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Some pretty bad dissonance can result when two layers are only slightly out of key by less than a semitone. If the chromatic scale is shifted in increments of less than a semitone in one layer, then none of the pitches in either layer are shared, and every single pitch pairing will be dissonant, because the mathematically compatible values are no longer available. (To refresh your memory, the chromatic scale is the set of 12 semitones from which all chords and scales are selected, as discussed in 4.) If the two scales are only ever-so-slightly different (perhaps up to five or ten cents different), the ear may perceive the scales to be compatible. Beyond that, the ear will hear the combination as unpleasant. The first sign that your layers may be suffering from microkey clash is that no combinations seem to sound good, even when you transpose the sections up and down one or several semitones. If you suspect this kind of clash, you may want to review s 6 and 8, which discuss microtuning in detail. A quick check with tONaRT can usually tell you with precision if your mashup has this problem. No amount of arranging or layering will fix it.
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It may not be a bad idea to run all your component songs through tONaRT at some point, just to make sure that there isn t a subtle microkey clash that you re unaware of. If tONaRT detects a Standard Pitch more than 2 Hz away from 440, you may want to consider a fractional pitch shift.
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Like microkey clash, you should be able to avoid key clash if you follow the guidelines in 6 and select songs with compatible keys. However, some individual songs actually go through several key changes. If this happens, you may need to transpose sections of one of the two tracks into identical or compatible keys, using the techniques discussed in 8.
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The human ear has a very difficult time recognizing multiple simultaneous pitches in the lower register. For hundreds of years, composers have recognized that when music is being orchestrated, there needs to be more space between the lower voices than the upper voices. In an orchestra, the distance between the pitches played by bass violin and the cello are greater than the distance between the violin and the viola. In many rock bands, there may be two or even three guitarists, but you will never find a band with two bass players. In a similar vein, a bass player will rarely play more than one simultaneous note, but guitarists strum chords of multiple notes all of the time. Chords played on the bass are not unheard of, but they have a deserved reputation of making the bass sound muddy. Long story short: bass needs room! Two different simultaneous notes in the bass register almost never sound good together. If your two bass lines happen to be playing the same note, it might sound okay, but chances are that the two lines will diverge at some point. Bass clash is one of the most common sources of muddiness in a mashup mix and should be avoided at all costs. If you are plopping an acapella down on top of an instrumental, you will have no problem, because the acapella is bass-free. But if you are layering two full songs, you ll need to take care to avoid bass clash. Here are some ways to do this: Simply use the parts of the song without bass. This can be difficult, because most parts of most songs contain bass.
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11 Arrangement: Putting It All Together
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Perform EQ to suppress the bass frequencies in one of the tracks. You may still be able to hear remnants of the altered bass line, but it will be dominated by the unaltered bass. As long as you do not have chord clash, the thinned-out bass may sound fine in combination with the other track. Perform center channel suppression on one of the tracks. Basses are almost always panned center in modern recordings. Of course, you will be eliminating other sounds that are also panned center, but this can also help in managing density. Early stereo recordings may have the bass panned in locations other than center, but it will almost always be panned in one defined spot and not spread across the stereo spectrum.
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