DJ Set 1 — Progressive/Trance Mix

11-track set built around texture-over-harmony philosophy, with a BPM staircase from 120→129.

Links: Tag: music, Set Mastering Pipeline, Programmatic DJ Mixing Tools, Multi-Genre & Wide-BPM Mixing Repo: https://github.com/chrisaacson69/camelot_from_youtube — see Camelot From YouTube

Set Philosophy

Melody into beats, beats into new melody — overlap rhythmic/percussive sections to bridge harmonic gaps
Texture over harmony in the back half — tracks 7-11 “break Camelot” intentionally, using shared rhythm and energy rather than key compatibility. Independently corroborated by Multi-Genre & Wide-BPM Mixing: key matching is only non-negotiable when sustained pitched material (an acapella over an instrumental) is exposed during the overlap — which is exactly why the percussive 6→7 bridge survives a ~1/7-note clash
BPM staircase: 120 → 123 → 126 → 126 → 126 → 129 → 129 → 129 → 129 → 129, with three clean steps up
32-bar overlaps where possible; clean cuts where BPM gaps or style clashes make overlap risky

Full Set Map

Track 1: Martin Roth — Deep Style (Original Mix)

| Field | Value | |——-|——-| | BPM | 120.19 | | Full Duration | 480s (8:00) | | Dominant Key | 12A (Db minor) | | Key Timeline | 4A (0-7) → 11A (8-15) → 4A (16-31) → 5A (32-55) → 2A (56-63) → 12A (64-131) → 2A (132-163) → 12A (164-175) → 5A (176-191) → 11A (192-199) → 4A (200-223) → 2A (224-240) |

Set entry: Bar ~59 (the 2A bridge). The 12A groove kicks in at bar 64 — this is the opener’s identity. Used bars: ~59 to ~175 (116 bars) Used time: ~232s (3:52) | Range: 3:20 – 4:40

Track 2: Marsh feat. Mimi Page — Foss

Transition IN (from Deep Style): Clean cut or very short overlap. 3 BPM gap (120→123). Foss opens quietly — needs to get going by the 6A section. Option: bump Deep Style up to 123 for last few bars, or clean cut and let Foss start fresh. Used bars: ~0 to ~165 (full track) Used time: ~322s (5:22) | Range: 5:00 – 5:38

Track 3: Alone (Extended Mix)

Transition IN (from Foss): Energy crossfade through Alone’s 6A opening. Cue Alone at Foss bar ~128 (energy drops). Foss (3A) overlaps Alone (6A) — 5/7 shared notes, smooth. Foss fades naturally over ~35 bars as Alone builds. By Alone bar 36, Foss is gone. 4A bridge (bars 36-47) leads into 9B. Bassline drops at bar 56. Dead air reduced to ~20 bars of building tension.

Foss Bar	Alone Bar	What Happens
128	0	Foss energy drops, Alone enters in 6A
144	16	Alone increase (energy+, bass+), Foss fading
152	24	Alone increase (perc+, melodic+), Foss very thin
~163	~35	Foss gone. Alone’s 6A wraps
—	36	4A bridge (solo Alone)
—	48	9B arrives
—	56	Bassline.

Used bars: ~0 to ~220 (full track) Used time: ~432s (7:12) | Range: 6:50 – 7:15 Overlap with Foss: ~35 bars ≈ 68s

Track 4: Kasablanca — Am I Dreaming? (swapped from position 5)

Transition IN (from Alone): Clean cut. Alone rides its 9B outro (bar 200+, energy fading to silence). Am I Dreaming enters quiet with the “Am I dreaming?” vocal hit at ~13 seconds (~bar 7). BPM jumps 123→126 — no overlap means no BPM conflict. The vocal resets the room’s attention.

Why swapped: Original order (Otoño here) created a 7A→2A transition later (2/7 shared notes — painful). Swapping puts Am I Dreaming’s 7A after Alone’s 6A (adjacent on Camelot wheel, 6/7 notes) and moves Otoño’s 4B before Lady Danger’s 2A (5/7 notes). Eliminates worst harmonic clash in the set.

Used bars: ~0 to ~112 (full track — it’s short) Used time: ~213s (3:33) | Range: 3:20 – 3:35

Track 5: Orbital — Otoño (swapped from position 4)

Transition IN (from Am I Dreaming): Clean cut at Otoño bar 9 (where the track actually starts). First 8 bars are stylistically odd and don’t blend. Both at 126 BPM — no conflict. 7A→4B = 4/7 shared notes, but with a clean cut there’s no overlap to clash.

