https://soundcloud.com/mikkasmusic/.....-remix-preview

:D :D :D :D :D

(I have waaaaaaaaaay more in F# minor that might be fun to mix in to those, too.)

That is so ridiculously happy but it doesn't fit the vibe I need. X3; It's coming after a pretty sweet banger and leading into a 125BPM emotional lifter. In the meantime... *sets your track on repeat*

I've really discovered that while blisteringly easy to use, the Camelot system only works if you stay within major and minor keys, relative major and minor transitions don't transfer neeearly as nicely to the ear as perfect fourths and fifths do. Honestly, it really depends on the track's progression and chord structure.

For example's sake, I would have NO problem whatsoever transferring from that Mikkas tune into, say, Nitrous Oxide's "Gr8!" It's in F# minor, sure, and nowhere near 2B, 11A in fact. But the intro stabs are just octaves, and the minor progression doesn't start until later into the tune. Listen to them back and forth and it would make for a totally unexpected switch up in a set (which, you know, I reeeeeally like to do ;)

For comparison,
- https://soundcloud.com/mikkasmusic/.....-remix-preview
- http://www.youtube.com/watch?v=i23AKGPXzhI

I'm all for deviating from the "basic" Camelot system. :3 My favorite energizing transition I've done so far was Luminary's Amsterdam to Above & Beyond's club mix of "Good For Me" and that are 12A to 4B. There are also a few neat tricks here http://www.mixedinkey.com/Book/Use-.....ing-Techniques and my conversation with DJDarrenFox gave me some ideas. One of them can solve the track gap I have in the upcoming Pawcast, and listening to the transition I think it might. :3