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  1. 2 points
    Hope I’m understanding it correctly. Ableton obviously doesn’t have notes available in a list, however, you can still do bulk edits on notes: CMD + A to select all notes in the clip, or If you click on a note on the piano itself it will select all of that note within the clip Use shift key when clicking on a note to add/remove it from the selection (or the piano roll to select all midi data across multiple notes) Once the notes are selected, you can basically do whatever you want in bulk: If you drag a velocity slider it will move them all. You can also do linear gradient on the velocities (can find a vid if wanted) You can either mouse drag or use arrows to change the notes (use shift to move by octave) Shift + left/right arrow keys changes note length Legato button, well, makes them legato I can find a good vid on it somewhere. Is there other stuff you want to do that you’ve found easier in Logic?
  2. 2 points
    Mitch

    Newbie equipment question..

    I’d stay away from anything that doesn’t have USB input these days, as CDs are obsolete now. Some things that may help make a decision: - I’ve been doing this 10 years now in clubs and there’s still only a very small percentage in the scene that can make a career out of it. The ones that do typically have other revenue streams as well, such as producing, composing for film etc. as the market is so saturated and pay isn’t great. Again, my experience is purely clubs - you can prob make more money doing weddings, bdays, other mobile gigs (which I did a little bit of in early days) but you also need to play trash and cater to client taste, as opposed to getting booked for ‘your style’. - Pioneer is still the industry standard, but I have seen some Denon equipment making its way into the scene of recent, which people are raving about. I’d stick to one of those two brands, keeping in mind the Pioneer layout is still by far the most dominant. - Pioneer DDJ range are typically USB controllers. These are the cheapest way to get up and going as they require a half decent laptop to run. As it’s all running through the computer they also typically have more visual cues on the screen. This makes it easier to blend two tracks together, but makes it harder to transfer for your skills to club equipment - Pioneer have a range of ‘all in one’ setups (XDJ range) which are half way between a controller and a full CDJ+mixer setup. These require you to export tracks to a USB, then you plug the USB into the unit and off you go. Cheaper than a full CDJ setup, takes up less space, and easy to transfer skills to a CDJ setup in future if desired. I’m a fan of these for home use - some smaller bar venues even rock these now. The path I personally took with equipment was: - purchased a cheap USB controller (less than $500), used that for about 9 months to make sure I was right into it. - bought a mid tier cdj setup. - added turntables a few of years later to learn mixing OG records. TLDR: assuming you’ve got a half decent laptop which can be used with the setup, get a cheap controller (even look on gumtree/fb marketplace for used - just be careful to make sure appropriate software license is included in sale) and use that for a year. If they take to it, upgrade to an all in one unit/better controller with some more features!
  3. 2 points
    Mitch

    G’day ADJF

    Welcome, I’ll be glad to help when you have any questions! Carl Cox is a legend. He actually lives here in Melbourne now, and given we can’t travel anymore you see him doing events here a bit.
  4. 2 points
    LabRat

    G’day ADJF

    Welcome! I've seen a few kids with autism take so well to music. Some pick it up in seconds where others just like the noise and the flickering lights 😁 Heaps of info on here throughout the years which I'm sure you'll find super handy. Alternatively, we're happy to answer any questions!
  5. 1 point
    Mitch

    F9 Audio Ableton Live Parallel Mix Suite

    Came across this last night. It's a bunch of Ableton fx and instrument racks made by James Wiltshire (Freemasons). All uses built-in Ableton stuff so you don't need any third-party VSTs to make it work. Pretty cheap so I might purchase and see how it goes https://www.f9-audio.com/products/f9-live-racks-parallel-suite?variant=32265842433.
  6. 1 point
    Mitch

    Spleeter - Separate music file into stems

    Came across this software called “Spleeter” which is made by Deezer, which looks like a streaming company similar to Spotify. You can input a music file into the software and it will use some AI magic to split the audio out into four stems (vocals, bass, drums, and other). Potential for this tech is pretty huge for things like getting the vocal or bass line separated out for live three/four deck mixing, or even making unofficial remixes and using them in your sets*. The software itself is a bit of a PITA to get up and going by the looks of it (I haven’t done it yet), so it’s not that easy to host it on your own machine. There are some websites which appear available . Again, haven’t used these yet so not sure if they have any copyright detection built in, but they make it pretty clear that you shouldn’t upload stuff you don’t have authority over. Here’s a longer read from the vendor https://deezer.io/releasing-spleeter-deezer-r-d-source-separation-engine-2b88985e797e What’s even better, is someone online by the name of “Azuki” has made an Ableton Max 4 Live plugin which integrates the Spleeter tech right inside Ableton itself. You can see how this plugin works (as well as how good the software works) in the video below. *I don’t condone copyright infringement, nor does the software.
  7. 1 point
    Mitch

    Newbie equipment question..