Used bars: ~9 to ~183 (skipping odd intro) Used time: ~331s (5:31) | Range: 5:15 – 5:49

Track 6: Lady Danger (Mixed)

Transition IN (from Otoño): Overlap or clean cut. 4B→2A = 5/7 shared notes — comfortable. Lady Danger has 40 bars of intro before first structural event, plenty of runway. Both at 126 BPM.

Used bars: ~0 to ~202 (full track) Used time: ~385s (6:25) | Range: 6:00 – 6:30 Overlap with Otoño: 0–20 bars ≈ 0–38s

Track 7: You Are Sleeping (PQM Meets Luke Chable Vocal Pass)

Transition IN (from Lady Danger): Lady Danger fades, You Are Sleeping enters on percussive 8A intro (bars 0-64). Key clash (2A vs 8A = ~1/7 notes) doesn’t matter — it’s all beats and percussion. BPM gap 126→129: clean handoff avoids overlap. By bar 65 when the melodic 1A drops, Lady Danger is long gone.

Set entry: Bar 65 (1A section begins) Set exit: By bar 289 (must be fully out) Used bars: 65 to 289 = 224 bars Used time: ~416s (6:56) | Range: 6:30 – 7:15

Track 8: Quivver — Brothers & Sisters (Original Mix)

| Field | Value | |——-|——-| | BPM | 129.2 | | Full Duration | 485.87s (8:06) | | Dominant Key | 1A (Ab minor), 72% | | Key Timeline | 1A (0-111) → 5B (112-127) → 2A (128-135) → 1A (136-191) → 2A (192-199) → 5B (200-235) → 1A (236-256) |

Transition IN (from You Are Sleeping): 1A→1A at the mix point — perfect harmonic match. ~25 bar overlap with 89 bars of runway. Both at 129 BPM.

Used bars: ~0 to ~256 (full track) Used time: ~486s (8:06) | Range: 7:30 – 8:10 Overlap with You Are Sleeping: ~25 bars ≈ 46s

Track 9: Below The Belt (Chris Micali Remix)

| Field | Value | |——-|——-| | BPM | 129.2 | | Full Duration | 488.92s (8:09) | | Dominant Key | 4A (F minor), 46.9% | | Key Timeline | 1A (1-16, intro) → 4A (17-28) → 8A (29-48) → 4A (49-64) → 8A (65-96) → 4A (97-192) → 1A (193-256, outro) |

Transition IN (from Quivver): 1A→1A at the edges. Below The Belt intro is percussive — big kick drum, playful bass, rhythmic deep vocals (“da, da, da, da”). ~32 bar safe overlap zone. Transition OUT: Outro returns to 1A at bar 193 — the 1A thread continues!

Used bars: ~0 to ~256 (full track) Used time: ~489s (8:09) | Range: 7:30 – 8:15 Overlap with Quivver: ~32 bars ≈ 59s

Track 10: Ronski Speed & Syntrobic feat. Renee Stahl — Pink Skye

| Field | Value | |——-|——-| | BPM | 129.2 | | Full Duration | 344.86s (5:45) | | Dominant Key | 9A (E minor), 66.6% | | Key Timeline | 9A (1-48) → 9B (49-104) → 9A (105-180) → 6A (181-185) |

Transition IN (from Below The Belt): HARD transition — 1A vs 9A, harmonically distant. Energy dips at Ronski bars 13, 29 provide landing points. Strategy: EQ — cut Below The Belt’s mids/highs, let Ronski’s percussion slide in underneath. Lean into the tension or keep the overlap short and percussive.

Used bars: ~0 to ~185 (full track) Used time: ~345s (5:45) | Range: 5:15 – 5:50 Overlap with Below The Belt: ~16 bars ≈ 30s (keep it short)

Track 11: LTN — Daylight (Original Mix) [Closer]

| Field | Value | |——-|——-| | BPM | 129.2 | | Full Duration | 389.97s (6:30) | | Dominant Key | 8B (C major), 41.8% | | Key Timeline | 5A (0-11) → 8B (12-63) → 5A (64-115) → 4A (116-151) → 5A (152-159) → 8B (160-195) → 11A (196-207) |

Transition IN (from Ronski Speed): 9A→8B share 6/7 notes — comfortable overlap. ~19 bars of safe overlap. Ronski’s rhythm at bars 157-169 matches LTN around bar 19, vocals kick in by bar 21. 8B arrives at bar 12, giving a short but workable runway.

