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If you are not in a rush, I like to be able to listen to the project in both of my studios, as well as in my car. When I feel I have something worth presenting, I will either get a CD to you (if you are local), or send you files over the Internet. When mastering is completed, I usually upload the master to the manufacturer of your choice. Seldom has the past, present, and future been so clearly evoked as it was in this performance by Henning RA?bsama€™s dynamic company SENSEDANCE, which he created in 1991 a€?in the hope that through the senses for a moment, we can all meeta€?.
The eveninga€™s repertoire of dances, eight pieces in total, all choreographed by RA?bsam, offered the audience the chance to kinetically experience the broad range of his innovative vocabulary as well as to spotlight his dancersa€™ extraordinary and impassioned performance capabilities. Several standout pieces won our hearts, as did the clean lines, elegant technique, and virtuosity of Temple Kemezis, who was partnered by the fluidly athletic Max van der Sterre in the opening piece Amaranthine Road, (2008). One cannot help but think more keenly about past and present than when viewing two strikingly beautiful pieces, GA¶ttingen, (2006) and StA¤ndchen (1991). GA¶ttingen, a solo originally created by and for RA?bsam, was danced with effortless energy by the very youthful Paul Monaghan, a gamin-like, free-spirited dancer (perhaps a version of an earlier RA?bsam?).
StA¤ndchen, a solo performed by RA?bsam to music by Franz Schubert and lyrics by Ludwig Rellstab, is taken from Schubert: Lieder, a larger piece that was first performed at SENSEDANCEa€™s first New York City season at the Cunningham Studio in February, 1992. In Nonet (a premier) with the full company including RA?bsam, our eyes continued to be drawn to the mesmerizing physical prowess of Ramon Thielen, a compelling dancer who is featured as well in Tenancy (also a premier).
In Half-Life (premier), with music by Laibach, we are bombarded with the jarring sounds of a helicopter and the staccato overtones of what seems to be fierce combat, mixed with frantic, breathtaking dance movements which fight and shout for the need to be present, remain whole; alas, the struggle is lost, as evidenced by one lone arm upraised by the last survivor, if one could be called that.
RA?bsam is currently the resident choreographer for the Hartford City Ballet, on the faculty at the Juilliard School and SUNY Purchase College Conservatory of Dance, and a visiting guest artist at the Texas Academy of Ballet.
Among his many citations and honors, RA?bsam and his company, SENSEDANCE, represented the United States at the prestigious Danza Nueva Festival in Lima, Peru in 2010.
GA¶ttingen, a solo originally created by and for RA?bsam, was danced with effortless energy by the very youthful Paul Monaghan, a gamin-like, free-spirited dancer (perhaps a version of an earlier RA?bsam?).A A  With music and lyrics by Barbara, it is pure joy in motion. With the growing popularity of the Production Vault and a few people asking me about adding VSTi’s and VST Effects to FLStudio ( FL Studio was also formerly known as Fruity Loops), I figured, why not put a tutorial up? BY THE WAY: All figures can be enlarged by clicking on them so you can see them in full view.
So for the first go around, we’re going to show you how to add a simple DLL based VSTi.
Now for some Windows users, you may not see the .dll at the end, because your settings may not show them.
13,492Using simple software and this clever little visual aid, any DJ can easily mix in key.You may have heard "mixing in key", or "harmonic mixing", mentioned by DJs. Bonus power tipAs you can see from your Camelot Wheel, there are two ways of expressing musical notation. Want more like this?Join 100,000 Digital DJ Tips members and get access to free training, our friendly forum, plus twice-weekly emails with the best of our tutorials, reviews and DJ news. Does the free "home" version of Virtual DJ include tagging songs with the key or is that a paid feature? I tried looking up Rapid Evolution but I'd prefer an easier solution as I use something else to manage my ID3 tags.
It analyses your songs and tells you the key when you're mixing them in Virtual DJ, but it doesn't actually tag them I don't think.
If knowing the theory behind harmonic mixes improves anyone's sets, it's probably because they were tone deaf or did not have an ear for music to start with. Another reason not to rely on key detection software is that it only gets it right about 40% of the time. I think most people are able to HEAR if the keys clash, but many are not able to tell which key a tune is in. Just be careful not to let tags by some software influence too much the choices on your mixing.

