yizzle

Sources close to TMZ report Avicii was released from a Miami hospital tonight around 9pm EST for reasons unknown. He was staying at the SLS hotel and was expected to play a show at the well-known venue tonight, however, within the last few hours the show was cancelled and audiences were left wondering what happened. Sources also report he is no longer staying at the hotel. SLS was so excited for the performance by the world renowned DJ, they even renamed the Miami landmark “Avicii Hotel” for the week. Thankfully, Avicii’s good friend Alesso stepped in to help out a friend so the show could go on. “At the hospital. Extremely bummed about missing my show at the Avicii Hotel. My brother @Alesso is stepping up and covering for me. <3 — Tim Bergling (@Avicii)” This isn’t the first time Avicii’s health has held him back and resulted in cancelled shows. The producer/DJ knows he has the propensity to burn the candle at both end and it eventually all catches up with him: “I was drinking a whole lot more and I was going to after-parties and just generally not being very professional… but my body just couldn’t take it and I ended up in the hospital at the beginning of last year, like a year ago, really because of drinking.” Truth be told we don’t know exactly why his night started with a trip to the hospital, but what we do know is that Avicii would never take disappointing his fans by canceling a show lightly. Until we know more, let’s keep him in our thoughts and send positive vibes of quick recovery his way. Source: youredm.com

This is the first official trailer for the new film, The House That Chicago Built. The film covers House Music’s history, from its birth in Chicago through its evolution to becoming the world’s top genre of music. The film ‘brings together the entire field of House music icons, brought together for the first time, from its biggest superstars to the real unsung heroes who contributed to this international phenomenon.’ See the film site for more info. The trailer: Source: synthtopia.com

Sol might know. I have it, but i hated pretty much everything about it. So i never use it. Sorry champ.

I have been hanging out to have a shot at this and see. just downloaded the demo, cant wait to have a toy around ... after work

Bitwig has announced that Bitwig Studio, the highly anticipated and long-gestating new DAW, is now available for Linux, Mac & Windows. Here’s the text of their announcement: "The Bitwig Team would like to take this special moment to thank you. Your excitement and encouragement brought us to a great milestone today. Bitwig Studio 1.0 is an extraordinary product of hard work over the past few years, dedicated to offering a new solution to musicians everywhere, and a promise of great things to come. We will continue to push forward with new ideas, and we welcome your support and feedback in the future. Sincerely, Claes, Dom, Fredrik, Falko, Genys, Mea, Placidus, Nick, Nick M, Rade, Seba, and Volker." Features: • Cross-platform DAW (Windows, OS X, Linux). • Intuitive non-linear sequencing for the studio world and beyond. • Full multi-core and multi-processor support. • VST 2.4 support with built-in 32-/64-bit bridging and plug-in crash protection. • Proprietary time-stretching technology. • Unlimited Audio Tracks. • Unlimited Effect Tracks. • Multi-display support for up to 3 displays. • Unlimited Note Tracks. • Unified Modulation System: Use Macro Controls, Note Expressions, LFOs, and Envelope Followers to modulate any device parameter, including nested internal devices and even VST plug-ins. • Note and Audio expressions, including per-note Micro-Pitch Control. • Automatic sample slicing to both Sampler or Drum Machine. • Record and edit both track and clip automation in absolute and relative modes. • Support for numerous MIDI controllers out of the box. • Multiple tools for specific tasks and editing workflows. • Macro Controls per device, as well as dedicated Device Panel Mappings with color-coded knobs and buttons for an overview at a glance. • Advanced layered editing. • Open Controller API: Lets you create and customize functionality for virtually any MIDI controller, including scripting access to nearly every feature of Bitwig Studio. • File import: WAV, MP3, AAC, WMA, FLAC, and Ogg Vorbis. • A PDF Manual is included with the Bitwig Studio application in English and Japanese. An interview from NAMM with Bitwig’s Dominik Wilms, who explains what makes Bitwig Studio unique and why you should check it out: Bitwig Studio is available for Windows, Mac, and Linux, priced at US $399 / 299 EUR. See the Bitwig site for more info. Source: synthtopia.com