    DDJ 200 is nearly half the price of the 400 which makes it an easy choice if just going for the cheapest unit. Just note it has no sound card built in - it uses a splitter to separate the headphone out on the PC into to two mono-only channels to allow your separate cue and main outs. Hope that makes sense? the DDJ 400 (which has a sound card for separate stereo cue and main outs) and the Traktor S2 are a better comparison and a similar price. The Pioneer unit will probably be easier to get going on, + have a more familiar layout if/when moving up to larger equipment (larger pitch faders make it easier to learn beat matching), whilst the Traktor stuff is a bit more advanced. Either will be fine, but I’d lean toward the Pioneer unit in your circumstance.
  8. 1 point
    The time has finally come – Ableton Live 11 is here. A major update to Ableton Live rarely makes its way around, so we’ll dive into every big addition – including comping, tempo following, MPE support, new instruments, effects, Live Packs, and much more. But with that comes a few questions. How well does the new version perform? Are all the new bells and whistles worth the upgrade? Reviewed: Ableton Live 11 Price: – Live 11 Suite: $749 or $229 to upgrade from Live 7-10 Suite – Live 11 Standard: $449 or $159 to upgrade from Live 1-10 Standard – Live 11 Intro: $99 Available: Now System Requirements: – macOS: OS X 10.13 or later; Intel Core i5 or later, including Apple silicon; 8 GB RAM; up to 76 GB disk space for sound content – Windows: Windows 10 (Build 1909 or later); Intel Core i5 or AMD 8 GB RAM; up to 76 GB disk space for sound content 20 years of Live From humble and literally radical beginnings in 2001 as a loop-based music machine for live performance, Ableton Live has risen up to become the most popular DAW for producing electronic music, and one of the most popular DAWs in general. Each new version has brought it closer and closer to doing everything that the pro studio standards like Avid Pro Tools and Apple Logic Pro X can do, while also maintaining and strengthening its foundation of electronic music production based on the complementary Session (clip) Views and Arrangement (timeline) Views and the elastic treatments of pitch and time. This review covers all the major new features in Live 11. However, it’s not practical to cover the overall ins and outs of the entire workstation – so if that’s what you’re after, seek out one of the many great video courses or books on Ableton Live. Comping “Comping” refers to a method of track recording and editing where the DAW repeatedly records multiple takes for a selected region until recording is stopped. This makes it convenient to record as many takes as you may need of say, a verse’s vocals, a finger-drumming performance, or even a full song’s worth of either audio or MIDI before stopping the recording. You can then select any portion of those takes you want to keep, and compile those portions, or “comp” them, into a single track. Many popular DAWs have featured comping for years, so it’s cool that Live users can now benefit from this time-saving function. In the Arrangement timeline, turn on a looped region, begin recording audio or MIDI, and when the region reaches the end of its loop, another take lane will be created underneath the main track lane. It continues to create take lanes horizontally until you stop. The resulting take lanes have an audition (speaker icon) button in their track header for you to listen to them. For any parts you want to keep, you select those part and hit Enter, choose Copy Selection to the Main Lane from the context menu, or use the Draw tool to select regions, and that portion will be pasted seamlessly to the main lane of the track. A MIDI drums recording using Live 11’s new comping ability. The highlighted sections from the take lanes are the sections that playback from the main lane. Live 11’s comping implementation works very smoothly, and it’s great for situations when you’re figuring out parts, trying different vocal inflections, or just trying to perform the perfect 16-bar beat. You don’t have to fill up the timeline with one long take that will mostly be thrown out in the end anyway. This makes editing multiple takes much faster. You can also edit the take lanes like normal Arrangement View clips and copy them into Session View clip slots. Linked-track editing and multi-clip MIDI editing Any Arrangement View tracks—audio or MIDI—can be linked through the track header contextual menu so that you can make edits to all the linked tracks simultaneously (see video). You can have more than one group of linked tracks, but each individual track can only be a part of one linked group. Also, you can unlink any track from a group at any time. You can now select multiple MIDI clips in a track and edit them simultaneously in the MIDI Note Editor. A new Focus button in the Editor highlights a single MIDI clip for editing, and you can click through the different clips in the Editor to Focus them. In Live 11, you can now selected multiple MIDI clips in a track and edit them all simultaneously in the MIDI Note Editor. Tempo Following A new Tempo Follower in the software’s top Control Bar will adapt Live 11’s tempo to that of an incoming audio signal. This can help bands who play backing tracks from Live and want the backing tracks to follow the drummer’s tempo rather than vice versa. It can also work for example to send a DJ set’s audio into Live 11 so you can use Ableton’s beat-synced effects while DJing (see video). This is a great addition to Live 11 for live performers. In practice, the reaction time for Live 11 to pick up the incoming tempo felt a little slow. It took a couple of seconds to read the incoming tempo, even when it was just a heavy 4/4 kick beat. If I were to slowly and smoothly pitch the music up or down, Live 11 did not react as smoothly and steadily with its tempo. I’m hoping this is something Ableton can iron out in an update. Follow Actions and Session Scenes Follow Actions are optional and randomizable instructions for what happens next after a clip plays in the Session view. They can add variety over time to a track’s clip playback by messing with the order of clips. There are some updated options for Follow Actions in Live 11: You can link Follow Actions to a certain clip length. You can Jump next to any specific clip, and assign a probability to that action. All the same Follow Action options now also apply to Clip Scenes from the Session View Master track. In addition, from the Session View Master track, you can assign a specific tempo and time