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Guide to Harmonic Mixing 1.0 (pg. 7)
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| jwear2004 |
| *bump just because this is a nice thread* |
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| Nemesis44 |
| quote: | Originally posted by DjSimonB
Nice guide, I started harmonic mixing a couple of weeks ago, and just stumbled on this thread today.
The way I've been doing it, I say if a riff's in D minor for example, then I just say that the track's in F, is that an OK way of doing things? Seems to be working for me.
One thing's confused me though... earlier on I was mixing stuff, experimenting with subdominants, dominants etc (just before I read all this, strangely enough), and it worked the way I thought. However, I then mixed Jacob and Mendez - Deception (which I thought was in F) into Katana - Alesis (Which I thought was in G flat, a semitone above Deception. So I would've thought that mixing these tunes together would sound quite bad, since the key of F only has one flat in it, B flat, and the key of G flat has, well, loads of flats in it. However, by the time melodies started coming in it sounded really good :crazy: I'm not complaining , but it doesn't really make sense.
BTW Deception was pitched up to around 3.5%, and Alesis somewhere around 1 I think? Was it maybe a change in key, or some kind of weird grey area in between F and G flat? |
Jacob and Mendez - Deception original mix goes in Dm. The Benico remix goes in Bm.
At 3.5% it would mean it's edging towards D#m/Ebm. Can't remember what key Alesis goes in, but it is entirely possible that they actually go in compatible keys.
Cheers
Nem |
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| raveanddie |
Hi guys,
I have zero knoweledge in music theory. What is the best way to start labelling my mp3s which the keys?
heard mixmesiter is not very accurate. I do not own a music keyboard. What software altertenative music keyboard can i download?
What kind of music keyboard is it anyway? .. or is it an organ or a piano?
please help. |
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| DjSimonB |
| quote: | Originally posted by Nemesis44
Jacob and Mendez - Deception original mix goes in Dm. The Benico remix goes in Bm.
At 3.5% it would mean it's edging towards D#m/Ebm. Can't remember what key Alesis goes in, but it is entirely possible that they actually go in compatible keys.
Cheers
Nem |
Yeah I got that now... not really bothered about what key the Benicio mix is in, i never play it anyway :p
Alesis is a hard tune to key, but when I mix it it usualy goes well, one of these tunes (partly because the build up really only uses one note, so there's less of a margin of error) |
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| tw1tch |
Could someone tell me the difference between these notes
A
A#
Am
A#m
Abm
etc ...
Yes I've read through this, and a couple links, just looking for a quick notation guide.
thnx. |
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| physe |
| quote: | Originally posted by tw1tch
Could someone tell me the difference between these notes
A
A#
Am
A#m
Abm
etc ...
Yes I've read through this, and a couple links, just looking for a quick notation guide.
thnx. |
Tones follow a general order:
A A# B C C# D D# E F F# G G# -> A A#...
Basically a sharp (#) means that it is one tone higher and a flat (b) means one tone lower. So a Ab is the same as a G# and so on. Also generally you don't use the terms like B# because it is just a C.
Major and minor: Each of the above tones can be major, minor or other things. Basically they are chords which have the base note of one of the tones, but have different variations in them. For example an 'A sharp major' would be A# and an 'A sharp minor' would be A#m and so on.
Hope this helps.
EDIT: now that I go back and read your original post again, this probably doesn't help, but I'll leave it up just in case. At least I gave it a shot. =) |
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| DjSimonB |
| quote: | Originally posted by physe
Tones follow a general order:
A A# B C C# D D# E F F# G G# -> A A#...
Basically a sharp (#) means that it is one tone higher and a flat (b) means one tone lower. So a Ab is the same as a G# and so on. Also generally you don't use the terms like B# because it is just a C.
Major and minor: Each of the above tones can be major, minor or other things. Basically they are chords which have the base note of one of the tones, but have different variations in them. For example an 'A sharp major' would be A# and an 'A sharp minor' would be A#m and so on.
Hope this helps.
EDIT: now that I go back and read your original post again, this probably doesn't help, but I'll leave it up just in case. At least I gave it a shot. =) |
A sharp and a flat are respectively a SEMITONE higher and lower than the note, not a tone. Just making sure the music theory terms are correct :) The way you decide whether to call it, say, G# or Ab, depends on the key the tune is in, and if you sharpen or flatten notes in that key. |
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| physe |
| quote: | Originally posted by DjSimonB
A sharp and a flat are respectively a SEMITONE higher and lower than the note, not a tone. Just making sure the music theory terms are correct :) The way you decide whether to call it, say, G# or Ab, depends on the key the tune is in, and if you sharpen or flatten notes in that key. |
I always wondered why both sharps and flats exist. Thanks. |
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| reyo |
If you have a Model 5342A Service converter you will find that it employs a filter to select only one harmonic of the internal oscillator to mix with the unknown whereas the transfer oscillator mixes the unknown simultaneously with all harmonics of the internal frequency. In the harmonic heterodyne technique , all of the harmonics of an internal oscillator (a programmable frequency synthesizer locked to the counter’s time base) are simultaneously mixed with the unknown signal by the sampler and sampler driver (samplers are like harmonic mixers except that the conduction angle is much narrower — the sampling diodes in the HP5342A sampler, for example, conduct for only a few picosecond during each period of the sampling signal) .The output of the sampler consists of sum and difference frequencies produced by each harmonic of the internal oscillator mixing with the unknown. The programmable frequency synthesizer is incremented in frequency until one of the outputs of the sampler is in the counting range of the low frequency counter. The IF detector detects when the IF is in the range of the low frequency counter and sends a signal which causes the synthesizer control to stop incrementing the frequency of the frequency synthesizer. The IF is then counted by the low frequency counter. The unknown frequency can be determined from the relation: fx = N•f1 ± flF1 where fx = N = f1 = f I F 1 = unknown frequency harmonic of frequency synthesizer which mixed with unknown to produce countable IF programmed frequency of synthesizer IF produced by N•f1 mixing with fx 8-88. The frequency, f1, of the programmable synthesizer is known since it is known where indexing of the synthesizer was stopped. What stumps me is the follwoing: is the IF, flF1, known since it is counted by the low fre- quency counter. What also needs still to be determined are the N number and the sign
±) of the IF (the sign of flF1 will be (+)
if N•f1 is less than fx;
the sign of fIF1 is (-) if N•fx is greater than fx).
If you can help with this..well done, because its all i need to complete the device construction.:) |
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| raveanddie |
Hi guys, now i was told that there is not much point in buying a keyboard to just find out the keys of a track, that i could do it with software. but software is not accurate
now, i went ahead and bought a CASIO CTK-230 link (cheap only $150USD)
i have posted pictures of the keyboard.
Im not even sure if i bought the correct one or that it is suited to find out the keys of the track
can someone help me. i believe it has 49 keys. do i use all of them to find out what key does the track belong to?
Elliot |
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| tw1tch |
Question for the music theory peeps.
G#m = G Sharp Minor? = ?
G m = G Minor = 6A
Where do the x#m fit into the numbered scale (what's it called, where it's like 1B, 2B, A1 etc?) |
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