yizzle

..and hit up the person that has hosted the image. it might be copyright. if you makes millions off a track and have an image linked it it you might end up in a costly law suit, unless you have evidence (emails etc) of them saying 'i give permission for you to.. etc

i think this fits under Electronica. ¯\_(ツ)_/¯ https://soundcloud.com/duskypines/dose-fueq

nice find

awesome

AUD well the article was in GBP so i converted and did ~

You might think that you don’t need another set of speakers. The chances are that you’ve already got a pair hooked up to your computer - in the MP3 age, this might even be your main hi-fi setup - or maybe you do all of your listening on headphones. When it comes to making music, though, a decent pair of monitor speakers is, if not essential, a very wise investment. To understand why, you need to understand how they work. While your hi-fi or computer speakers are specifically designed to ‘flatter’ your music so that it sounds good, they typically do this in a way that could be considered unnatural. This isn’t a problem if you’re listening to someone else’s album, but when your goal is to create balanced mixes that will sound good on lots of different systems, it can be an issue. Step forward the monitor speaker, which is designed to portray your music as it actually is rather than how your ears might want it to sound. We’re not going to delve too far into why these speakers are technically different, but the bottom line is that, if you mix your music through built-for- purpose monitors, you’ve got a far better chance of making it sound good. Headphones are another issue altogether. Trying to create a balanced stereo mix while you’re monitoring through cans is notoriously difficult because, rather than hearing some of each channel (left and right) in each ear, it’s an ‘either/or scenario’. We wouldn’t dream of telling you not to use headphones at all - in many cases, such as when you’re making music on the move or at a time when making noise is a no-no, they’re essential - but it’s certainly a bad idea to rely on them exclusively. It would be easy to generalise and say that the more you pay for your monitors, the ‘better’ they’ll sound. This is true up to a point, but speaker preference is ultimately a very personal thing so, if at all possible, we’d advise you to try and audition a few sets before you make a decision. Based on the reviews on MusicRadar (and in ascending price order), here are some of the best affordable monitors currently available. 1. M-Audio BX5 D2 Price: ~$340 (pair) Apparently, the original BX5 was the best-selling monitor speaker in the United States in both 2009 and 2010. This revised version picks up where its predecessor left off: these are compact, affordable monitors that definitely punch a good deal above their weight. The BX5 D2s have a slightly subdued appearance, but they’re certainly not ugly. Connections and volume controls are round the back, so you might want to ‘set and forget’ the levels to save rooting around there later. In use, the BX5 D2 monitors are impressively punchy and will do the job perfectly well if you’re making pop or dance music. In fact, they’re an ideal first set of monitors, though if you’re looking for something with more bass, you might want to check out the larger BX8 D2s. 2. Fluid Audio F5 Price: ~$360 (pair) These compact powered monitors feel light but solid. The rear panel sports a finned amplifier with power inlet/switch below and line inputs above (XLR, TRS and RCA). The rigid plastic front baffle centre houses the silk dome tweeter (in waveguide), coated paper composite woofer, volume trim fader and slot-shaped bass reflex port. Without a doubt, the F5s deliver performance beyond their price point. Good transient response, a smooth mid to HF range and some punchy power make them good candidates if you have a small budget. The slightly bulbous low-end isn't marred by any overt resonant peaks, but is something you'll have to get used to. Ultimately, though, the F5s give you a lot of speaker for your money. 