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Benefit Of Key Changing Tracks?? (pg. 2)
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| lenazi |
| The UK : "They are called the English yet can never seem to speak it." |
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| Jarvmeister |
| quote: | Originally posted by lenazi
The UK : "They are called the English yet can never seem to speak it." |
Matthew Chapter 7, Verse 3
And why beholdest thou the mote that is in thy brother's eye, but considerest not the beam that is in thine own eye?
[Your sentence is grammatically incorrect, yet you highlight the shortfall of another's writings] |
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| lenazi |
it is not my native language, what is his excuse?
at least you understood me. |
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| jey |
| quote: | Originally posted by Mr.Mystery
Seriously, try some proper sentence structures and people might actually understand you. |
what part do you not understand big balls?? |
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| Mr.Mystery |
| quote: | Originally posted by jey
what part do you not understand big balls?? |
Any of it. |
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| DJ_Rafnel |
The DJM-800 has a harmonic color that lets u change the key of a track or what not. However this is not without some quality loss.
Also the CDJ-1000s have a master tempo feature which keeps the songs in the same key regardless of BPM change but you also sacrifice quality once you raise the BPM by to much.
Honestly, i just stick with the master tempo off and the harmonic feature on the 800 off as well. I try to have a bigger selection of tracks instead, so i can just adjust accordingly. |
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| jey |
| quote: | Originally posted by DJ_Rafnel
The DJM-800 has a harmonic color that lets u change the key of a track or what not. However this is not without some quality loss.
Also the CDJ-1000s have a master tempo feature which keeps the songs in the same key regardless of BPM change but you also sacrifice quality once you raise the BPM by to much.
Honestly, i just stick with the master tempo off and the harmonic feature on the 800 off as well. I try to have a bigger selection of tracks instead, so i can just adjust accordingly. |
thanks mate, get what your sayin.. |
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| RichieV |
| quote: | Originally posted by Teezdalien
Don't believe it. Why on earth would anyone want all their tracks in the same key?:conf:
The only way to benefit from key changing a track is by only changing it up or down by one or mabey two semi-tones (depending on the track) to get two tracks harmonically compatible, that may not be normally.
This doesn't work very well with vocals however.;) |
having all your tracks in the same key is not really the point of harmonic mixing.
The essence of harmonic mixing is knowing what key your tracks are in and understanding their inter relationship helping one premeditate certain harmonic affects. |
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| Fledz |
| quote: | Originally posted by jey
a set recorded to cd for car or home use should be cleaner than a live set as listinen to a live set at home lets u hear all the inperfections! |
If you want perfection then learn and use Ableton Live for that as it also allows you to do even smoother and better transitions.
Or do as Lenazi said and practice more if you want a real "live" recording. |
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| PutBoy |
In order to change the key just one semitone you would have to pitch it up or down 5.8 %(or something like that), and that's just one key. To change the key of one track to it's own relative minor for example, you have to change the key 3 semitone down. And that's a pitchchange of about 20%.
If anyone ever does this I must assume that they are deaf, and not hear how bad it sounds. |
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| Nemesis44 |
There is no benefit, but I don’t believe that anyone does this either.
However, what you could do is this…
You could for example carry three versions of each track with you i.e. one in the regular key, one in the semitone below and one in the semitone above.
This would increase your mixing options drastically and you would not be bound by the traditional musical principals of Harmonic Mixing.
Take this as an example:
You have a track in C minor or 5a, if you then change its key by a semitone whilst retaining its BPM in software like Ableton for example then you could create some interesting opportunities.
You would then have a copy of the track in C#, Cm and B (12a, 5a and 10a).
If you stick to the original mixing principles from Camelot (Which I don’t as there are more regardless of what they say) in the basic I have one track in one key option you have three possible mix possibilities i.e. Its tonic 5a cm, 6a gm and 4a fm. Still plenty to work with but here is where it gets interesting…
If you transpose the tracks by semitones and carry all three versions with you, not only do you have Its tonic 5a cm, 6a gm and 4a fm, but also 12a C#m, 11a F#gm, Em 9a, Bm 10a and 1a G#m. That makes 8 mixing opportunities instead of three. Now if you incorporate modulation mixes and use drops of three or hikes of 4 then you can pretty much do everything, in effect your whole CD wallet becomes available and you do no have to take the key of a record as a restriction.
On the downside, you would seriously have to rethink how you sort your wallet as this can probably take some getting used to.
The other thing you need to take into consideration is the sound of the track, i.e. does it still retain its sonic qualities or at least enough to work on the dance floor. You would also have to watch the tracks that were taken a semitone down at lower pitches as the sound of the kick could end up like a wet fart as with the higher semitones where the pitched up version could end up sounding like a click.
I haven’t seen or heard of anyone doing this and kinda figured it out for myself but I’m sure I’m not the first one, I’m pretty sure that some Ableton DJs out there have caught on to this and are doing it.
Just food for thought.
Cheers
Nem |
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