Importance of mixing in keys

The 1-letter or 1-number approach is only the first relation you can use. You can read more about it at mixedinkey.com/book (in the advanced section) but I’ll provide a summary.

Sometimes you want an abrupt key change to have a sudden change in mood. It doesn’t work with all tracks, but try doing a +4 (ie 4A to 8A). Also, if you want to go from A to B, you can also try stepping up the number (1A to 2B or 2B to 1A, but not 1B to 2A/2A to 1B).

Also, the quick relation for semitones is such:

One semitone up -> Add 7
Two semitones up -> Add 2

Some of these are hit and miss (best trying at home rather than playing out), but it should give you a little flexibility. I’d advise against long blends when there is a sudden key shift, however. Stick with 8 – 16 bars.

Edit: I just wanted to add that sudden-key shifts should be used sparingly. It dulls the impact/annoys the ear if you’re doing it too much.

I think mixing in actual key is something good when you’re more into a “DJing production” style of things…where you’re intertwining a lot of minimal stuff into more “fuller” sounds. It’s like you’re live producing. You of course want things in key so it all sounds fluid.

I’ve tried MIK and looked into the way they look at things, but I’ve found the real skill to learn is PROGRAMMING. I’m not talking about writing code, but toying with tunes in your headphones or in your own time to see just “what works together”. It goes beyond the key of a tune. It goes into whether or not elements of the rhythms and melodies will meld or clash, and if the arrangements of the two tunes will meld or be a problem.

That to me is what I push. I more look for the ideal tune to play next over what is “in key”.