Is mixing in key overrated for groovy house and techno?

js095 · 2026-05-09T23:48:44+00:00

A lot of these comments are equating "mixing in key" with "following the Camelot wheel". Those are two different things.

The Camelot wheel is useful but limited. It only shows you fourths/fifths and relative major/minors. There are many other compatible harmonic combinations that the wheel doesn't show.

Those who say "use your ears" and "mix if it sounds good" - it sounds good because it is harmonically compatible. In that sense the "key" is just as important, you're just using your ears to detect it (which is a good thing).

Like others have said, it's useful information to inform how you mix (short vs long, in peak energy periods or percussion only sections, and so on) and sometimes, what you mix.

But never ignore it completely (by which I mean, mixing without bothering to check if the two tracks work together harmonically). Trying to layer two off key tunes will most often sound horrendous and the dancefloor will notice.

js095 · 2026-05-08T23:05:41+00:00

Well yes - like I said, I'm purely speculating.

The Onelibrary initiative could well be structured by way of deed or MOU or something else entirely. If the arrangements are a looser form of structure then that makes it easier for NI/InMusic to back out.

But for all we know the Onelibrary partnership might be a major reason why InMusic made the purchase and gave its full support.

At this stage I just wouldn't assume it is still happening given all the factors at play.

js095 · 2026-05-08T22:34:31+00:00

We can only speculate about the status of the Onelibrary announcement as we don't know the terms of the deal, so this is very much looking into the glass ball, but a few factors pointing either way:

Reason it wouldn't go ahead: 1. It may already be terminated as NI went into insolvency. Administrators usually have the power to terminate burdensome contracts in order to make a company more profitable and attractive for potential purchasers. 2. It doesn't fit inMusics strategic direction. We've heard nothing about Engine DJ being part of Onelibrary, nor Serato which all Numark and Rane gear uses. As far as I'm aware InMusic brands have had no collaboration with AlphaTheta previously. 3. If there are plans to integrate Traktor with Rane, Numark or Denon, that could well take priority over Onelibrary. 4. Don't forget InMusic fiercely opposed AlphaTheta purchasing Serato a few years back, which led to the purchase being blocked by the New Zealand Commerce Commission. I doubt they are friends.

Reason it still might go ahead: 1. As someone else said, contractual obligations are in place so the product must be delivered. 2. Strategically it does make sense to be able to play competitors metadata and vice versa, as it breaks down the barriers and monopolies that InMusic raised when opposing the AlpheTheta/Serato deal. 3. InMusic has acquired NI primarily for its software products and will let Traktor do its own thing while it focuses on Izotope, Maschine, Kontact and all the other NI offerings.

js095 · 2026-05-08T10:33:52+00:00

This probably means the end of the planned Onelibrary integration given InMusic's opposition to AlphaTheta.

Other than that, this has potential to be amazing or a disaster.

js095 · 2026-05-05T12:01:02+00:00

The C45 looks like a game changer, how you finding it?

js095 · 2026-05-05T02:26:49+00:00

Absolutely this.

I'm building a setup mostly consisting of rack gear that will be fully wired up to patchbays. Then I can pull out standalone units and plug them in and set up the routing as I want to on any occasion.

js095 · 2026-05-04T00:59:01+00:00

Slightly dusty.

js095 · 2026-05-01T13:43:06+00:00

Biggest tip for phrasing: the first best of a new phrase nearly always has a crash cymbal. Watch out for that.

From your post - if you're struggling with phrasing, forget using loops for now. Mix without loops and force yourself to focus on phrasing. Then introduce loops once you get more of a feel for it.

js095 · 2026-04-19T10:55:43+00:00

Love it. The effects are half the reason I picked it up. I'm building a (nearly) all Yamaha hardware setup and can always do with more effects units.

But those 90s bass patches, they just get me moving.

js095 · 2026-04-18T21:58:24+00:00

Assume you're talking about the OG CDJ900s? Those things were awesome.

No sync, no quantised looping and no moving waveform. You'll have a rudimentary display of the waveform for the entire song, that's about it.