3. Berhinger B1031A Price: ~$420 (pair) Behringer is a company that’s built its reputation on producing usable products at bargain prices, and the B1031As are a perfect example of this philosophy. They don’t look or sound cheap, but the price is very attractive indeed. The all-important bass sounds tight and doesn’t distort, while the top end of the mix is nicely detailed without being too sharp. There monitors provide plenty of detail in the midrange, too - it’s not difficult to pick out the different instruments in your mix. The B1031As have a nice wide sweet spot, meaning that you don’t need to worry about positioning yourself too precisely in front of them. They’re comfortable to listen to for long periods, too - these are speakers that you’ll be happy to live with and come at a great price. 4. Adam Audio F5/F7 Price: F5 ~$600 (pair) / F7 ~$800 (pair) The F5 and F7 use 5- and 7-inch woofers respectively. These are a new design combining glass fibre and a paper backing. The tweeters, meanwhile, use Adam's X-ART design. Both models include the same rear panel controls, which are two +/- 6dB shelving EQs at 300Hz and 5kHz and a volume control (-inf to +6dB). There's also an 80Hz high-pass filter designed primarily for using with the optional F-Sub. Inputs are via either a phono or combination jack/XLR. Fire up these monitors and they immediately sound just as you would expect: open in the top end with plenty of upper-mid detail; solid in the low mid and mid range and reasonably well balanced at the bottom. The F7 sounds more expansive and engrossing, while the F5 is a bit more precise, particularly in the mid range. At the bottom, the F7 extension is much better. On balance we prefer the F7s, mostly because the scale of the delivery is bigger and they sound more capable at high levels. That said, the F5 would be great for smaller rooms. 5. Equator Audio Research D5 Price: ~$650 (pair) Compact enough not to dominate your studio space, at first glance the D5s have the look of a two-way monitor until you realise that you're actually getting a tuned front port for bass that sits under the main driver assembly. XLR and 1/4-inch TRS jack connections are on the rear panel, and there's a rear-panel three-way switch to optimise the monitors with different degrees of low-end roll-off for different room locations. The D5s provide an impressively full sound for such a small box. The bass end is well-represented, there’s clarity in the mid-range, and the sound is well defined across the rest of the spectrum, too. In fact, the D5s deliver plenty of definition to let you hear exactly what you need to hear. 6. Adam Audio A3X Price: ~$720 (pair) Adam’s pricier monitors have frequently won praise, so the prospect of getting some of that high-performance quality for a fraction of the cost is certainly appealing. With the Audio A3Xs, the signs are good from the off: they look great and certainly don’t feel cheap in comparison to their more expensive siblings. These speakers feature Adam’s X-ART tweeter, which translates into great performance at the top end. Detail is actually pretty good across your mix, whatever volume you happen to working at. These might be compact speakers, but they can still go pretty loud. In fact, the A3Xs have a big sound generally, and one that we’re very happy to listen to. If you can afford them, they definitely offer bang for your buck. 7. Fostex PM641 Price: ~$730 (pair) The PM641 is a three-way monitor and has the mid-range driver and tweeter sitting next to each other on a horizontal axis above the woofer. This serves to minimize the physical height of the enclosure box. The rear of each cabinet is dominated by a large finned heat-sink adjacent to the connection sockets, which are an XLR and a 1/4-inch TRS jack. There’s also a pair of three-way switches to change the response. Performance-wise, the bass end is impressive and kick drums come fat and rounded. We'd describe the mids and top-end as ‘smooth’ - there's no hype or harshness here - and it feels like you could use these on long sessions without fatigue. The PM641s might cost more than some of the budget options, but just shy of ~$730 is not a bad price to pay for a nicely practical three-way monitoring system. 