It’s not enough to just release sound hardware anymore. You want something different, something with character. French builder OTO Machines did that with their Biscuit, a gorgeous combination of 8-bit crunch and analog filtering, then later turned it into a synth and step sequencer with nothing but firmware. But now it’s time for a follow-up, and instead of one sequel, we get three. There’s a 12-bit delay unit, a digital reverb inspired by some 80s classics that never get old, and an analog compressor/”warmer”. That neatly covers three bases of things many people want, and seem to target a nice space where there’s room both to reproduce and invent anew. And these arrive just in time, as the Biscuit fades into the sunset. The three boxes are cutely dubbed BIM, BAM, and BOUM. I will quote directly here as they’ve been nicely clear with their description: BIM – Poetic Repeater 12-bit delay (up to 2 seconds in stereo) with modulation (several waveforms available), separate hipass & lowpass filters for the delay signal and the feedback path, extra FXs (Reverse, Flanger, Dual Head, Distortion,…). True 12-bit converters, filters, compander & feedback paths are analog for a very warm and grainy sound. TAP and FREEZE function. Delay can be synced to MIDI Clock. BAM – Space Generator Digital reverberator inspired by the early 80′s 16-bit units (EMT250, Lexicon 224,…). Several algorithms including Halls, Rooms, Space, weirdos, springs, resonators… Predelay is up to 1 second. A “Drive” pot let you distort the input of the reverb. BOUM – Warming Unit Analog Compressor with tube emulation, octave, soft and hard distortion, followed by a 3 mode-2 pole Biscuit filter. The compressor have Mode, Attack and Release settings. An envelope generator (normal or inverse) let’s you create envelope filters or envelope levelers. The distortion circuit is specially designed for synths, loops, drums,…and keeps the dynamic of the signal. All units have stereo I/O, MIDI input (CCs for all parameters, Beat Clock, Pgm Change), true hardware relay bypass, 36 user presets. Size is 145 x 145 x 60 mm. 2 lines of 8 white LEDS for displaying parameters, preset number, input vu-meter… Price for each unit will be about 325 euros (excluding VAT). Release is planned for 2014 Q4. OTO Machines did not set up a booth at Musikmesse this year. They stayed home, to work hard on getting these devices finished. Now, some might see the backwards-looking design trend now in hardware as the opposite of innovation. I tend to view this differently. I think iterative innovation is the essence of musical instrument design. Blessed with the gift of hindsight, we’re seeing certain categories emerge for their sheer usefulness. And smart designers are bringing their own personality and ideas. Sometimes, the greatest innovation comes in improving a design rather than trying to crudely invent something from scratch. Everything OTO Machines is here Source: createdigitalmusic.com

It’s been six years since the duo of Sharam and Dubfire that collectively as Deep Dish aired a mix. Rolling back over a decade ago, 1998 is the year Deep Dish releases their debut mix pathing the way to 2008 where the duo went on hiatus after broadcasting their last essential mix for BBC live at WMC. Resurfacing on the web and every where alike, the pair is back with a new single and an essential mix that Aired last Saturday on BBC. You can listen to the essential mix below and make sure to listen to their newest single “Quincy“! check it out on BBC Radio here Source: youredm.com

Sebastian Bach of the 1980′s heavy metal band Skid Row is set to collaborate with Dada Life. Seen in the studio recently, Bach is the featured vocalist on their newest single, “Born To Rage” set to release April 8th. The collaboration has sparked some drama with Sebastian Bach fans but Bach is totally on board. The three working together is sure to break some genre boundaries and will be an interesting track regardless of the different music generations the three are from. Source: youredm.com

Presonus Intros Music Creation Suite Recording Kit PreSonus announced its Music Creation Suite - a complete recording kit, that includes key hardware and software components for producing music. The system combines: • AudioBox USB interface with Studio One Artist music-production software, • Notion music-notation and composition software, • PS49 USB MIDI keyboard, • HD3 monitoring headphones, • M7 large-diaphragm condenser microphone, • free Nimbit account, • a powered USB hub, and • all necessary cables and mounts. PreSonus also plans to offer lesson plans and instructional videos for music educators that want to get the most from the hardware/software recording and composition kit. The Music Creation Suite has a street price of US $399.95. See the PreSonus site for more info. Source: synthtopia.com

MIDI HACK is a 24h hackathon sponsored by Ableton, Native Instruments & Spotify celebrating the protocols (such as MIDI, OSC & CV) and technologies that are the backbone of analog and digital music creation. uring this weekend, there will be lectures and performances from artists and creators, but the main focus is on letting participants explore new ideas with electronic music technologies. Here’s what organizers have to say about the event: "The goal of MIDI HACK is to bring together industry leaders, interesting start-ups, software developers, hardware fanatics and musicians who push the envelope of music creation, and to spawn great and creative ideas for the future. Ever wanted to rip apart MIDI controllers to create a new one? Maybe write a new VST or AU? Or how about finding new ways to perform? Then this is the hack for you. The name MIDI HACK derives from the midi protocol that has defined music creation for more than 30 years. Together with OSC (Open Sound Control – an open source version of the same idea) and CV (Control Voltage – used to control analogue synthesizers) they are the three pillars of music creation today whenever there’s a synthesizer or computer involved. A hack is a abbreviation of hackathon, a defined space that during a limited tine engages people in overcome a defined target or investigate a certain subject. Midi hack is aimed for the people who love music creation and sees a potential for involvement within the area." MIDI Hack is scheduled for 17th-18th of May 2014, at Spotify HQ, Stockholm – Sweden. You can get more information or sign up at the MIDI Hack site. Source: synthtopia.com

