https://edjing.com/xx/CaPuwofe.js

1import{d as u,c as g,w as n,u as r,S as l,o as k,a,b as e,e as o,_ as y,h as b}from"./BNv7CK9h.js";import{M as f}from"./CBHZsDLH.js";import{M as w}from"./D8C0CsLY.js";import{u as v,M as i}from"./DZLRFsXh.js";import{M as x}from"./DiE_f_xJ.js";import"./ZV8vym6t.js";import"./BZHQ9-sS.js";import"./rNdUKFHu.js";const c="Harmonic mixing: how to mix in key with edjing Mix",m="Learn harmonic mixing with edjing Mix: compatible keys, Camelot notation, Key Lock and a practical 16-bar blending exercise.",M=u({__name:"harmonic-mixing",setup(A){const d=[{q:"Does Sync match musical keys?",a:"No. Sync helps align tempo and beats. Key compatibility is a separate part of track selection."},{q:"Does Key Lock make two tracks harmonically compatible?",a:"No. It preserves pitch while tempo changes. It does not change one track into the key of another."},{q:"Must every transition be in key?",a:"No. Harmonic compatibility is especially useful when melodic parts overlap. A short cut or a drum-based transition can connect tracks without a long harmonic blend."}],{lang:h,breadcrumbs:p}=v({path:"/guides/harmonic-mixing",title:c,description:m,crumbs:[{label:"Guides",to:"/guides"},{label:"Harmonic mixing: how to mix in key"}],extraSchema:[{"@type":"Article","@id":`${l}/guides/harmonic-mixing#article`,headline:c,description:m,inLanguage:"en",articleSection:"Mixing techniques",mainEntityOfPage:{"@id":`${l}/guides/harmonic-mixing#webpage`}}]});return(K,t)=>{const s=y;return k(),g(f,{lang:r(h),breadcrumbs:r(p)},{default:n(()=>[a(w,{eyebrow:"Mixing techniques",title:"Harmonic mixing: how to mix in key",lead:"Choose tracks whose melodies work together. Use key relationships, Key Lock and a listening exercise to build more controlled blends."}),a(i,{id:"key-and-tempo",title:"Key and tempo solve different problems"},{default:n(()=>[...t[0]||(t[0]=[e("p",null,"Tempo sets the pace. Key describes a track’s tonal centre. Matching BPM keeps the rhythm aligned; compatible keys help vocals, basslines and chords work together during an overlap.",-1),e("p",null,"Harmonic mixing matters most in long melodic blends and vocal mashups. For a short transition between drum passages, phrasing and rhythm may matter more.",-1),e("p",null,"Start with two tracks you can already beatmatch. Use their key information to shortlist a pairing, then audition the exact sections you plan to overlap.",-1)])]),_:1}),a(i,{id:"key-relationships",title:"Three key relationships to try"},{default:n(()=>[...t[1]||(t[1]=[e("p",null,"The Camelot system represents keys with a number and a letter: A for minor, B for major. These relationships are useful starting points, not a guarantee that any two arrangements will fit.",-1),e("div",{class:"mk-gri

1d mk-grid--3"},[e("article",{class:"mk-card"},[e("span",{class:"mk-tag"},"Same key"),e("h3",null,"8A → 8A"),e("p",null,"Keep the same tonal centre. Compare the melodies and basslines during the overlap.")]),e("article",{class:"mk-card"},[e("span",{class:"mk-tag"},"Neighbouring key"),e("h3",null,"8A → 7A or 9A"),e("p",null,"Move one number in either direction, keeping the letter. The numbering wraps from 12 to 1.")]),e("article",{class:"mk-card"},[e("span",{class:"mk-tag"},"Relative major / minor"),e("h3",null,"8A → 8B"),e("p",null,"Keep the number and change the letter. Here, A minor and C major share the same notes.")])],-1),e("p",{class:"guide-followup"},"If your library uses musical names, work with those instead. Camelot is a notation system, not