Harmonic Key Mixing

Hi Javier, first welcome to the forums.

Second, I moved your post to the correct forum. Clearly not something to do with the workings of the forum itself, but a general DJ-ing question.

Third: All software has what is called keylock. It’s a feature that can be switched off, but is usually on by default. It makes sure that if you change the bpm the key stays the same (locked). So if you try to mix harmonically compatible tracks, even with different tempo, you can. It does pay to keep the computer from working too hard by making really BIG tempo changes. Some say 2-3% up or down change per track, some say up to 5%, but that is the general scope. The latter gives you a 10% effective tempo difference, meaning you can go from 110 to 121 in one mix. Not something I would personally do (I am with the 2-3% people for starters) for more reasons than just the strain on the keylock mechanism.

Fourth: Just some observations that I make to help you on your path to becoming a solid DJ. It seems that you went out and bought the most expensive controller you could find. While it’s a nice controller, my personal opinion is that it’s a bit overkill for most DJs and way over the top for someone just starting. Of course, personal choice and all that, but just saying that I think a starting DJ is better off with a more starting type of controller.
You say you want to send a mixtape to a manager, but you will be using harmonic key mixing only and the sync button. And while I have no problem with either (I do both too), if you limit yourself to only harmonic key mixing you set yourself up for some boredom at the listeners end. One of the skills a DJ should -imho- have is to know his collection so well that he can use a track that is not a harmonic match but fits into his set at some point to do something surprising and keep the audience awake. As for the sync button, you limit yourself to tracks that play nice with sync/beatgrid. But only 80-90% of the tracks do (depending on your genre(s) this could be a higher or lower percentage though). Meaning that if you are limited to sync use, you lose 10-20% of potentially suitable music.

In general, by the sound of it, you are maybe not quite ready to start playing out in a commercial setting. Start with doing lots of parties for friends, house parties, pool parties, maybe the neighborhood bar on a quiet night.
Playing out is the key to understanding track selection. Practicing on your own is the ticket to becoming technically adept, including things like manual beatmatching and learning a broader scope of transitions rather than a smooth 16-32 beat synced crossfade.

Just my two cents.

well if you hit sync … and your tracks are running nicely synced, you take 4 or 8 bars (bar=4 beats) to move over from one track to the next (perhaps with some low eq-ing), it will sound seamless. And it’s good to do those, but if all you do are seamless and (semi-)automatic mixes like that, your set will become a bit boring (my opinion anyway).

So, by knowing more, different kinds of transitions, you will be able to mix it up with more variety and thus keep things more interesting.

As for 126-128 bpm mixing, that is no issue whatsoever. Again, harmonic mixing is “a tool not a rule”. Use your ears primarily!

Another thing not mentioned yet is energy levels. Two tracks in the same key with the same BPM might have totally different energy levels. So they will most likely not play well next to each other. And since you use energy as a way to control the flow (going up and down in energy a few times in your set to provide for high energy, full floor moments as well as a few low(er) energy, people can have a drink and a breath moments, energy is important.

And while a tool like Mixed in Key does a fair attempt at determining the energy levels, this is something you can really hear with your own ears. MiK has a 10 point scale for energy levels, I limit myself to 3 low-medium-high. And knowing tracks in your core collection initimately, you will – while a track is playing – be able to “hear” in your head whether the track you think of playing next will be a good match or not.

Clearly this last skills comes only with lots of practice, preferably in front of a real audience, even if they are just friends at a house party.

I’d spend a little more money if you haven’t already on the How To Digital DJ Fast course. In a matter of weeks you’ll be amazed at the progress you will make. It will teach you what to practice and how, saving loads of time and frustrations compared to the trial and error way one would do it without coaching/training.