Moby is being sued over samples that appeared on his self-titled, 1992 debut album. The Hollywood Reporter reports that disco/funk label VMG Salsoul filed suit in a California court, claiming the L.A.-based electronic musician illegally used samples from Philadelphia girl-group First Choice's "Let No Man Put Asunder" on his songs "Next is the E" and "Thousand." The plaintiffs are seeking up to $150,000 for each instance, plus attorney's fees and profits. This isn't the first time the label has sued an artist for illegal sampling. Most recently, they sued Madonna (and lost) for a sample allegedly used in her 1990 hit song "Vogue." That case is up for appeal. According to Whosampled.com, "Let No Man Put Asunder" has been a sampling favorite over the years, with artists like Ice Cube, UGK, New Order, and the Sugarhill Gang all using the track (legally). Moby has been quiet on Twitter about the whole affair, instead choosing to plug his new Beatport release, "Delay." In the past, he's been vocal about his disdain for the RIAA and suing people over illegally downloading music. "Punishing people for listening to music is exactly the wrong way to protect the music business," he wrote in 2009 about a mom being sued for downloading. "Maybe the record companies have adopted the 'it's better to be feared than respected' approach to dealing with music fans. I don't know, but 'it's better to be feared than respected' doesn't seem like such a sustainable business model when it comes to consumer choice." Here's the track in question, followed by the two Moby songs: Source: spin.com / synthtopia.com

You should know by now sol to listen to this guy. Take his advice buddy

depending on what and where you plan on using it. they are pretty different imo. if this helps at all. some specs of the two. DDJ-SX: & XDJ-R1: So anyway, if you really wanted to use CD's for eg you would have to go with the XDJ. im not really sure what you want to use them for. Check out the specs and throw out more specific questions anytime mate *edit: what sol dios said ^

if you're looking for a dude to play live with you on ADJF might need to throw out your location matey

back in hobart.

I'm here Woop!

Oxy is flying watermelon airlines

they were great!

sounds good. who was the ghost producer? i would like to 'like' them on facebook.

a quick pic of myself just now before going to a DJ MEAT tomorrow. Something does not fit..

im done. packed, sorted & ready to fly out tomorrow morning

welcome

Serato recently introduced a new plug-in, Pitch N’ Time, that claims to be the best DJ keylock algorithm on the market. Want to slow down a track 40% and keep it in key? It takes a powerful engine to make that happen. Today we investigate how well keylock works in three softwares - Serato DJ, Traktor Pro, Virtual DJ. What is keylocking? The 6% rule in effect – +6% on the left and -6% on the right. In traditional DJing, the ability to adjust tempo and pitch of a track were inextricably connected to each other – speed up a track and the pitch increases accordingly. The 6% Rule was a simple guideline for pre-DAW producers and remixers. If you adjust a song’s tempo by 6%, it’s equal to moving the song one key on a keyboard in the same direction. Master Tempo on CDJ units The technology used in DJing (primarily turntables) meant there was no distinguishing between key and tempo. With the introduction of “Master Tempo” features in DJ equipment and software, this all began to change. The new function allowed DJs to adjust the BPM of a track without marring the pitch. This came at the cost of audio quality – when a track is slowed down, it’s subjected to time-stretching algorithms and the waveform is sliced up to fill the additional space between beats. This traditionally has meant you hear a lot of audio chopping and artifacts, especially as the key-locked tempo moves out of a 5% range from the original BPM. Watch YouTube’s ellaskins explain and demo Master Tempo on Pioneer CDJ-700 MK2s all the way back in 2007 to get a good idea of what relatively early digital keylocking on DJ hardware sounded like: In Action: Keylock engines in DJ sortwares Many old school DJs argue that most of the features of digital DJ software don’t actually offer anything beyond convenience. Key lock is one of the areas where there simply isn’t anything close to equivalent in a pre-digital world. If you wanted a 20% slower version of a track that kept the original pitch intact, your best bet would have been to commission a new version of the song to be recorded in a studio. We decided to take the most recent versions of Serato DJ, Virtual DJ, and Traktor Pro and run a side-by-side test of their keylocking algorithms. Watch below: In our field testing, we found that Serato’s Pitch ‘N Time DJ was far and away the winner among the major three DJ softwares (it is the only algorithm that costs extra out of the sortwares reviewed – a $29 purchase) After getting used to it, it actually opened up significantly more mixing possibilities. Suddenly it was reasonable to mix in a track that normally would be way out of a equivalent tempo range. Serato Pitch ‘N Time DJ seemed to work the best as a mixing utility to slow down a song. There’s still a “rushed” sense when increasing tempo significantly, making it harder to make space for the track in the mix. Traktor Pro 2 has a clearly defined cutoff point after which the keylock engine drops off a cliff – about +/- 30%. The sound quality make the tracks unusable, and the key no longer holds stable. Virtual DJ 7 continues to show its age in this test – while the key stays locked the whole way through, you start to hear artifacting much faster than either other software. It’s a shame, especially because VDJ has always had more usable features related to key (Camelot code detection built-in and the key field changes when the key knob is adjusted). We’ve heard from Atomix Software that they’re expecting to release Virtual DJ 8 this year, so perhaps keylock will see some attention then. Source: djtechtools.com