8. KRK Rokit 8 G3 Price: ~$750 (pair) Designed and engineered in the USA but made in China, the Rokit 8 (RP8), the largest of the three two-way models in KRK's Rokit series is now in its newly-released third generation. This brings (among other things) an upgraded amplifier and tweeter and the inclusion of low frequency adjustment. The RP8 offers XLR, 1/4-inch jack and RCA phono inputs. Another thoughtful touch is that the cabinets come fitted with a foam pad on their base to decouple them from whatever surface they are standing on. This is a punchy monitor with a smooth top end, but most apparent is the solid and powerful bass performance. Once you've familiarised yourself with their sound, these are very capable speakers. 9. Tannoy Reveal 802 Price: ~$770 (pair) The 802 is the largest speaker in the Reveal range. It features an 8-inch bass driver and a 1-inch tweeter, with a rubberised padded base incorporated to provide acoustic isolation and a more balanced low end. Around the back you can connect balanced (3-pin) or unbalanced (1/4-inch) input sources, while a rocker switch enables you to select a natural frequency response or additional offset options to increase or decrease treble balance. The final option supplied on the rear panel is a proximity switch, which lets you adjust bass response depending on the distance of your speakers to walls behind them. The 802s deliver punchy bass response with an extremely rounded tone. Equally pleasing is that the top-end is more discreet than we were expecting. Stereo imaging is good, too, with a wide listening sweet spot and a pleasing depth of field. These are fine speakers for the price. Regardless of the volume at which you like to mix, you can be sure that the nuances and subtleties you're putting into your music will be accurately represented. 10. PreSonus Eris E8 Price: ~$800 (pair) The E8 is quite a large nearfield monitor and is bi-amped. The 8-inch Kevlar low-frequency transducer is driven by a 75-watt class AB amp, while the 1.25-inch silk-dome high-frequency tweeter gets 65W of class AB amplification. Besides the woofer and tweeter there's a horizontal front port. All connections and controls reside on the rear panel. You should have no trouble getting a signal into the E8 as there are XLR, balanced TRS jack and unbalanced RCA (phono) sockets. Besides the necessary input gain knob, the E8 has a range of controls for tweaking the sound. In use, the clarity of these monitors is good, and the overall balance of frequencies is one that you can work with. The top end comes through prominently and clearly (revealing the detail), while the bottom end is tight and focussed. We'd be happy to use the E8s to mix our tracks; they can sound pretty big considering their compact cabinet. This is a monitor that should fit tidily into most rooms and will let you hear the detail in your mixes. 11. Pioneer S-DJ05 Price: ~$900 (pair) Pioneer’s aim with the S-DJ05 was to create a speaker that bridged the gap between the music production and DJing worlds, giving you something that you can use both in your studio and for monitoring in the booth. There are loads of input options round the back (you can toggle between these with buttons), plus selectable EQ. Furthermore, the S-DJ05s allow you to remote control your settings with a separate device so, with the appropriate hardware, you can toggle between inputs, turn the EQ on and off and adjust the levels of your speakers without even touching them. The S-DJ05s have flexibility on their side, then, and fortunately they also sound pretty good - particularly when handling dance music. 12. EVE Audio SC204 Price: ~$1000 (pair) Like all the monitors we’re looking at here the SC204s are active, meaning that they have their own amplification. These speakers are small, certainly – making them an attractive proposition if you haven’t got much space in your studio – but as soon as you get them out of the box you realise that they’re also substantial in all the most important ways. All connections are located round the back, although handily, the volume knob is positioned on the front. An LED surround for this makes it easy to match the levels of the left and right speakers. The SC204s reveal a lot of detail in your music and sound consistent at all volume levels; despite being small, they fill a room pretty well if you crank them up. And they pass the key test: music that’s mixed using them sounds good when it’s played through other sound systems. This makes them speakers you can rely on. Source: musicradar.com