signature to any Scene. Clips with Follow Actions turned on in Live 11 now show a modified Play icon (track 4, ‘Noisy-Bass’). Clips Scenes can also have their own tempo and time signature assigned in the Session View Master track. MPE support Live 11 has joined other DAWs like Bitwig Studio, Logic Pro X and Cubase in supporting MIDI Polyphonic Expression (MPE). What you get with MPE is multiple extra “dimensions” of simultaneously playable MIDI control per note: bends, slides, and pressure per note in Live 11. To add more expressive feeling to sounds and instruments using MPE, you’ll need an MPE controller that lets you play MIDI notes with up to five types of expression per note. Examples of these include all of the Roli controllers, several Keith McMillen controllers, the Roger Linn Linnstrument, and the upcoming Expressive E Osmose. For the many people who don’t have a full MPE controller yet, MIDI controllers that have polyphonic (per-note) aftertouch but are not fully MPE-compatible – such as the Ableton Push 2 –can still enjoy part of this new benefit (check out the audio clip below). So far, Live 11’s implementation of MPE gives a number of its devices—the Wavetable synth, Sampler, Simpler, and Arpeggiator—MPE response to bends, slides, and pressure per note, in addition to the standard velocity. Drum Racks, Instrument Racks, and MIDI effect devices also now support per-note MPE. There are a number of new MPE presets for the compatible instruments in the Browser, including Live 11’s new Brass Quartet, String Quartet, and Upright Piano (see below). Within those devices and racks, you can adjust the response to pressure slide, and pitch in an MPE Control window, and in an MPE tab, you can assign individual parameters’ reaction to MPE control. Live 11’s Wavetable synth with MPE functions showing. Along with this, you can edit MPE data in individual edit lanes in the MIDI Clip Editor. Live 11 also supports third-party MPE-compatible plug-ins and will send MPE data through the External Instrument device to control external hardware. Macro Controls and Macro Snapshots Devices and Racks now have up to 16 macro controls instead of the previous 8. Macro +/- buttons display more or less of them, and even better, a Macro “snapshot” button show sets of Macro variations, where the Macro controls are saved at their current settings. New and certain updated Live 11 instruments and effects have multiple Macro variations already saved, and it’s like have a whole new set up sounds at your instant recall. You can save your own Macro setting variations, and a new “Rand” button randomizes the macro controls’ values, which you can also save as a variation if you like (see video below). While these Macro additions may seem rather simple, they should really appeal to Ableton device-heads who love the simplicity of setting up and tweaking Macros from a controller. Also, for people creating Drum, Instrument, and Effect Racks to share or to sell, the savable Macro variations are a great way to add more value and to show off your sound-design skills. Scale Mode for MIDI clips A Scale button in the MIDI Note Editor shows which notes in a MIDI clip are in the scale with blue highlights on those notes in the piano roll, and shows the root note of the scale with a larger blue highlight. Scale mode turned on in Live 11’s MIDI Note Editor. There is also a new MIDI Note Draw Mode with Pitch Lock, so that drawing in MIDI notes will be constrained to a key. Note and Velocity Chance In the MIDI Editor window, each note has a Probability value you can set, along with a button that randomizes the probability for a note to play. There’s also Velocity probability, the probability that MIDI notes will playback within a set velocity range. Look and feel Live 11’s general look and feel has been updated in various ways, including greater contrast to the user interface’s colors and shades that I noticed right way in comparison to Live 10. New look and feel options in the Preferences let you make grid lines more pronounced, which I also appreciated for clarity. A new CPU usage scheme shows an Overload indicator if your processor gets overloaded, which sometimes briefly cuts out the audio. There’s also a more detailed CPU drop-down that shows Average use vs. Current use. A new Templates section in the Browser has several included templates like 8-track recording, Demo & Sketch, and Podcast Template, and is a nice new shortcut for storing your own templates as well. New Instrument and Effect Devices With all of its included Instruments, Clips, Samples and assorted Live Packs, Live 11 is now up to a whopping 76GB of material for you to produce polished tracks. This includes a massive selection of Drum Racks, Clips (mostly loops), and sampled Instruments, which comprise the bulk of the downloadable offerings. Live 11 steps up with eight new Live Packs that are centered around playable Instruments, but also include MIDI clips, samples, Effect Racks, and assorted other assets. There are also four very interesting and specialized new audio effects, and several updated effects: Redux bit reducer, Phaster-Flanger, and Chorus-Ensemble. I let audio examples do some of the talking for these new additions, but even those can still only scratch the surface of what these new tools can do. Brass Quartet by Spitfire Audio (Live Pack) Live 11 includes three instruments/Live Packs by Spitfire Audio (one of the most respected producers of sample libraries for composing and songwriting): Brass Quartet, String Quartet, and Upright Piano. (Worth noting: if you make music and don’t have the completely free Spitfire Labs plug-in, you’re in for a treat when you download it.) All of the packs come with some MPE-compatible presets, and many of the presets include Macro variation snapshots, making it quick and easy to find a variety of high-end acoustic tones for your tracks. Brass Quartet’s presets provide a variety of sustained notes and short note bursts and special-use sounds. Its realism and playability is something a lot of producers can’t get out of brass libraries unless they spend significant cash, so it’s a welcome addition to the overall Live 11 package. Seven Live 11 MIDI clips for the Brass Quartet, played back on seven different Brass Quartet presets. String Quartet by Spitfire Audio (Live Pack) Similar to Brass Quartet, the String Quartet instrument presents a variety of dynamics in its presets, from loud and out-front to pleasantly beautiful to moody and tense. Again, the realism on display and lack of “synthiness” to any of these acoustic sounds makes it a valuable resource