Posted: Wed May 16, 2007 8:07 pm
safe i play the bflat clarinetspooKs wrote:I only mix records that are in the key of B flat to be honest.
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Posted: Wed May 16, 2007 8:13 pm
Yep, thats about it. The main thing is making sure you play each record at the same bpm when you're doing this4linehaiku wrote:is just playing different notes on a keyboard until one sounds nice with the tune a resonable method of finding the key it's in?
Posted: Wed May 16, 2007 8:14 pm
lots of notes will sound nice, but only 1 (the root) will sound 'right'4linehaiku wrote:I would imagine that this sort of thing is perfectly suited to epic 5 minute long deep house mixes. Wasn't it Sasha & John Digweed who made a big deal about keymixing at some point?abZ wrote:It's funny my dnb buds never notice when I keymatch but one time I was playing and a friend that is into deep house walked through the door and listened for 10 minutes and said "wow dnb keymatched" That was when I was still playing dnb of course
In the words of someone, "John Digweed: Playing boring tunes really really well". I quite like some Deep House though, so I should probably stop dissing.
Finally, given that I don't have musical training and I can't tell what note is going on by ear, is just playing different notes on a keyboard until one sounds nice with the tune a resonable method of finding the key it's in?
Posted: Thu May 17, 2007 10:40 am
I would have thought keymatching is essential - mixing isnt just about running two (or more) records at the same speed-right? How you achieve that is a matter of taste - working out the scales or just using your ears.
Personally I follow the three P´s approach a)practiseb)preparation and c)patience.
Personally I follow the three P´s approach a)practiseb)preparation and c)patience.
Posted: Thu May 17, 2007 10:56 am
it's not so much just bashing a keyboard, remember there's only 7 notes in our musical language4linehaiku wrote:wascal wrote:The idea of beatmatching and working out the key of over 200 dubstep records in an afternoon doesn't strike me as a lot of fun. Especially as I'm still don't know how you work out a tune's key beyond humming along with it. Do you just bash a keyboard until something sounds right or what?
Posted: Thu May 17, 2007 11:52 am
No time stretch, pitch correction algorithms sound good. Yet. Even the super dooper expensive pioneer cdj's still sound a bit crap on the master tempo setting.randomhed wrote:Ive got a key lock on my decks, never used it once but after reading this i may investigate a lil further.
Posted: Thu May 17, 2007 12:38 pm
best not to get too hung up on what key its in and just use your ears
one reason is that something might be in harmony with something else, eg. different key but still sounds cool and in tune.
its one thing writing down all the different keys but to get into which keys may or may not go (especially if there's chords in there) gets pretty heavyfrom a theory perspective
also, something in the same key might still sound shit, you don't want to get into trying to "key match" for its own sake...
one reason is that something might be in harmony with something else, eg. different key but still sounds cool and in tune.
its one thing writing down all the different keys but to get into which keys may or may not go (especially if there's chords in there) gets pretty heavyfrom a theory perspective
also, something in the same key might still sound shit, you don't want to get into trying to "key match" for its own sake...
Posted: Thu May 17, 2007 1:05 pm
I dont understand how a song which is made up of several different keys can be narrowed down just to the one.
And if there are only 7 notes, how comes even the smallest piano will have at least double the amount of keys
And if there are only 7 notes, how comes even the smallest piano will have at least double the amount of keys
Posted: Thu May 17, 2007 2:17 pm
I'm not musically trained so someone should probably correct me but:owengriffiths wrote:I dont understand how a song which is made up of several different keys can be narrowed down just to the one.
And if there are only 7 notes, how comes even the smallest piano will have at least double the amount of keys
All the keys are in a scale that centres around one note, the root note. I guess this is the dominant key of the track. So if you have the Chromatic scale (every semi tone in an octave) based in E, the that's where the scale begins and ends.
I think.
Posted: Thu May 17, 2007 2:19 pm
more than one octave, and those 7 notes are excluding sharps/flatsowengriffiths wrote: And if there are only 7 notes, how comes even the smallest piano will have at least double the amount of keys
Posted: Thu May 17, 2007 2:29 pm
Also, these are just in the western scales, you have to completely retune instruments to play indian and middle eastern scales as far as I am aware.CFour wrote:more than one octave, and those 7 notes are excluding sharps/flatsowengriffiths wrote: And if there are only 7 notes, how comes even the smallest piano will have at least double the amount of keys
The western octave is built of 12 semi tones. But in India they fully embrace what we call quarter notes.
Posted: Thu May 17, 2007 3:27 pm
There's 12 as has been pointed out.spooKs wrote:4linehaiku wrote:it's not so much just bashing a keyboard, remember there's only 7 notes in our musical languagewascal wrote:The idea of beatmatching and working out the key of over 200 dubstep records in an afternoon doesn't strike me as a lot of fun. Especially as I'm still don't know how you work out a tune's key beyond humming along with it. Do you just bash a keyboard until something sounds right or what?
Mind you if you go for free jazz skronk style, keys are essentially irrelevant. As are rhythms. It's all about vibe and drill noise
Posted: Thu May 17, 2007 3:52 pm
^ definately 7 ..
i think 90% of you would keymix daily and not even notice..
all the gadgets and knowlegde in the world wont help you if you have a shit ear..feel it out or be stuck halfway thru a set caught looking at key stage mixing notes..like a mc spitting live reading a lyric book..not the look.
i think 90% of you would keymix daily and not even notice..
all the gadgets and knowlegde in the world wont help you if you have a shit ear..feel it out or be stuck halfway thru a set caught looking at key stage mixing notes..like a mc spitting live reading a lyric book..not the look.
Posted: Thu May 17, 2007 3:56 pm
It's 12 chromatic, but seven to any key. Sharps and flats innit
Posted: Thu May 17, 2007 3:59 pm
very true. btw no need to keep a book with key lists or anything, just mark the inside of the record sleeve in pencilJ_J wrote:all the gadgets and knowlegde in the world wont help you if you have a shit ear..
Posted: Thu May 17, 2007 4:01 pm
insane party dj's.......yawn..
Posted: Thu May 17, 2007 4:26 pm
But then the keys are going to be out when you change the pitch. Much better just to know your records well and then you'll have a good idea about what goes into what. And it isn't going to help if the tune has a key change is it.wascal wrote:very true. btw no need to keep a book with key lists or anything, just mark the inside of the record sleeve in pencilJ_J wrote:all the gadgets and knowlegde in the world wont help you if you have a shit ear..
Better just to practise and find out for yourself
Posted: Thu May 17, 2007 4:48 pm
Correct, theres no substitute for this tbh.Shonky wrote:Much better just to know your records well and then you'll have a good idea about what goes into what.
Posted: Thu May 17, 2007 5:01 pm
when i can get the key lock to work on final scratch, i've been able to pull off some "on key" mixes. basically if 2 tunes are relatively close i just find a strong musical note on one tune. pitch it up or down till i think it sounds good with the other tune, then lock the key, then go about matching the tempo like normal. sometimes it works, sometimes it doesn't.
Posted: Thu May 17, 2007 5:01 pm
when i can get the key lock to work on final scratch, i've been able to pull off some "on key" mixes. basically if 2 tunes are relatively close i just find a strong musical note on one tune. pitch it up or down till i think it sounds good with the other tune, then lock the key, then go about matching the tempo like normal. sometimes it works, sometimes it doesn't.