You got me confused on point two though, how did tagging your library taught you about the theory of harmonic mixing?
DJ technology makes some things easier, makes others possible, but doesn't do diddley to replace things like common sense and experience. Very relevant: The new version of Beatport (it's invite only unless you can snag a key, pun intended) includes keys for tracks alongside other information. I've been using Mixed in Key for a while now and it's definitely an incredibly useful application.
I used to always make connections between songs I was randomly listening to, telling myself these songs would go great together if I mix these parts together and things like that.
Key mixing is a great tool, just remember its about playing the right music at the right time and mixing by key is not always an option but key clashes and vocals on top of vocals are unacceptable! Someone told you vocals on top of vocals were bad and you just went with it as if it was a rule.
Dissonant notes were also unacceptable and then along came Stravinsky redefining what was dissonant or not. Having 2 different singers singing 2 different songs at exactly the same time is not going to sound good and you wont convince me otherwise. If you dont belive me try it at your next gig and watch the confused look on the faces of the people on the dancefloor! A lot of things in music can be traced to math (like consonance), but the imperative will always be the aesthetic result, not the scientific one. Fred, to say "someone told you vocals on top of vocals were bad and you just went with it as if it was a rule" is a bit presumptious - this is a beginners' article and 9 out of 10 beginners would be best advised to avoid paying vocals over vocals as rule, despite the fact that in the hands of experts, anything can sound good.
Tony, Fred is an accomplished "artist" and all he's saying is that in art, everything is within bounds, and rules are there to be broken! Let's keep it friendly, folks, and remember we don't have the full picture of each other on here, so let's be constructive and polite please, whatever. The truth is that I also heard a lot of such things like "don't put vocals on top of vocals", "don't mix this with that", even that "as a DJ you shouldn't mix more than one genre", etc., back in the day. I know you Fred and I know nothing was further from your mind, and I know Tony too and know he was just trying to help beginners avoid getting confused - it was just a bit of misunderstanding about each other's motives. Whenever possible, it is preferable to deliver the mixes in that format, at 24-bit, than to use regular audio CDs. This test involves listening to your mixes, and directly comparing them to the song references which you have given me, as well as my own references. Trained in ballet from an early age, RA?bsam been called a fusion choreographer, mixing contemporary dance with ballet, jazz, and strong elements of imaginative, sensory, and pure movement form.
In this rendering, the nymph and faun-like sensual presentation of tender connection and subtle pairing evoked the feeling of first love in its purity of both mood and movement. Our audience was offered the wonderful opportunity to take in the majesty of RA?bsama€™s unabashed love of, and connection to, the art and history of the dance form; his strong, clean movement lines were simple, unembellished, unadorned, yet totally elegant and pure. This dancera€™s finely-honed body offered a satisfying opportunity to experience impeccable dance technique.
With music by Ron Mazurek, the sole performer, Erin Ginn, presents a luminous vision and magnetic presence of an- other world creature. RA?bsam has imbued his dancers with all of the beauty and passion of his imaginative genius. Trained in ballet from an early age, RA?bsam been called a fusion choreographer, mixing contemporary dance with ballet, jazz, and strong elements of imaginative, sensory, and pure movement form.A  This program was a memorable tribute to the breadth and depth of his oeuvre. Scheduled to be danced in another performance by RA?bsam himself, we deeply regret that we will not be able to be there to fully enjoy this iteration. You may even be dimly aware of what it means - that it's about making sure tunes match musically in order to mix them more smoothly.But if you've never done this before, you may think it's hard to do, or that if you're not able to play a musical instrument, you'll not be able to work out all the stuff with scales and notes that's necessary to achieve this type of mix.
I'd like to try out without spending any money first (as a high school student my budget is just about $0).

Also in the settings you can have it add it to the ID tag on MP3's under the "key" box, then in traktor (other dj software has this also, im just not familiar with it) you add a "key" column to your library list and it shows up there. And yes, MIK isn't highly accurate in its results, but it helps to get a rough guideline and mixing stuff i've never thought about mixing before. What Mixed in Key did to me was kill my creativity a little bit because I ended up relying on it too much. It's a great tool and it has a lot of incredible uses, but if you rely on it too much you might miss the point. MIK (or the Key Detection feature in VDJ) is a great tool, but if over used it can leave sets sounding a bit lifeless and safe. Down toward the bottom-all the mixes are done by ear-I will say-MIK has made my mixes faster and definetly more harmonic but there are times when I don't strictly use it. Audio CDs have already downgraded the audio to 16-bit, and thus are inferior to the mixes that the original mixing system itself generated.
RA?bsam notes that this piece, in which he, as well as the excellent dancers Maria Phegan and Jacqueline Stewart appear, was inspired by the poetry of James Merrill. Stark lighting focuses on her one-piece, shiny black leotard with open back that dramatizes each move of her muscular body to full advantage.
Just always mix up or down a number, or from an A to a B or vice versa with the same numbers.So that's it - your quick 1-2-3 of harmonic mixing.
I find it's better just to practice a bunch and learn what a good mix sounds like and what a mix with clashing keys sounds like. Forcing your ear to be trained is way more important than letting software subconsciously force decisions for you.
You can then try it out in your headphones and see if a) the key matching is right and b) whether you'd want to mix the two together in the first place. I stopped thinking if songs went well together and just started looking at the keys to know if the songs had compatible keys.
It can be useful if there are specific tracks you want to include in the mix, and you need a "ladder" to get from one to another cleanly.. These mixes may be fun to listen to at home, but in terms of mastering, they are a virtual time bomb. Tag your songs with their musical keyTo mix in key, you need to know the key of your tunes! If you're not already experimenting with key mixing, do it - it's one of the great leaps forward for digital DJing and done properly, it can really improve how your DJing sounds.Do you mix in key?
Do you have any power tips to share with the rest of our readers for better harmonic mixing? Plus, this way you can be more creative with your song choice and not pigeon hole yourself into doing mixes just because the software tells you they are in key.
Software like Rapid Evolution 3, BeaTunes and Mixed in Key will do this for you - Rapid Evolution 3 is free, but many professionals swear by Mixed in Key (see below for why).Depending on your DJ software, you may decide to have your chosen program tag the key information in a custom key field of the MP3 tag, in the comment field, or in the filename. The important thing is that you work out a way of getting the key information into your MP3's meta data or even its file name , so you can display it when you're browsing your tunes.2. All of your tunes will have been tagged with one of those keys by your software of choice or when analysed by Virtual DJ.Whether your software used standard notation (C major, D minor etc), or Mixed in Key-style notation (12B, 6A etc), you can use the wheel just the same, as it covers both systems.
So you can move left or right one segment, or in or out one segment (you can't move diagonally).

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