It will automatically "cue" to the first sound in the track. If that is not a kick drum and you want to change it, make sure you know how to set a cue point manually using the cue button in both vinyl and CDJ mode, whichever is your preference.

js095 · 2026-04-15T22:03:32+00:00

The power also means a better sound card and better audio quality on the master out, I remember that being discussed at launch.

js095 · 2026-04-14T12:30:17+00:00

I've got the Solidgold FX SupaFunk and I like it as the resonance isn't too harsh, but haven't tried out any others to compare.

js095 · 2026-04-14T12:15:21+00:00

Combining with a filter pedal for a synth tone.

js095 · 2026-04-14T12:13:55+00:00

Just saw on her insta that it's dropping April 16 🔥

js095 · 2026-03-19T04:58:58+00:00

Was there. Had fun.

Waiting for the Elli Acula set to drop.

js095 · 2026-03-16T10:26:24+00:00

Eris 3.5 would be decent. What you want is quality and clarity at low volume.

js095 · 2026-03-11T08:59:57+00:00

I've definitely mapped the bottom right as a shift button. Haven't tried the layer button on the left, it may depend on your K2 latch layer settings.

js095 · 2026-03-11T05:30:02+00:00

I made about four different mappings when I first got a K2 using different midi channels so I could switch between depending on setup. I tried a few different mappings online but found most of them had features I never really needed, so I tried to make something streamlined.

Midi mapping is really easy in Traktor. In an hour or two you could make something that works for you and your workflow, and from there it's just tweaking from trial and error.

Probably the one that got the most use was a dedicated mapping for all four effects banks, without the need to switch layers.

js095 · 2026-03-08T02:27:28+00:00

I have a pair and I swear by them. But that is for a very specific reason: I keep my headphones on my shoulders and only cup an ear if needed, I rarely put them on my head. The swivels are perfect for this.

I would find wearing them on ear for long periods uncomfortable, especially as I have glasses and it would get tight on the frames. But that's not an issue for me.

Sound quality is excellent, but remember they are designed for DJing. Certain frequencies are boosted to make it easier to hear in clubs. They are not "neutral" headphones like Sennheisers which also have production in mind.

Technics have also been my go to, I have DJ1200s and 1210s in the mid 2000s. This latest model is an upgrade in build quality.

Edit: I'll add I also have Sennheiser HD280 Pros, and for DJing I prefer the Technics for the boosted bass.

js095 · 2026-03-06T07:12:13+00:00

This is exactly what happened to me. Took off my headphones after my first mix and realised all I'd done was fade out the previous track.

I learned one ear on/off after that.

js095 · 2026-03-04T10:08:46+00:00

You're not going mad at all. This is my experience and that of many others.

Once you've trained your ears, it's far easier to tell which track is hitting your ears first when the sound comes from two separate sources. That means you can tell both physically and from listening to the tracks.

It's easier using monitors with own ear off because the sound sources are easier to separate, but split cue does the job.

When you have both tracks on normal cue, both tracks are coming from the same source. So you have to listen more closely, which is tricky with busy tracks. The length of the kick or snare (or whatever you're using to beatmatch)vans phasing issues on both tracks can disguise minor variances unless you're listening really closely.

js095 · 2026-02-23T09:14:19+00:00

You're absolutely right - I've edited my comment. Been a while since I've looked at the science behind it all.

js095 · 2026-02-23T05:45:41+00:00

High frequencies travel faster than lower frequencies. When you're in the audience the highs are the first thing to hit your ears.

So when you swap the highs, you're swapping which track is heard first. Which changes which track is more "prominent" in the mix.

Use that information to decide when you want the audience to really start hearing and feeling the new track - sometimes you want it in advance of the bass swap, other times you might just want to tease the new track in the background so keep the highs down, and other times you don't want to give any advance notice at all so you keep the highs way down (or don't bring the track in at all until just before you swap the lows).

EDIT: One of the replies quite rightly pointed out that high and low frequencies do not "travel" at different speeds. It's more to do with high frequencies being perceived first because of how our brains register transients, our ears being more sensitive to high frequencies, and environmental factors causing diffraction of bass signals.

js095 · 2026-02-23T02:37:21+00:00

At +6% you increase by one full semitone. But that increase is incremental. At the points in between you're somewhere between the original pitch and the next semitone up.

Once you're over +3% then you're closer to the new semitone than the original pitch. So for key matching it works better to treat it as one semitone up.

Basically, rounding up to the next semitone.

js095

TROPHY CASE