I had no idea where to post this. But i figured its a pretty DIY setup he has going on so.. enjoy... or don't. I did

Some of you vinyl aficionados will have seen the story over the last few days about Jack White (of White Stripes fame) releasing his upcoming ‘Lazaretto’ LP on a vinyl pressing to end all vinyl pressings. Not only has every aspect of vinyl-pressing as a discipline been applied, but it shows a very important fact… vinyl as a medium is on the rise again. The age-old argument about the advantages and disadvantages of vinyl rages on as ever, but Jack White certainly manages to kick dust into the faces of vinyl opponents with his album offering. The 12 inch “Ultra LP” version of the album ‘Lazaretto’ is one of the most comprehensive and thoughtful vinyl record releases we’ve seen in a very long time. The record uses every trick in the book to give the listener an experience you’d never get from a digital purchase. There are hidden tracks beneath the labels, with one of the tracks playing at 78 RPM meaning it’s quite possibly one of the only LPs to have 33, 45 and 78 RPM tracks on one release. One side plays from the inside outwards and the other has two parallel grooves, giving you different versions of the same intro to a track. Even more amazing are the “floating holograms” that can be found after the end of the record on one side. You need to watch the video to really see how it works. Here’s a rundown: • 180 gram vinyl • 2 vinyl-only hidden tracks hidden beneath the center labels • 1 hidden track plays at 78 RPM, one plays at 45 RPM, making this a 3-speed record • Side A plays from the inside out • Dual-groove technology: plays an electric or acoustic intro for “Just One Drink” depending on where needle is dropped. The grooves meet for the body of the song. • Matte finish on Side B, giving the appearance of an un-played 78 RPM record • Both sides end with locked grooves • Vinyl pressed in seldom-used flat-edged format • Dead wax area on Side A contains a hand-etched hologram by Tristan Duke of Infinity Light Science, the first of its kind on a vinyl record • Absolutely zero compression used during recording, mixing and mastering • Different running order from the CD/digital version • LP utilizes some mixes different from those used on CD and digital version Source: djworx.com

enjoyed

ysm notes: Before getting into my digital world of DJ'ing & production I was (am) a guitar player of many, many years. Being heavily influenced by Pink Floyd, Deep Purple etc. I obviously built up a fair collection of guitar pedals. I have been from time to time curious if there was a way to incorporate these stereo/analog things made for guitar into my DJ'ing and for other live performance things. Few years later this article popped up by chance. Hope it helps anyone like minded Where To Start: Some Details To Keep In Mind: All guitar pedals are designed with the foot in mind, not your hand, but there are some ways in which they can be used in table-top format as well. Such as: • Stay away from the silver peg-style switch; these are nearly impossible to use. • Pedals with spring-loaded platforms (like the Boss series) can be modified with lighter springs so they are easier to press • Pedals like the Mooer series will accommodate modifications such as arcade buttons to the circuit board. It’s easiest if you’re using a mixer with a send and return, which will allow you to route any external effects to any individual channel on the mixer. Most mixers’ send and return will have a mono output, so try ordering your effects with mono devices first, then adding stereo effects after those. Many clubs run their sound systems in mono due to less-than-ideal listening conditions. Often stereo effects can be lost in the mix, so it might be wise to run everything in mono anyway if live shows are in the plan. Of course, you can set up your effects chain however you like, but, in this instance it starts with a Boss Compressor/Sustainer to bring the drum sounds together, followed by a Bass Synthesizer, Flanger, a Red Panda Particle Granular Delay, a Digital Pitch Shifter/Delay, and so on, and ends with a stereo-signal Digital Reverb. Naturally, mixing analog guitar effects with your digital DJ setup is all about creativity and improvisation, so experiment and have fun with it. Try re-ordering your devices to see what happens, and find the fit that works best for you. With hundreds of options out there it can be hard to decide which will work, especially since testing them out is not a viable option. Here is a short list of the pedals from the video above and a few extras: • Boss Bass Synthesizer – Turns any rhythm into a TB-303 with great squelching flavor, however very atonal and difficult to keep in key. • Boss Digital Reverb RV5 - Amazing stereo digital reverb in a small footprint. Gets washed out in stereo in a club, and may be best run in mono. • Boss Digital Delay DD3 – This is the most popular delay for syncopated patterns that are out of time. • Boss Digital Delay DD7 – Like the DD3, but with tap-tempo for synced delays. It also has a unique wet delay fadeout, which is nice. • Boss Tera Echo - Very unique-sounding delay. • Boss Pitch Shifter/Digital Delay - Basically the DD3 with some extra pitch-shifting effects. Packs a lot of value into a small footprint. • Boss Equalizer - Surprisingly fun multi-band EQ, which makes it easy to punch in big EQ changes for musical effects. • Boss Compression/Sustainer - Fantastic compressor, especially for drums. This is great for gluing together rhythmic material in the mix. • Red Panda Particle – Freeze effects, delays, and pitch-shifting with a foot-pedal input for expression make this a very unique offering. • Mooer Analog Delay – Instant crazy feedback and genuine analog delays create deep dub sounds. • Mooer ShimVerb – Authentic analog reverb that sounds very warm. • Mooer Pitch Shifter - Great for revoicing synth lines. ysm notes 2: DJTT's seems to be really heavy on the Boss brand (my guess is thats no accident). DigiTech, Ibanez and even some older Morley pedals are just as solid, if not better in some circumstance. If you just want to experiment without breaking bank Behringer make some really cool pedals that are cheap as chips. ~$60 each. Source: djtechtools.com