to reach for again and again. Seven Live 11 MIDI clips for the String Quartet, played back on seven different String Quartet presets. Upright Piano by Spitfire Audio (Live Pack) Good piano instruments are easier to come by than strings and especially brass, but this Upright Piano has a ton of classic character – making it ideal for hip-hop (add a vinyl effect to it, and people will think it’s a vintage sample), ambient, and dramatic music of any kind. Five Live 11 MIDI clips for the Upright Piano, played back using the different preset Macro snapshots. Hybrid Reverb Live 11’s new Hybrid Reverb effect, a combination convolution/algorithmic reverb with EQ. This combines a convolution reverb with algorithmic reverb, and also an EQ that selects the frequency range to be affected. Convolution uses audio samples to create a reverb profile. It comes with dozens of it own convolution reverb files for its presets, but you can also drag in audio files to experiment with your own. A drum loop that begins dry, followed by 5 repetitions with different Hybrid Reverb presets applied. Spectral Resonator Live 11’s Spectral Resonator effect being played by a MIDI input. Besides being a cool and distinctive effect that adds a sort of metallic reverberant sheen to sounds, Spectral Resonator can also be “played” by MIDI notes to make those resonances melodic. A drum loop that begins dry, followed by 5 repetitions with different Spectral Resonator presets applied. Spectral Time Live 11’s Spectral Time effect. Another spectral effect, this time with delay and time-freezing. It also has great metallic character. While you can use it subtley, when pushed to greater extremes, it can get seriously filthy, and I think electro and bass-music producers will love it. A drum loop that begins dry, followed by 5 repetitions with different Spectral Time presets applied. Pitchloop89 (Live Pack) Live 11’s PitchLoop89 pitch-shifting delay Max for Live device, based on the Publison DHM 89 from 1978. This is a glitchy, shaky, pitch-shifting delay Max for Live device based on the old Publison DHM 89 behemoth signal processor from 1978. It’s kind of like a digital version of tape-loop delay machine popular for dub music. As a Live 11 device, it’s a flexible sound-mangling machine for creative FX, improv, and performance. Improving on Pitchloop89’s controls with a repeating gong loop. Inspired By Nature by Dillon Bastan (Live pack) Three devices from Live 11’s Inspired by Nature Live Pack. This Live Pack for Live 11 Suite contains six Max for Live instruments and effects that were inspired by behaviors from nature and physics. Mood Reel (Live pack) The Cinematic Waves preset from Live 11’s Mood Reel Live Pack. A huge pack of modern cinematic tools, Mood Reel features more than 300 total Instrument, Drum, and Effect Racks and more than 2,000 samples from more then 20 contributing artists. If it were a soundware product, it would cost at least $50 if not quite a bit more, and it could merit its own review. Instead, these two demos will provide a brief but accurate picture of these evocative sounds that would fit perfectly in new Netflix sci-fi or suspense film. The Mood Reel demo by Aimee Portioli. The Mood Reel demo by Thomas Ragsdale. Drone Lab (Live pack) The Petrol-Driven Organ Harmonic Drone Generator preset from Live 11’s Drone Lab Live Pack. Another impressive, purpose-driven pack of instruments, effects, MIDI clips and improvisational Live Sets, Drone Lab is basically what it’s name implies. It’s a full set of tools for creating droning music and soundscapes equally suitable for blissing out as for freaking out, depending on how you flip them. Minimal techno, ambient, film scores, lo-fi hip-hop, and more will all benefit from these vibes. An improv at the controls of Drone Lab’s ‘Earth’ set. Audio clip: Another improv using Drone Lab’s ‘Earth’ set. A basically out-the-box recording of Drone Lab’s ‘Tremors’ set. Voice Box (Live pack) This is a Live Pack of Instrument, Drum, and Effect Racks made up of multisampled male and female vocals, processed and sliced to be used as melodic instruments, percussive kits, or straightforward sung vocal samples. Examples of the different Macro variations in a Voice Box Sliced Vocal Phrases preset, which combine different voices with different effect settings. Upgrades for the Upper Crust If you’re in the lucky group of Ableton users who rock the full Live 11 Suite license and/or the Push 2 controller, here’s what’s new for you. Updates to Push 2’s Functionality Along with items like the Native Instruments Maschine MK3 and the Presonus FaderPort series for Studio One software, the Ableton Push 2 ($799 with Live 11 Intro; $1,198 with Live 11 Standard; $1,398 with Live 11 Suite) is one of the gold standards in my mind for controller hardware made specifically for production software. Making music in Ableton Live with the Push 2 controller simply becomes a more fluid, efficient, and enjoyable experience because of the Push 2’s excellent layout, comprehensive features, beautiful color display and one-to-one mapping with Live 10 –– and now, Live 11. You can produce tracks in Ableton Live without any controller, with a generic MIDI controller, or with the many third-party controllers that focus on Ableton Live (Novation and Akai make some great options). You don’t need to shell out for the Push 2 –– but if you do, you’ll get Live 11 at a bundled price. The updates to Push 2’s functionality with Live 11 don’t add anything wildly new, but they do guarantee that the Push 2 will respond to and reflect all the new features in Live 11. For example, the visual displays in Live 11 new effect devices, Hybrid Reverb, Spectral Resonator and Spectral Time are seen and controllable on Push 2’s display. The Push 2 is also linked to the new Scale and Key modes for MIDI clips in Live 11, so changing the scale in the software will adjust the scale of the Push 2’s 64 key pads. Push 2 will also show all of the extra 9-16 Macros in a device, so you can control them all from its encoders. Finally, with Push 2’s pads, you can apply different levels of aftertouch to individual notes in Live instruments and plug-ins that support polyphonic aftertouch. That “Poly” Pressure mode also applies through Live 11’s External Instrument device for controlling third-party hardware. New in Max for Live Max for Live comes with the Live 11 Suite, the highest level of Ableton Live, and inserts the wildly tweaky Max development environment into the Ableton Live system. With it, you can build your own tools for sequencing, looping, visuals, live performance, and instruments and effects. While only a fraction of people end up making their own devices, having Max for Live gives you access to another world of the most interesting, complex, and wacky modular synths, pattern sequencers, visual synthesizers, fun and frivolous things like arcade-style games, and basically anything that developers can dream up. Live 11 Suite comes with more than 100 Max Instruments, Audio Effects, and MIDI Effects, and there’s a vast third-party world out there of Max for Live devices for free, donation, or set prices. Some of Max for Live’s update in Live 11 include: Routing MIDI to and from Max for Live audio effects and instruments. User interface performance improvements. MPE compatibility. New API additions and an oscilloscope object for Device creators. Live 11’s MPE data edit lanes. 