Closing strategy: LTN is the closer. Three options:

Let it breathe — ride 8B out past bar 63, let the 5A section at bar 64 serve as the cooldown
End on emotion — the 8B return at bar 160 is the last big moment, fade after that
End on breakdown — 5A section (bars 64-115) brings energy down naturally, could end mid-track if the vibe is right

The outro winds down nicely and brings people back toward the 120 BPM opener’s energy.

Used bars: ~0 to ~207 (full track plays out) Used time: ~390s (6:30) | Range: 5:30 – 6:30 Overlap with Ronski Speed: ~19 bars ≈ 35s

Timing Estimates

Per-Track Duration (used portion)

#	Track	Used Time	Range
1	Deep Style	~3:52	3:20 – 4:40
2	Foss	~5:22	5:00 – 5:38
3	Alone	~7:12	6:50 – 7:15
4	Am I Dreaming	~3:33	3:20 – 3:35
5	Otoño	~5:31	5:15 – 5:49
6	Lady Danger	~6:25	6:00 – 6:30
7	You Are Sleeping	~6:56	6:30 – 7:15
8	Quivver	~8:06	7:30 – 8:10
9	Below The Belt	~8:09	7:30 – 8:15
10	Pink Skye	~5:45	5:15 – 5:50
11	LTN Daylight	~6:30	5:30 – 6:30
	Sum of tracks	~67:21	62:00 – 69:17

Overlap Deductions

Transition	Overlap Bars	Overlap Time
1→2 Deep Style → Foss	0–16 bars	0–32s
2→3 Foss → Alone	~35 bars	~68s
3→4 Alone → Am I Dreaming	0 (clean cut)	0s
4→5 Am I Dreaming → Otoño	0 (clean cut)	0s
5→6 Otoño → Lady Danger	0–20 bars	0–38s
6→7 Lady Danger → You Are Sleeping	0–16 bars	0–30s
7→8 You Are Sleeping → Quivver	~25 bars	~46s
8→9 Quivver → Below The Belt	~32 bars	~59s
9→10 Below The Belt → Pink Skye	~16 bars	~30s
10→11 Pink Skye → LTN Daylight	~19 bars	~35s
	Total overlap	~4:00 – 5:38

Estimated Total Set Runtime

	Low	Mid	High
Sum of tracks	62:00	67:21	69:17
Minus overlaps	–5:38	–4:30	–4:00
Set runtime	~56:22	~62:51	~65:17

Estimated runtime: 57–65 minutes (roughly a 1-hour set)

Harmonic Flow Summary

Deep Style    Foss      Alone     AmIDream   Otoño     LadyDanger  YouAreSleep  Quivver   BelowBelt  PinkSkye   Daylight
  12A/2A  →    3A    →   6A    →    7A    →   4B    →    2A     →    1A      →   1A    →   1A/4A  →   9A     →   8B
  120bpm     123bpm    123bpm    126bpm    126bpm     126bpm      129bpm     129bpm    129bpm    129bpm    129bpm
         clean/     crossfade   clean      clean    overlap/    beats        1A→1A     1A→1A    HARD      6/7
         short       35bar      cut        cut      clean       bridge       25bar     32bar    (EQ it)   19bar

Harmonic quality by transition:

5/7 or better (smooth): 1→2, 2→3, 3→4, 7→8, 8→9, 10→11
4–5/7 (workable): 4→5, 5→6
Percussive bridge (key irrelevant): 6→7
Harmonically distant (texture play): 9→10

Future Work

Ear-test the full set with actual overlaps
Explore set mastering tools (potentially AI-aware) that accept analysis data → Set Mastering Pipeline
Research programmatic mixing tools → Programmatic DJ Mixing Tools
Rekordbox export from camelot tool (library management, cue points)
Export to set mastering tools (key timelines, energy profiles, structural events) → see Set Mastering Pipeline
UI fix: losing positioning when clicking across charts and zoom levels in audio_ui
Refine exact cue points and overlap lengths after ear testing