Taiyo Pacific Partners LP (“Taiyo”) has joined Roland CEO Junichi Miki to conduct a management buyout (“MBO”) of Roland for ¥42.6 billion Yen (about $420 million US dollars). Here’s what Taiyo has to say about the planned buyout: "As a friendly, long-term shareholder, Taiyo has sought to provide management with analysis and support in their efforts to increase corporate value. However, the current business environment led Roland CEO Junichi Miki to reach out to Taiyo to discuss the idea of conducting an MBO. He was concerned that he needed to be able to quickly and effectively achieve some fundamental changes necessary at Roland. We agreed with his assessment and are honored to join him in his desire to rebuild this great brand. Taiyo believes that this MBO offers current shareholders an opportunity to sell their shares at a premium and avoid the volatility risk associated with the transformation efforts. Today, Roland’s Board of Directors passed a resolution to endorse the tender offer and recommend that shareholders tender their holdings. Brian K. Heywood, Chief Executive Officer and Managing Partner of Taiyo Pacific Partners, commented, “This transaction will enable Roland and current management to build a foundation for long-term strategic growth. I believe that President Miki is a strong leader that can make strategic and difficult decisions. We will be fully supporting his efforts. Roland has a dedicated team of management and employees, and an innovative DNA instilled from its founding. We hope to see Roland enhance its status as a global leader in digital musical instruments, and truly become a world-class company.” Overview of the Roland MBO: • Target company: Roland Corporation • Offerer: Tokowaka Corporation, Taiyo Jupiter Holdings, L.P. 100% ownership? • Offer price: ¥1,875 • Offer period: Thursday, May 15, 2014 through Wednesday, June 25, 2014 (30 business days) • Shares targeted: No upper limit. Lower limit: 14,798,500 shares (66.67% of shares outstanding.) Source: synthtopia.com

Brian Eno, Karl Hyde and Warp have released a augmented reality app, Eno • Hyde, as a promo for the new Eno/Hyde album, Someday World. Eno • Hyde takes the classic medium of vinyl and marries it with image recognition and augmented reality technology, in a melding of analogue and digital worlds. After downloading the application for free, fans can use their iOS device to watch and explore as new ‘outsider architecture’ metropolises spring into life around their vinyl copy of the album. If you have a digital copy of the album, you can also use the app at the Eno/Hyde site. The app is a free download from the App Store. Source: synthtopia.com

side note i got Pianoteq free when i got my Nektar LX-49. its a super boss stand alone. not bad as a VST either

Modartt has released Pianoteq 5, the latest version of their virtual piano instrument for Linux, Mac OS X & Windows Here’s what they have to say about the new version: "We have devoted two years of research to developing and refining the award-winning Pianoteq physical model. Pianoteq 5 brings a new clarity and authenticity to the piano sound. Moreover, it offers no less than 9 new piano models, and sound recording is taken to a higher level of control with the addition of directional microphones, letting you choose from a range of well-known microphone brands." Here’s what’s new in Pianoteq 5: • All instruments brought up-to-date with latest model improvements, D4 and YC5 re-built from scratch. • Nine new instruments: Grand K2 and the Kremsegg Collection. • Directional microphones support, which can be rotated in all directions. • Many microphone models, with various directivity patterns, are available. • Microphones can be linked together, and then moved or rotated together. • The polarity of a microphone can be reversed (for M/S recording situations, typically). • The four pedals of the interface can be re-assigned to a few parameters such as Rattle, Lute Stop, Celeste, Super Sostenuto. • Improved key noises, with an optional humanization of the parameters. • Pianoteq presets (FXP files) can now embed a short MIDI excerpt. • Dithering added to the audio export in Pianoteq Standalone. • Small metronome improvements. Pianoteq 5 is available now in several versions. Details and audio demos are available at the Pianoteq site. Source: synthtopia.com

thats a paw effort mate

LOL!

welcome mate

Ye change it up. Maybe make the T backwards.

