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Help harmonically mixing (pg. 3)
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| agentdansmith |
| quote: | Originally posted by Nemesis44
I also find using Master pitch on CDJs can be a useful tool for providing more options.
But there are plenty of other tricks you can use.
Cheers
Nem |
I always find that Master Tempo distorts the percussion.
Do you not find this? Otherwise I would use it all the time. |
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| Nemesis44 |
I have noticed this with some tracks more than others, as always though it's a trade off.
On a different note:
Look at the structure of a guitar chord and you will find other mix opportunities and note combinations that you can use for your mixes too.
Cheers
Nem |
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| nefardec |
agentdansmith -
master tempo doesn't really affect it if you stay in a reasonable range |
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| DJ RANN |
Hear what you're saying but I think my own problem is with the whole sit down, go through all your tunes, figure out the key, write it down etc.
I just seem to do it without thinking. From my production background (and the little amount of music theory/compositional knowledge I have) I just "know" which will go together from knowing my tracks, without having to go through the above process.
It's difficult to explain properly but it's like how you know whether to speed up or slow down the cue track, without having to check the BPM of both, then do the calculation to know how much you should change the pitch by. |
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| agentdansmith |
| quote: | Originally posted by nefardec
agentdansmith -
master tempo doesn't really affect it if you stay in a reasonable range |
I've notived this but I was under the impression that if you are pitching up/down by upto 3% then you needn't worry about the MT as you are still within the key's range.
Which makes me presume that MT is only really useful if you are pitching up/down by more than 3% but that's when it becomes distorted. |
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| agentdansmith |
| quote: | Originally posted by DJ RANN
I just "know" which will go together from knowing my tracks, without having to go through the above process. |
I still go through the whole keying process (through habit and peace of mind), but just lately I have been finding that I have been getting it right most of the time without referring to the system.
For example, when I buy a stack of tunes, I just want to get them onto CD and start mixing them up to get an idea of what kind of mix I'm going for, and to find which tunes sound right with each other.
Only then do I scan them and get the keys and print out my labels - and just lately I have been finding that the tunes I thought sounded good together did in fact use compatible keys.
So maybe, I'm starting to get an ear for it. |
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| Stu Cox |
| quote: | Originally posted by BOOsTER
you pitch it up +/- 1 semitone....nah?
if you do this in ableton with complex algorithm it won't be much noticeable that you pitched the track up and it will open a few more...
errrm still if I count right...
original pitch = 4 possibilities
- 1 = another 4
+ 1 = another 4
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that is 12 of 24
how the heck can you open up the other 50%?
EDIT: Just spend a few minutes thinking....the other 50% are their relative major/minor scales, right? |
I actually considered that trick (along with using Master Tempo at appropriate times as Nem suggests) as opening up the other 50%, but you need to get to 50% first ;) lol
And being able to move up/down 1 semitone only adds 7 possibilities (not 8) - if you're in Cm you can go to Cm, Ebmaj, Fm, Gm... +1 semitone on each of those gives you Dm, Emaj, Gbm & Abm... then -1 semitone gives you Bm, Dmaj, Em & Gbm - you've already got Gbm so you can't count it twice ;)
And personally I use my EFX1000 to pitch up and down which is surprisingly good quality for small changes (i.e. <= 1%)
You're on 11/24... :p |
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| starboy |
| my master tempo on my cdj1000's MK1 messes with the bass kick and overal quality of the music (even below 2% pitch) therefore i never use it. |
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| nefardec |
| quote: | | I've notived this but I was under the impression that if you are pitching up/down by upto 3% then you needn't worry about the MT as you are still within the key's range. |
Well, imagine one track is -3 and the other is +3
anyways +/-3 percent is like 50 cents of a semitone, and that's pretty noticeable to my ears.
@DJ Rann -
it's about flexibility and speed in a live situation. If I get ed up or distracted talking to someone I can make a quick save. Also it gives me freedom to layer tracks so that I could have 2 tracks playing nearly all the time |
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| Stu Cox |
| quote: | Originally posted by DJ RANN
Hear what you're saying but I think my own problem is with the whole sit down, go through all your tunes, figure out the key, write it down etc.
I just seem to do it without thinking. From my production background (and the little amount of music theory/compositional knowledge I have) I just "know" which will go together from knowing my tracks, without having to go through the above process.
It's difficult to explain properly but it's like how you know whether to speed up or slow down the cue track, without having to check the BPM of both, then do the calculation to know how much you should change the pitch by. |
Some people have that, some don't.
Unfortunately I don't! I know several DJs who can nail harmonic mixes every time without giving a thought to the key the tracks are in... but I personally need a bit of help from a couple of letters scribbled on my tunes and a bit of background theory. |
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| Nemesis44 |
| quote: | Originally posted by Stu Cox
Some people have that, some don't.
Unfortunately I don't! I know several DJs who can nail harmonic mixes every time without giving a thought to the key the tracks are in... but I personally need a bit of help from a couple of letters scribbled on my tunes and a bit of background theory. |
Agree, and if having the technical stuff written on the CDs is going to help you give a better performance then everyone is a winner. Still can't understand the big anti when it comes to harmonic mixing.
And if Ferry and the guys also do this I don't think us lesser mortals need fret too much about doing this.
Some people can do it naturally. When I first started doing it I found that a lot of my previous combinations of stuff I used to mix where in fact already in key or compatible. When I started writing the keys down it just speeded up the process at which I choose tracks and helps me plan my mixes a few steps ahead a lot better. Also opened the door up for creative 3 and 4 deck mixes, which I totally love doing when I get the chance to.
Something as simple as putting an accapella over a track becomes a hundred times easier because you already know which tracks it will work with more or less, and you can't tell me that an accapella will work fine if you don't obey western music theory because it will sound like gash.
You hear mash ups where the producers didn't get it right all the time.
Quoting how to DJ properly, it is the deciding factor whether your mix sounds like a choir of angels or the unwiped arse of satan... actually the quote is slightly modified but you get the drift.
Cheers
Nem |
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| BOOsTER |
| quote: | Originally posted by Stu Cox
I actually considered that trick (along with using Master Tempo at appropriate times as Nem suggests) as opening up the other 50%, but you need to get to 50% first ;) lol
And being able to move up/down 1% only adds 7 possibilities (not 8) - if you're in Cm you can go to Cm, Ebmaj, Fm, Gm... +1% on each of those gives you Dm, Emaj, Gbm & Abm... then -1% gives you Bm, Dmaj, Em & Gbm - you've already got Gbm so you can't count it twice ;)
And personally I use my EFX1000 to pitch up and down which is surprisingly good quality for small changes (i.e. <= 1%)
You're on 11/24... :p |
btw...you mean semitones, not percents, right? :p
just a thought...if I were a noob this could pretty much mislead me... |
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