11’s not quite high enough Personally, I happen to be one of those who loves the new cinematic scoring tools and Spitfire Audio acoustic instruments, the MPE control, the comping, and just about everything else – so needless to say, I’m a fool for this new version. I do hope, however, that there will be an update that can address what seems to be a higher CPU use and latency when recording MIDI or audio tracks. Many of Live 11’s new devices seems to be particularly processor-intensive from their complexity, but even equivalent Live sessions from Live 10 struggled when opened in Live 11. They strained the CPU to a noticeably greater degree and caused some latency when recording MIDI or audio tracks. (note: I’m using a 2017 15-inch MacBook Pro; 3.1GHz quad-core i7 processor; 16GB RAM.) The Tempo Follower’s response time also needs some improvement. Perhaps those areas can be tightened up with an incremental update soon. But if that’s just the price to pay for this new version, I’ll be saving Live 10 and my Live 10 projects just in case, until I’m in in the market for a new computer. Should you upgrade to Ableton Live 11? With its emphasis on sounds like the Spitfire Audio instruments and Live Packs that seem to support scoring to picture, as well as new features like comping that traditionally address musicians recording acoustic instruments (yet are still good for almost any type of track-making), the new Ableton Live 11 update may not seem completely essential for all producers of DJ-oriented music. The new effects and instruments sound amazing and will take a long time to fully exploit, and there’s bound to be something for everyone in the new feature set –– whether it’s the extra Macros and savable Macro snapshots, new track editing abilities, or MPE compatibility. However, unless you really resonate with some of those new additions, I don’t believe you should feel compelled to update to Live 11 right away, –– particularly if you’re strapped financially. There will come a time, though, when so many Ableton users have upgraded to Live 11 that if you want to collaborate with another Live user or purchase someone’s Live Racks, Live Packs, Templates, etc, you may have to have Live 11 to do so. And when that time comes, I don’t think you’ll regret it. And if you’re new to Ableton Live, there’s never been a better time to get started with it. With every passing update, it becomes more of a universal tool that offers a comprehensive music-creation environment worthy of most-popular DAW status.
  9. 1 point
    Built by a DJ, for DJs, Prolink Tools is a free, open-source software that helps streamers display track info from external Pioneer DJ gear onto their computers. After spending years livestreaming and dealing with messages asking for track IDs from his sets, founder and creator Evan Pukhiser created the software to provide the data for his viewers in real time. After developing Prolink Tools for approximately six years, Pukhiser has created a program that’s both easy to use and helpful to have. How it works The Prolink Tools app participates in Pioneer’s Pro DJ Link network, so any gear that you have with Pro DJ Link is usable here. It uses the protocol to fetch metadata in real time from the hardware to determine when a track is playing, and pulls it into the app running on your computer. The software is available for Mac, Windows, and Linux. The software has been developed with more updates, according to Pukhiser, to provide proper metadata in regards to timing. He explained to the DJTT team that “I’ve actually built it to be a little smarter even, so that it will only show new tracks once they have been playing for 64 bars and only if that track is on-air (as indicated by the red CDJ platters). This is one of the key features that ensure’s what track you’re planning to play next doesn’t appear too early on in the transition.” Take a look at this demo video from Purkhiser: Using it on your livestream Want to add this into your next livestream event? Once you’ve got the software linked up and the data flowing, you can embed the Prolink Tools overlay in your livestream with software like OBS or StreamLabs. All you’ll need to do is copy the overlay URL exposed in the interface, and use the Browser Source plugin to render it on the stream. Where it’s going Eventually, Purkhiser plans to build out Prolink to be more than just a now-playing overlay. A few features he mentioned adding down the road include: Providing an interface for an automated process in which livestream listeners to request tracks from a specific playlist that the DJ specifies Other types of overlays, including a “set stats” overlay that could display how many tracks you’ve played, the genres you’ve played A Discord bot integration A Twitter integration to live post now-playing tracks A documented API to make it easy to integrate other tools A growing community & a tool that continues to improve The project is continuing to grow and iterate as Purkhiser chats with users and considers their experiences as he develops the product further. Though he originally had built the software for himself, he finds that “real users will always have interesting ideas or find interesting ways to break things”. What better way to make your product better, than to throw it to the masses of DJs out there for free? There’s an entire community growing around Prolink Tools, with a discord channel you can join if you’re interested. Check out the User Manual for any questions or details you need, too.
  10. 1 point
    Can you link to a vid of something that shows what you’re trying to do? If it’s what I think it is, this is actually quite easy to do in Ableton. I personally think the new update is great - quite a few improvements to MIDI editor.
  11. 1 point
    LabRat