an extra audio process.",-1)])]),_:1}),a(i,{id:"key-lock",title:"Keep the key when changing tempo"},{default:n(()=>[...t[2]||(t[2]=[e("p",null,[o("Ordinary speed changes also shift pitch. "),e("strong",null,"Key Lock"),o(" in edjing Mix lets you adjust tempo while preserving the track’s key. Check that it is enabled on the deck you are adjusting.")],-1),e("p",null,"Key Lock does not transpose a track into the other track’s key. It also does not repair a clash between melodies. Large tempo changes can affect sound quality, so check the vocal and sustained notes at the speed you will use.",-1),e("p",null,"Key information may be unavailable before analysis completes or for some tracks. On iOS, edjing Mix can display analysed keys in musical or Camelot notation; availability depends on the version and feature access. The exercise below also works with key information prepared outside the app.",-1)])]),_:1}),a(i,{id:"practice",title:"Audition a 16-bar blend"},{default:n(()=>[...t[3]||(t[3]=[e("p",null,"Use two steady tracks in 4/4. Choose an instrumental outro on A and a 16-bar intro on B, with compatible key information. Keep effects off.",-1),e("div",{class:"mk-steps"},[e("div",{class:"mk-step"},[e("div",null,[e("h3",null,"Prepare the overlap"),e("p",null,"Match the tempos, check Key Lock and balance the levels. Start B with 16 bars remaining in A’s chosen section.")])]),e("div",{class:"mk-step"},[e("div",null,[e("h3",null,"Check the harmony"),e("p",null,"Bring B into the mix with its bass reduced. Listen to the sustained notes and any vocal against A’s chords. A repeated clash is a reason to change the passage or pairing.")])]),e("div",{class:"mk-step"},[e("div",null,[e("h3",null,"Transfer the bass"),e("p",null,"At a phrase boundary, reduce A’s low EQ while restoring B’s. Keep one bassline dominant and finish the blend before competing lead parts enter.")])]),e("div",{class:"mk-step"},[e("div",null,[e("h3",null,"Compare another pairing"),e("p",null,"Try a second track with a neighbouring or relative key. Keep the overlap length consistent so you can judge the musical difference.")])])],-1)])]),_:1}),a(i,{id:"when-to-change",title:"When a compatible key still clashes"},{default:n(()=>[t[5]||(t[5]=e("p",null,"A track can change key, use notes outside its scale or have an incorrect analysis. Even correctly labelled tracks can contain competing chord changes. Listen to the section you will mix, rather than relying on the label alone.",-1)),t[6]||(t[6]=e("p",null,"Try a shorter overlap or a passage with fewer melodic parts. For a mashup, remove the competing vocal with Stemz on supported tracks, then check the remaining harmony again.",-1)),e("p",null,[a(s,{to:"/guides/how-to-remix-a-song-on-your-phone"},{default:n(()=>[...t[4]||(t[4]=[o("Build a vocal-and-instrumental mashup →",-1)])]),_:1})])]),_:1}),a(i,{id:"set-planning",title:"Use key as one part of your selection"},{default:n(()=>[t[9]||(t[9]=e("p",null,"Choose the track for its role in the set, then decide how to mix it. A suitable key cannot compensate for the wrong energy, an overcrowded arrangement or a mistimed entrance.",-1)),e("p",null,[a(s,{to:"/guides/how-to-plan-a-dj-set"},{default:n(()=>[...t[7]||(t[7]=[o("Plan a 30-minute DJ set →",-1)])]),_:1})]),e("p",null,[a(s,{to:"/guides/dj-mixing-basics"},{default:n(()=>[...t[8]||(t[8]=[o("Refine phrasing and EQ →",-1)])]),_:1})])]),_:1}),a(x,{items:d})]),_:1},8,["lang","breadcrumbs"])}}}),N=b(M,[["__scopeId","data-v-d9cc4214"]]);export{N as default};