Camelot Keywheel "Rules" Transitions - Demonstration скачать в хорошем качестве

Camelot Keywheel "Rules" Transitions - Demonstration

SEE ALSO:   / esep1t9   0:00 Perfectly Harmonic 1:33 Energy Boost 3:06 Lower Energy (or) Go Deeper 4:39 Relative Major - minor switch 6:14 Sub Dominant Key 7:54 Raising Energy 9:26 Energy Boost++ 10:57 Mood Shifter NOTE: Intentionally not eq'ing or killing the bass during mixing, to hear better when keys clash Intentionally doing long blends to hear when/if keys clash DESCRIPTION: Can't use arrows pointing towards left and right in Youtube video description, so I suggest to check out Reddit post above for better representation. This video demonstrates the following ''rules'' applied to harmonic mixing: [SAFE] harmonically compatible RULE: (same number & letter) NAME: Perfectly Harmonic EXAMPLE: 4A - 4A Staying in the same key (F minor to F minor) – These tracks will both be in the same key and are therefore perfectly compatible harmonically. Playing two tracks in the same key will give the effect that the tracks are singing together. CONCLUSION: Staying in the same key, e.g. 1B - 1B or 10A - 10A sounds perfectly harmonic. RULE: +1 (same letter) NAME: Energy Boost EXAMPLE: 4A - 5A Moving up a Fifth (F minor to C minor) – This will raise the energy in the room. Harmonically these two keys are almost perfectly compatible. Only one note is different between the two scales. CONCLUSION: Going up by 1 in same scale, e.g. 1B - 2B or 10A - 11A sounds almost perfectly harmonic and raises energy a bit. RULE: -1 (same letter) NAME: Lower Energy (or) Go Deeper EXAMPLE: 4A - 3A Going down a Fifth (F minor to B-flat minor) – This type of mix will take the crowd deeper. The tracks will sound great together. It won’t raise the energy necessarily but will give your listeners goosebumps! CONCLUSION: Going down by 1 in same scale, e.g. 1B - 12B or 10A - 9A sounds almost perfectly harmonic and sounds like going deeper in the mix. RULE: (same number) change letter NAME: Relative Major - minor Switch EXAMPLE: 4B - 4A Going from Relative Major to Relative minor (A-flat Major to F minor) – This combination will likely sound good because the notes of both scales are the same, but the root note is different. The energy of the room will change dramatically. CONCLUSION: Moving "vertically" e.g. 8B - 8A or 9A - 9B sounds good together and will change the energy. RULE: In minor: -1 & change letter | In Major: +1 & change letter NAME: Sub Dominant Key EXAMPLE: 5A - 4B Playing the Sub Dominant key of the Relative minor - Major (C minor to A-flat Major) – This is similar to playing the Dominant key of the Relative Major or minor key, and is another great way to transition between Major and minor scales, since the scales are only different by 1 note, and also sounds really good harmonically. CONCLUSION: If in minor, down diagonally, e.g. 9A - 8B | If in Major, up diagonally, e.g. 8B - 9A and sounds really good together. [EXPERIMENTAL] special effect / not to use with long blends RULE: +7 (same letter) NAME: "Raising energy" | Going up a Half Step (1 semitone) EXAMPLE: 3A - 10A (or 1B - 8B) Going up a Half Step (Modulation Mixing) (B-flat minor – B minor) – While these two scales have almost no notes in common, musically they shouldn’t sound good together but if you plan it right and mix a percussive outro of one song with a percussive intro of another song, and slowly bring in the melody this can have an amazing effect musically and raise the energy of the room dramatically. CONCLUSION: Up (NOT down) by 7 e.g. 8B - 3B or 1A - 8A should be mixed quickly to avoid key clash and tends to raise the energy. RULE: +2 (same letter) NAME: "Energy Boost ++" | Going up a Whole Step (2 semitones) EXAMPLE: 4A - 6A Going up a whole step (Modulation mixing) (F minor to G minor) – This will raise the energy of the room. Call it “hands in the air” mixing or might call it “Energy Boost mixing”. CONCLUSION: Up (NOT down) by 2, e.g. 8B - 10B or 1A - 3A should be mixed quickly to avoid key clash and boosts the energy alot. RULE: In minor: +3 & change letter | In Major: -3 & change letter NAME: "Mood Shifter" minor to Major | Major to minor EXAMPLE: 4A - 7B | 1B - 10A Going from minor to Major (F minor to F Major) – While these keys might have 3 notes that are different, the root note is the same and can give a great musical effect on the dancefloor, either brightening the mood or darkening the mood. CONCLUSION: minor to Major or vice-versa: switching letters and subtracting 3 when in Major, e.g. 1B - 10A or adding 3 when in minor, e.g. 10A - 1B should be mixed quickly to avoid key clash and tends to darken or brighten the mood. source:   / camelot_keywheel_rules_transitions_demonst...