    Newbie equipment question..

    Having something USB is perfect. As Mitch said, Pioneer are a dominant force in the industry and you'll find what you're looking for across whatever budget you have. The Rekordbox software allows you copy your library with all your cue points and other markers onto USB, or SD card, and walk into any venue in the world with CDJ's and start playing. Their link system is great, meaning you only need 1 USB or SD card and multiple players will read the data of that one device. Another look would be Native Instruments. The Traktor range is quite good. Software wise, it may come across a bit daunting compared to Serato and Rekordbox but has a tonne more features, if that's something your boy could be interested in. The Traktor software and controllers allow you to be more creative control over samples and your set overall. As their controllers are unique to their software, it's quite easy to drop and drag samples and music. Alternatively, there are a lot of other products, mostly linked with Serato, that are perfect for anyone playing around or looking to get a feel for it.
  12. 1 point
    Tbh if you’re only looking to record from turntables in, a cheap interface with RCA in will do fine, which saves needing adapters. Behringer make one for about $50. I’d only worry about a higher grade interface if you’re looking to use it for other purposes as well (e.g. connecting high end speakers to your computer, producing music). The more expensive interfaces provide a higher sample rates, 32-bit depth, overall higher quality (which you won’t notice unless you have high quality speakers and audio files), and more ins/outs. The software that normally gets bundled with hardware are ‘lite’ versions which are fine to get going but often need to be upgraded to get full functionality. Exception there is high end cards which provide external processing for VSTs which is a whole different thing which is getting slightly off topic. For recording DJ mixes I personally ditch the PC entirely and use a portable Tascam recorder. Saves direct to SD card which I can then xfer to the computer later.
  13. 1 point
    wiz