Native Instruments has released an update to iMaschine, its iOS mobile ‘groove production’ app. The update adds iPad optimization, sampling from iTunes, sample editing features and more. The updates add up to a much more powerful iMaschine, moving it further into music production center territory. iMaschine is designed to let you create “music sketches” with an iPad or iPhone. The update features a new user interface and an optimized layout for iPhone 5, iPad and iPad mini. On the iPad, the modified iMaschine interface allows two-handed operation. Editing and performing functions are now on the same window as the application’s 16 drum pads, 2-octave keyboard and the audio recorder, smoothing its workflow. The update also includes an addition to the standard library, the “Quantum Collection”, an iMaschine expansion featuring a choice selection of sounds from the recently released Maschine 2 Library. iTunes sampling allows users to capture parts from the music on their iOS device and edit the samples’ start and end points. The update also brings easier writing and performing, with a number of workflow enhancements. X/Y performance controls are a new way to perform effects. A swipe redo/undo function contributes to a faster workflow. Lastly, listening to requests from the iMaschine community, this iMaschine update adds a metronome on/off switch. Here’s what’s new in version 1.1: • iPad optimization for two handed-workflow • Sampling from iTunes • Free ‘Quantum Collection’ sound pack • XY performance controls on mixer page • Swipe gestures for redo and undo • GUI facelift • Enhanced sample editing functionality, start and end point now adjustable • iPhone 5 screen support • Metronome on/off switch Here’s a live performance demo, by producer Jamie Lidell and the Q-Kidz dance troupe, featuring the updated iMaschine: The second video takes a look at beatmaking and workflows with iMaschine: Current owners of iMaschine can receive the update free. New customers can get iMaschine for $4.99 from the App Store. Source: synthtopia.com

ime for an incremental but important update from Serato. In this release, Serato DJ 1.6.3 makes the platter LEDs better, fixes an annoying DDJ-SZ jog wheel issue, and bestow the shiny gold Serato Accessory badge upon the CDJ-900NXS. The obligatory release that say what I just did but in more words: "Serato DJ 1.6.3 – The latest software update for Serato DJ includes controller/CDJ platter improvements, new Official Serato Accessory support and a bug fix that will vastly improve the experience for anyone using Serato Control CDs." Serato DJ 1.6.3 Includes: • Improved platter lighting response on all supported controllers/CDJs resulting in more accurate visual feedback of playback and position information. • Improved platter latency on the Pioneer DDJ-SZ* for a much tighter response while mixing and scratching. • Official Serato Accessory support for the Pioneer CDJ-900NXS. Connect to your computer via USB cable and control Serato DJ using HID mode without the need for Serato Control CDs**. • Fixed an issue where the playhead could jump when using CDJs in Relative Mode. Download Serato DJ 1.6.3 from Serato.com/dj/downloads *Requires Pioneer DDJ-SZ firmware update. **Requires an official Serato DJ interface, controller or mixer. So while all controllers get better LED response (it was never bad to be honest), the most welcome update is the DDJ-SZ fix. I can only imagine how annoyed buyers of the most expensive controller in the market must have felt to be presented with poor response. Perhaps this is why review units have been thin on the ground. But it’s pretty cool that the CDJ-900NXS can work properly with HID though. Source: djworx.com

