![]() This is iterative work too- start in a guaranteed key where you know the record is correctly databased for key signature- play the song and throw another record on the opposite platter, and with each successive algorithm-calculated-but-unmatched key on the opposite deck that you encounter- you go correct the key on its tag, and then stay there and go until you find the next mismatch in that new key you moved to, this way you continuously practice in key while finding what is working and what isn't. It takes me about 3 - 10 seconds on most songs, and I sincerely hope this also serves everyone who tries as an ear training activity. Having some kind of in-tune instrument as a reference is the best way. I open up a Piano or Guitar VST instrument (midi keys of some kind, or whatever you have available, real instruments, etc.) and literally play/check notes to find the actual dominant / root if I suspect it is off. Don't NOT play the right tune for the moment just because it doesn't offer an immaculate key transition - just keep the mix short and tidy and get on over to it and let it rip I am maybe biased though - I think some of my best livestream/mixcloud mixes over the last 12mo have had key change flow as the #1 reason they're any good :)ġ00% agree with your point above though about not being too anal about it in a live gig situation. It makes sense to me to hold a key for a tune or two or three, but over the course of an hour or more I think you are more likely to lose more than you gain by playing in a fixed key. I would say key changes between compatible keys are a wonderful means of adding power to the musical and emotional flow for listeners. Crafting an hour+ long mix in the exact same key - even one with very long fluid transitions - to me, that would be like fighting with one hand tied behind my back. Have to say I don't agree with this sorry. Lively: energetic, fun, impromptu, in the moment, not constrained by rules etc. For a mixes intended to just stream or be listened to in a car or on a jog it can be quite nice though. Don't get bogged down playing one key all the time in a live scenario. The takeaway here is to learn to use MIK without losing the ability to perform lively sets. The kicker there is that those that don't use it arrive at being lively sounding almost by accident. The flip side is those that use MIK tend to become less lively than those that don't. Dj's who use MIK tend to get pretty anal about it and those that don't never learn to be as proficient of musicians as those that do. There is no such thing as a universal energy level and things other than song structure effect how a song is perceived by the listener. As for the energy level part that's a bunch of nonsense imo. It's a great tool for training your ears to hear keys and chords. Although not as accurate as MIK likes to present it as.
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