cheers
Nem

quote:

Originally posted by Nemesis44 I mix harmonically, but that said, I don't strictly use the guidelines used by the Camelot system as there are plenty more musical systems that you can use. It can depend on if the track starts with bass or high end, with high end stuff you can start using scales and it opens up your selection a bit more. If you break down the chord of E minor on a guitar you get a few extra options. You have the root of E repeated three times in three different octaves (still all counts as E), and you also have B, but in there you also get a G. Now the G is not accounted for in Camelot's theory, but does work as a mixture of a harmonic mix and a modulation mix. You often find that the High end stuff in a track in G sounds less clangerous than if you are just going up one on the chromatic scale and gives a better musical result. I have mentioned that in the HM thread. But there are also other variations of this and it is always worth experimenting to see what you can find out. Cheers Nem

I think you should change the 'ZZZzzzzz' under your username as frankly your posts are anything but ZZZzzzzz

I wish i understood chords and their relationships better.

personally i go with the flow, but im aware to avoid weird key clashing.

I try to mix harmonically, but sometimes i do some experimenting :>

quote:

Originally posted by skip Mixing in key doesn't mean you have to stay in the same key all the time.

owned

quote:

Originally posted by DJ_Rafnel I do, generally, but i dont let it limit me. I use it more as a tool to build a vibe.

This.

I voted "What's A Key?" Although, I understand the premise of mixing in key, I really don't know what key's my tracks are in, nor do I really understand the Camelot system or anything like that. I'd be interested in giving it a shot, but don't really know where to begin.

I'm not really interested in paying money for one of these key systems until I understand the basics a little better. Or, are these systems meant to teach the basics, and you go from there?

quote:

Originally posted by cmay119 I voted "What's A Key?" Although, I understand the premise of mixing in key, I really don't know what key's my tracks are in, nor do I really understand the Camelot system or anything like that. I'd be interested in giving it a shot, but don't really know where to begin. I'm not really interested in paying money for one of these key systems until I understand the basics a little better. Or, are these systems meant to teach the basics, and you go from there?

If your going to learn about keys and apply music theory to your playing, I think your really better off learning proper music theory instead of the Camelot system which is really limiting. If you learn all of the relationships between notes and keys you will understand a lot more about harmonic and modulation principles with mixing and open up much more possibilities. The Camelot system is basically the cycle of fifths/fourths, but with numbers instead of actual keys.
If you're really interested have a look for the harmonic mixing thread as there's quite a lot of good information there regarding this subject.

I play records on the record player!

you can key records too you know....i don't really mix in key, unless i want to keep the energy at the same level.

that and sitting there with a shit little casio for hours upon end just to label them is too much for me

Everything I play is solely by ear - that's how I've been doing it my entire life.

loop techno does not require much of an ear

I always mix in key and find it is really useful for me as I'm pretty much tone deaf

When you're mixing in the same key you can do ultra long layered mixes which is great. Or you can jump up a key and create an energy lift.

I find when I listen to pro dj live sets, and spot a really good mix, when I check the keys of each track, I find they are either in the same key, or are mixing up a key.

i do most of the time or at least keep it in mind and it drives me nuts when people try layering two totally dissonant tracks together for longer than a typical outro-to-intro mix. i.e. trying to create a mashup from two obviously different keyed tracks. like claws on a chalkboard.

another thing that upsets the musician in me (and i've mentioned this many times before) is the bastardization of music theory, the circle of fifths, intervals, etc via a "dj system" like camelot, mixed in key, or whatever those bunk systems are called. please fellow deejays, stop using that shit. it's embarassing. i remember the first time i played with another TA who used that system, he brought over his CD's covered in random numbers and his little rainbow-colored camelot mixing wheel printout. looks like a goddamned "twister" board game wheel, just without the spinny-arrow. don't be that guy, friends.

if people stopped using shortcut, nonsense systems such as those, and instead focused on learning a little bit of theory (as simple as spending an hour of your time researching in google) then we (especially the EDM deejay) might get a bit more respect as a skilled musician instead of being a human ipod. furthermore, learning theory allows one to grow as an individual and paves the way for the beginnings of production if he/she ever decides to do so. also, following those foolish systems verbatim will lead to problems- there are times when two tracks will conflict regardless of key; knowing your tracks and applying theory when applicable or necessary is the best method.

study intervals and how they work for ten minutes and you'll be able to competently mix in key- fourths, fifths, and unison/octaves especially work well with each other when layering (not just simple transitions). tritones, minor 2nds, major 3rds, major 7ths, not so much.

or play techno like jay and let the dissonant wonky bleep-fest begin.

quote:

Originally posted by Omega_Blue i do most of the time or at least keep it in mind and it drives me nuts when people try layering two totally dissonant tracks together for longer than a typical outro-to-intro mix. i.e. trying to create a mashup from two obviously different keyed tracks. like claws on a chalkboard. another thing that upsets the musician in me (and i've mentioned this many times before) is the bastardization of music theory, the circle of fifths, intervals, etc via a "dj system" like camelot, mixed in key, or whatever those bunk systems are called. please fellow deejays, stop using that shit. it's embarassing. i remember the first time i played with another TA who used that system, he brought over his CD's covered in random numbers and his little rainbow-colored camelot mixing wheel printout. looks like a goddamned "twister" board game wheel, just without the spinny-arrow. don't be that guy, friends. if people stopped using shortcut, nonsense systems such as those, and instead focused on learning a little bit of theory (as simple as spending an hour of your time researching in google) then we (especially the EDM deejay) might get a bit more respect as a skilled musician instead of being a human ipod. furthermore, learning theory allows one to grow as an individual and paves the way for the beginnings of production if he/she ever decides to do so. also, following those foolish systems verbatim will lead to problems- there are times when two tracks will conflict regardless of key; knowing your tracks and applying theory when applicable or necessary is the best method. study intervals and how they work for ten minutes and you'll be able to competently mix in key- fourths, fifths, and unison/octaves especially work well with each other when layering (not just simple transitions). tritones, minor 2nds, major 3rds, major 7ths, not so much. or play techno like jay and let the dissonant wonky bleep-fest begin.

Well said.

I mean I don't think starting off with a harmonic mixing chart is a bad idea, but please think in terms of keys (Am, Ebm, Bmaj etc) rather than silly abstracted numbers (e.g. Camelot)... you'll find it a lot easier to delve deeper into the theory to understand it.

And you will look like a bit of a bellend turning up to a gig with a printed out chart... memorise it if you must.

quote:

Originally posted by Schadenfreude loop techno does not require much of an ear

All percussion and atonality would make WW a dull boy...

(hence my nearly always including a generous dose of melodic tracks in my sets)

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