Harmonic mixing is most powerful when you can arrange
entire programs in advance. Without it, you could waste precious time
testing and rejecting the 75% of songs which are incompatible. With it,
songs will almost fall in sequence by themselves. Your strategy would
be to determine the most logical start and end points, and then arrange
the songs in between.
EXAMPLE: You are programming the following ten songs
and need to find the best sequence:
|
SONG
|
BPM/KEYCODE
|
|
A
|
126/6A
|
|
B
|
127/11A
|
|
C
|
127/5A
|
|
D
|
128/3A
|
|
E
|
129/9A
|
|
F
|
128/7A
|
|
G
|
129/4A
|
|
H
|
128/6A
|
|
I
|
128/10A
|
|
J
|
130/8A
|
You should notice that the list includes all keycodes between three and
eleven. Keycodes twelve, one and two are absent. Keycodes three and eleven
are therefore the logical ends of this sequence, which could go in either
direction (start with keycode three or start with keycode eleven). The number
of possible combinations is very large, but only two combinations are correct
harmonically:
| |
SEQUENCE #1
|
SEQUENCE #2
|
|
MIX#
|
SONG
|
BPM/KEYCODE
|
SONG
|
BPM/KEYCODE
|
|
1
|
D
|
128/3A
|
D
|
128/3A
|
|
2
|
G
|
129/4A
|
G
|
129/4A
|
|
3
|
C
|
127/5A
|
C
|
127/5A
|
|
4
|
A
|
126/6A
|
H
|
128/6A
|
|
5
|
H
|
128/6A
|
A
|
126/6A
|
|
6
|
F
|
128/7A
|
F
|
128/7A
|
|
7
|
J
|
130/8A
|
J
|
130/8A
|
|
8
|
E
|
129/9A
|
E
|
129/9A
|
|
9
|
I
|
128/10A
|
I
|
128/10A
|
|
10
|
B
|
127/11A
|
B
|
127/11A
|
NOTE: Sequence #1 is somewhat better than sequence #2 because
smaller changes are better than larger changes:
Mix #3 has the same one BPM and one keycode difference
in sequence #1 (127/5A to 126/6A) and sequence #2 (127/5A to 128/6A). -
Mix #4 also has the same 2 BPM difference.
Mix #5 is better in sequence #1 than in sequence #2.
Each has the same keycode change (6A to 7A), but sequence #1 has no BPM
change while sequence #2 has a 2 BPM change.
|