    I/A launches CTR+ALT+DEL AUDIO with Native C

    I/A launches CTR+ALT+DEL AUDIO with Native C CTRL ALT DEL AUDIO delivers a seamless merging of forward thinking dance floor drum and bass with the deeper elements of our counterpart Inception Audio. For this premier release, we enlisted the sonic programing of Native C, and he delivers two caches of dirty tech funk sure to make even the most casual listener nodding along. Trojan Horse gets things moving with a striped break before the vocal skills of Verbivore cut through with lyrical warnings of a dystopian takeover from the streets behind the guise of a Trojan Horse. From there the drop brings this full throttle stepper to life. Heavy drums, twisted distorted squelch bass stabs layered with an almost ethereal female voice weaving in and out to create a soundscape of both tension and beauty. To call Sunshine the “B Side” is misleading. Do not let the title fool you, this is a heavy heavy dance floor workout begging to be rinsed out on a large rig. Once the track drops the ominous metallic synth line gets to work and does not let go. It surrounds you in its energy and keeps on moving. An evolving bass line and mid bass stabs keeps the tension in the perfect place all the way through. You have been warned with this one… CTRL+ALT+DEL AUDIO - CTRL001 A/ Native C - Trojan Horse ft. Verbivore B/ Native C - Sunshine Grab a copy in all digital stores: https://ctrlaltdelaudio.bandcamp.com/ https://www.beatport.com/release/trojan-horse-ft-verbivore-sunshine/3312741 ** Stream here: https://soundcloud.com/ctrlaltdelaudio/sets/native-c-trojan-horse-ft-verbivore-sunshine-ctrlaltdel-audio-1 https://open.spotify.com/album/7wEjb5XjNKoJ5ANfQZ0ECd ** Follow to support: https://www.viberate.com/artist/native-c https://soundcloud.com/ctrlaltdelaudio
  14. 1 point
    Cupe

    G’day ADJF

    Welcome Carl Cox man there's a name I haven't heard in a while. Enjoy your stay.
  15. 1 point
    #ShakeDownRadio with #ChrisCaggs Episode 387 #HipHop and #RnB Steam and Download for free here: https://www.podbean.com/eu/pb-bavcg-fc3f82 At the last count, Chris Caggs have featured in over a dozen radio stations; · Groove FM 94.5FM & 96.9FM - Sydney Metro Wide · Groove FM 97.3FM - Brisbane Metro Wide · DJ-FM 87.6 Dance Radio - Sydney CBD, Inner Suburbs · 2RDJ-FM 88.1FM - Burwood Sydney · 2NSB-FM 99.3FM - Northside Radio - Chatswood Sydney · Pump FM 99.3FM - North Shore RnB/Dance Radio · STR8OUT Radio - Melbourne Dance Station · Mix It Up Radio - Brisbane - Talkback & Music Radio . ICR Radio - Fairfield Sydney - Urban/Dance . Mixxbosses Radio - Sydney - Hip Hop & RnB . Urban Movement Radio - Brisbane - Hip Hop & RnB . Liquid Radio - Sunshine Coast - Queensland - EDM & House . Starter FM - Sydney - EDM & House . Tune 1 Perth - EDM & House . 4PLAYDot FM - Queensland - EDM & House Playlist: 1. Ricky Jones - Lover (Platinum Vybe Remix Radio Edit( 2. J Trteece - Starlight 3. Usher - Bad Habits 4. GEazy feat Chris Brown & Mark Morrison - Provide 5. Britney Spears - Do You Wanna Come Over 6. Cat Thompson - Rescue Me 7. D.C with PBX & Reba McEncuire - Survivor 8. Gramps Morgan - People Like You 9. NeYo feat Jeremih - U 2 Luv (Remix) 10. Chris Brown & Jacquees - Put In Work 12. Pia Mia - Hot 13. Mariah Carey feat Ms Lauryn Hill - Save The Day 14. Terisa Griffin - Angel
  16. 1 point
    LabRat

    Stanton ST150 Turntable Rebuild

    Righty... it was a bit of an effort but I FINALLY got my labels! The inspiration for my labels comes from the times where we use to pull off tape and write what our channels on the mixers are or even patch locations on some synths. It came out close enough but because they're so small some of the detail in the tape goes. I had a feeling that would be the case but if you don't try these things you won't really know how it's gonna go. Anyways, here's the actual final product and the F1 Pics aren't artistic but I just wanted to grab a few quickly and update. Still on the hunt for a tonearm / second hand deck for parts and I've pulled the other turntable open and have that ready for cleaning. Hopefully I get a chance to get the second one all sorted out and working but that'll be all on these for a while.
  17. 1 point
    found out reading a thread here on Aus DJ Forums about changes to Mixlr - so revisited Mixlr & found my "Showreels" did them as an experiment / exercise in how to use Mixlr at the time ... pretty basic effort on my part ... was difficult to work out 'the delay' going live Mixlr showreels http://mixlr.com/the-music-brief/showreel/24102015/ [42:15 mins] Adele - Hello Olympia - Tourists Everything Everything - No Reptiles Falls - When We Were Young The Pigram Brothers - Barefoot Kid Dan Sultan - Old Fitzroy Thelma Plum - Around Here Warumpi Band - Warumpinya (Papunya) http://mixlr.com/the-music-brief/showreel/themusicbrief-on-mixlr/ Alison Wonderland - Run Blank Realm - River of Longing Agnes Obel - Dorian (Live At Polish Radio) Van She - Changes (G.L.O.V.E.S Remix) JOY. - About Us Passion Pit - Little Secrets (Penguin Prison Remix) The Paper Kites - Revelator Eyes
  18. 1 point
  19. 0 points
    And so it begins.

    Old dog, new tricks.

