Point taken! i guess i was being a bit too narrow minded about it.
im thinking of doing it myself soon with the appropriate software, mainly using samples ect that i can incorperate with ease with songs.

Last edited by mzvirbulis on Aug-06-2006 at 13:50

Plus if your brain is like an egg on a pavement during an ozi outback summer, it wouldn't take much cohesive thought.

quote:

Originally posted by Stu Cox And remember from any key, you've got itself and 4 other keys you can mix into with it sounding good (5 keys in total, i.e. nearly half of the total number of keys if you just consider minor keys, meaning nearly half of your tunes will fit with any tune you're playing at the time) and particularly seeing that he would have played a lot of his own productions, a lot of which could well be in the same key or matching keys maybe on purpose...

Hi Stu, can you clarify what you mean by 5 keys? Ok... so you have the tonic, dominant and sub-dominant... what are the other two? Are you talking about region shifting where a track a semi-tone up or down can be matched with your current track using +/- 6% pitch change?

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Relative minor/major...

quote:

Originally posted by ORSTTranceAddic Hi Stu, can you clarify what you mean by 5 keys? Ok... so you have the tonic, dominant and sub-dominant... what are the other two? Are you talking about region shifting where a track a semi-tone up or down can be matched with your current track using +/- 6% pitch change?

quote:

Originally posted by Ryan0751 Relative minor/major...

He mentioned that "if you only consider minor keys" you would have 5 options.

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well theres only 4 as far as i know

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This is where a bit of bending of the rules comes in... the extra two do COME from the relative major, but are still both minor keys.

The thought process goes like this:

If your tracks have a relatively small amount of harmonic content, a major key and a minor key are basically the same. In that case, you can mix a track in a minor key with the minor version of its relative major (e.g. Cm with Ebm, as Eb maj is the relative major of Cm) - i.e. the superdominant (6th).

Then on that basis, you're saying that a track can work with the relative minor of it's major version (e.g. Cm with Am, as Am is the relative minor of C maj) - i.e. the mediant (3rd).

This extends your list to tonic, mediant, dominant, sub-dominant and superdominant... but remember the mediant and superdominant will often only work if the tracks have a relatively small amount of harmonic content.

But even if they have got a reasonable amount of harmonic content, a sharp mix (i.e. quite a short mix with a sudden switch of basslines for example, however you want to do it) with the mediant or superdominant tends to sound pretty damn cool.

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quote:

Originally posted by Stu Cox This is where a bit of bending of the rules comes in... the extra two do COME from the relative major, but are still both minor keys. The thought process goes like this: If your tracks have a relatively small amount of harmonic content, a major key and a minor key are basically the same. In that case, you can mix a track in a minor key with the minor version of its relative major (e.g. Cm with Ebm, as Eb maj is the relative major of Cm) - i.e. the superdominant (6th). Then on that basis, you're saying that a track can work with the relative minor of it's major version (e.g. Cm with Am, as Am is the relative minor of C maj) - i.e. the mediant (3rd). This extends your list to tonic, mediant, dominant, sub-dominant and superdominant... but remember the mediant and superdominant will often only work if the tracks have a relatively small amount of harmonic content. But even if they have got a reasonable amount of harmonic content, a sharp mix (i.e. quite a short mix with a sudden switch of basslines for example, however you want to do it) with the mediant or superdominant tends to sound pretty damn cool.

NICE... I have wondered if this were possible... I had taken apart the mixing on some compilations like Anjunabeats vol 4, ASOT 2006, etc and had noticed a number of nonclashing mixes between mediants and superdominants. Excellent tip thank you!

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Just takes a bit of inititive to try it out

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