http://www.medwaystudios.com/mixinginkeypart2.html

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6% but if you have CDJs use the master tempo button

quote:

Originally posted by woscar http://www.medwaystudios.com/mixinginkeypart2.html

can anyone give an example of what the author is talking about in this section...

"This next technique is best used only a few times during the night, when you really want to build it up and tear it down so to speak. The modulation mix provides exciting results by jumping a half step or whole step on the chromatic scale without significant changes in speed. For example, a half step jump (seven keycodes) may be from E-Flat Minor (keycode 2A) to E-Minor (keycode 9A). A whole step jump (two keycodes) may be from E-Flat Minor(keycode 2A) to F-Minor (keycode 4A) . This type of mix will bring the mood up or down depending on the direction of your shift. CAUTION: Do NOT attempt to overlay bass lines/melody in modulation mixes, only percussion segments of one source. Make sure the mix is complete when the new bassline/melody starts. Following the same procedures you can also modulate from a minor to a major key, or vice versa."

It basically says that if the track you are mixing in is a semitone higher the theory is that it creates an effect of increased energy for the listener. To translate this to the camelot notation system (1A, 1B, 2A, 2B etc through to 12A, 12B) mixing in a track jump of 7 numbers higher than the current track is the equivalent of moving semitone higher. It's known as a modulation mix & it doesn't sound good when basslines or melodies are overlapped.

@ Invasionmix yeah 6% is true, a 6% increase in pitch subsequently increases the key by a semitone. But the midway point is 3% so anything greater than a 3% shift is actually closer to the next note. So ie on Camelot a 2A track increased by say only 3.5% on the pitch would be closer in key to a 9A track than a 2A track.

As for master tempo I rarely touch it, I used to have no end of trouble with it making the tracks drift like mad but thanks to Stu Cox on this forum I found out it was due to excessive processing by the CDJ's (thanks Stu ). These days I use it sparingly & only on 1 CDJ at a time never both at once

^thanks. any examples of two well-known tracks where this would work. i'm still sort of having trouble grasping this concept. maybe i've heard it a million times and just never realized it, hehe.

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Originally posted by keithos27 ^thanks. any examples of two well-known tracks where this would work. i'm still sort of having trouble grasping this concept. maybe i've heard it a million times and just never realized it, hehe.

You've probably heard it a million times from DJs who knew that they were doing it and DJs that just played it by year. You know those moments when they are mixing a track then you hear a noticeable change like it builds up and you hear a harder, and different sound bassline? That's it.

Here's an example:

Above & Beyond - No One On Earth (Gabriel & Dresden Remix) - 4A - 138

4A on the Camelot wheel. you can go with 6A or 2A (2 steps up or 2 steps down). This one is a 6A which would bring the mood up.

Joop - The Future (Original Mix) - 6A - 138

Or you can bring the mood down with a 2A

Super8 & Tab Feat. Alyna - Delusion (Original Mix) - 2A - 138

Last edited by I_Am_Vince on Mar-21-2009 at 17:00

quote:

Originally posted by Trance Android @ Invasionmix yeah 6% is true, a 6% increase in pitch subsequently increases the key by a semitone. But the midway point is 3% so anything greater than a 3% shift is actually closer to the next note. So ie on Camelot a 2A track increased by say only 3.5% on the pitch would be closer in key to a 9A track than a 2A track. As for master tempo I rarely touch it, I used to have no end of trouble with it making the tracks drift like mad but thanks to Stu Cox on this forum I found out it was due to excessive processing by the CDJ's (thanks Stu ). These days I use it sparingly & only on 1 CDJ at a time never both at once

Hmm didn't know that about the 3% thing. Good to know thanks! lol.

Yeah the master tempo thing is a lil messed up when there's a big pitch change. But I usually don't go more than +/- %5 when I mix anyways.

I simply do it by ear, if i know a track will sound well with the current one, ill play it

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Originally posted by Ciaran Fox I simply do it by ear, if i know a track will sound well with the current one, ill play it

hmm... i need to try that one!

quote:

Originally posted by Invasionmix You've probably heard it a million times from DJs who knew that they were doing it and DJs that just played it by year. You know those moments when they are mixing a track then you hear a noticeable change like it builds up and you hear a harder, and different sound bassline? That's it. Here's an example: Above & Beyond - No One On Earth (Gabriel & Dresden Remix) - 4A - 138 4A on the Camelot wheel. you can go with 6A or 2A (2 steps up or 2 steps down). This one is a 6A which would bring the mood up. Joop - The Future (Original Mix) - 6A - 138 Or you can bring the mood down with a 2A Super8 & Tab Feat. Alyna - Delusion (Original Mix) - 2A - 138

Thanks Invasionmix. Would you mind posting an audio clip like you had once mentioned earlier for me to hear this?