Algoriddim has partnered with Spotify to give Spotify Premium subscribers access to Spotify’s music—as well as their playlists, starred tracks, and Inbox—from Algoriddim Djay 2 for iPad and iPhone. The launch also includes Match, a track-selection tool based on the Echo Nest’s analysis of Spotify’s library, a new Automix Radio features, and optional new effects for Djay 2 created by Sugar Bytes. We all suspected it would happen eventually; when and by whom were the big questions. Now, a very good iOS DJing app just became much more intriguing with the addition of Spotify library access to users of Algoriddim Djay 2 for the iPad or iPhone. To unlock the 20-million-plus Spotify tracks from the cloud, you’ll need a Spotify Premium subscription ($10/month in the US). Music from Spotify works like your locally stored music: it’s analyzed on the fly with BPM, key, beat grids, and colored waveforms, and that info will be stored for when you play the same track again. How The Spotify Integration Works: Once you’re signed in, Spotify’s library—as well as all of your playlists, starred tracks, and Inbox—will be available from Djay’s Browse window. You’ll be able to search and select music from Spotify or your local iTunes collection at the same time. You’ll also be able to search Spotify’s charts and search Spotify by common DJ genres. Other Spotify users could even send you real-time song requests to your Spotify Inbox. And oh, how you love requests, don’t you? Besides instant requests, Spotify integration will open up another level of social sharing within Djay, which has more than 10 million iOS users. Now those users will potentially share the same content library within Spotify, and that could make sharing set lists, histories, and tracks more interesting. You could open a friend’s Spotify set list directly, for example. Djay lets you share set lists as Spotify playlists via SMS, email, Facebook, and Twitter, so your friends or fans could listen to the tracks you’ve played. Playback Quality: The audio quality for music streamed in Djay from Spotify will be the same that you have selected within Spotify for mobile playback. The options are: 96 kbps (normal), 160 kbps (high), and 320 kbps (extreme) Ogg Vorbis. Karim Morsy, CEO of Algoriddim, told us that the audio quality won’t adjust according to the strength of your WiFi or cellular data connection, but that it was designed to work at least with 96 kbps audio on any connection. Our demo of the Spotify feature appeared seamless when it was tested over a hotel-room WiFi connection. When playing a streaming track from Spotify, the whole track does not load into RAM in order to save processing resources, but there is some amount of track caching into RAM to ensure seamless playback. Morsy said he thinks that Algoriddim is well suited to make the most efficient use of caching music from Spotify’s cloud because of all the work the company has done in that area to make large video files playback smoothly in its Vjay app. Djay 2 has hardware controller support from companies like Pioneer, Numark, Vestax, Reloop, Griffin, and others, so mixing Spotify music can also be a fully tactile experience. Match, Courtesy Of The Echo Nest: To assist DJs in choosing an excellent next track to play from the enormous Spotify library, Djay 2 now comes with Match, a tool powered by the Echo Nest, which Spotify recently acquired. Match uses the Echo Nest’s music analysis to recommend tracks based on BPM, key, musical style, danceability, and how well it would mix with your current track. Those recommendations also come into play when you activate Automix Radio, Djay 2′s new automaton DJ mode. For all your set-it-and-forget-it needs, Automix Radio selects the next track, beatmatches it, and performs simple crossfade mixes. New Effects By Suger Bytes: Djay 2 had included some effects, but admittedly, that area was not its strongest suit. Rather than try to create its own effects that competed with the likes of Traktor, Algoriddim partnered with desktop plug-in experts Sugar Bytes to create more than 30 new effects for Djay 2, available through an in-app purchase as several different Packs for $1.99 each, or the whole set for $4.99. The new effects section includes an effect strip control, as well as a wet/dry mix control, and a new effect list selection menu. Give It A Spin: Whether or not you’ve already tried the free trial for Djay 2, with the addition of Spotify to Djay 2.5, a new seven-day free trial is available to anyone, and you can also sign up for a free seven-day trial of Spotify Premium to check it out. During that week, if you decide you want to buy Djay, the prices are reduced for the next week following the Spotify launch. Djay 2.5 for iPad will cost $4.99 (normally $9.99), and Djay for iPhone will be free (normally $1.99) for the next week. Source: djtechtools.com

2nd that

This

I lol'd a few times through this