    Hey everyone. Long story short, 2020 was an absolute sh*t of a year (for most). So for 21 I made the decision to build up a small studio. Been a long time, Atari, Cubase and hardware ruled the world. Bought a couple of laptops and an iPad pro, went legit with software and feel like I got raped in the process but am blown away with tech today. Learning to fly so here to find others and learn. NI ultimate, Omnisphere 2, FL, Serum, Spire, midi guitar 2 (roots are guitarist) and Fabfilter total bundle are what I am starting with. Got a NI S49 mk2. Hope your Easter break is going well.
  20. 0 points
    Rob C

    Newbie equipment question..

    So..... I haven’t been behind the decks for many, many years. Now, my son who is nearly 18 and Autistic and is wanting to learn how to DJ. I’m a little torn in what direction to go in, in relation to equipment. For him, I don’t think he wants to make a career out of it, but that could also change. I have been thinking of getting a simple used system, such as some Pioneer CDJ 100 and a Numark mixer, but in saying that, DJCity do a full package for a Pioneer DDJ decks, monitor speakers etc pretty cheap as well, but need a laptop to work with them. Can anyone suggest a good basic setup for a first time beginner??? Thanks
  21. 0 points
    Mitch

    Spotify playlist - Rotorcraft’s Rompers

    With Spotify dominating the consumer streaming market, less people are listening to mixes on Spotify etc... so if you can’t beat them, join them. Made a playlist for people to follow. Will keep it updated regularly with new tracks. Appreciate a follow if you are on the platform 👍. https://open.spotify.com/playlist/3Tyoxp0HUtoypllBHUbf5G?si=2LcM-2uLQFeoe-Tdy7qH-w
  22. 0 points
    Cupe

    Old dog, new tricks.

    All good my dude
  23. 0 points
    And so it begins.

    Old dog, new tricks.

    Thanks. Fair enough, not really after feedback. You can delete.
  24. 0 points
    And so it begins.

    Old dog, new tricks.

    Hi Mitch, komplete has got a heap of different juices flowing and I don't know exactly what you would call what I am making at the moment... But I am enjoying myself doing it so that's what counts right! For most part, I am just trying to learn how to fly everything and learn technique. My drum patterns are weak as piss, I also have a maschine mk2 so going to spend a bit of time learning how to finger drum cause I have pretty tight timing and can play something better than I can write it. It's about the journey and not so much the destination, I am not looking for a hit, or even a gig. It's purely for my own adventure and mental health. It's about doing something for me for a change.
  25. 0 points
    That's how I usually do it in Ableton. I think I got so use to it in Logic it's the one thing I'd like to see them include to their software. As far as what logic did / does in comparison to Live... it's been way too long since I've used Logic and I was on 9. I know X is so much better and has heaps of functionality but it's one of those things. Ableton is far better at throwing samples in with their warping feature, but Logic's native sampler is so much better so you can still achieve similar things anyway. I think it comes down to preference. I switched to Ableton because a lot of people I was collaborating with used it and it was just easier to switch
  26. 0 points
    So I've been looking into USB Audio Interfaces of late and there's obviously a lot to choose from. Now I've never had any issues ripping straight to Audacity from my turntables and mixer before but I'm always looking at ways to improve on the sound quality of my mixes when recording them. I've had a few recommendations on various brands from professionals in the know but I'm interested to know what everybody else is using and why?
  27. 0 points
    Of course! That makes perfect sense. BTW, just found a Scarlett 4i4 3rd Gen for $409
  28. 0 points
    Cupe

    Stanton ST150 Turntable Rebuild

    The Kallax units are fucking dope for vinyl
  29. 0 points
    LabRat

    Stanton ST150 Turntable Rebuild

    So sad 😪 We need more space at home. When we eventually move into something bigger I'm going to build a wall with those IKEA boxes and finally set them free
  30. 0 points
    PhonicAssassin

    Stanton ST150 Turntable Rebuild

    😭😭😭 #freethevinyl
  31. 0 points
    Yeah exactly. An interface with more inputs will allow recording of both the vocals and the DJ mix at the same time into your DAW but as separate tracks, retaining that level of post production control. IMO you both save time and get a more natural sounding outcome this way (feels more like a radio show) compared to recording the vocals over the top afterward. This is the benefit of the 4 inputs. Otherwise either of the 2 input interfaces are sufficient.
  32. 0 points
    PhonicAssassin

    Stanton ST150 Turntable Rebuild

    I'd love a decent excuse to upgrade to the MKII's
  33. 0 points
    Rob C

    G’day ADJF

    Hey everyone, I’m Rob and I’m here because, many years ago, I used to “DJ” was nothing serious, just 2 technics CD decks, and a very basic Numark mixer, and that was about it. Life got in the way, and always wanted to get back to it. Now, my kids are teenagers and my soon to be 18 year old son, is curious about giving it a go, so I’m here to learn the new ways and help him to learn, him being Autistic makes things a bit trickier. So I’m sure I’ll be asking a HEAP of questions and reading through the forums. Massive Carl Cox fan, and been listening to a bit of Martin Garrix, thanks to watching the doco on Netflix.... Thanks everyone.
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