yizzle

In case you were wondering what DJ/producer Sasha thinks about EDM, he shared his thoughts on it via Twitter: Is Sasha right, or is this just what happens when you get bumped out the Top 100 DJ list by a bunch of EDM guys? Source: synthtopia.com

see u whales there

This reminds me i need to get a CC sooner than later

Bitcoin, the wold's most popular digital currency is now accepted as a valid currency for purchasing Waves Audio products. The Waves website cart section will feature a Bitcoin logo as a payment option as well as credit cards and PayPal. Gilad Keren, Waves CEO and Co-Founder, states, “Waves Audio Ltd. is announcing today that we will accept Bitcoins for all our products, effective immediately. In order to mitigate the current volatility of the exchange, the Bitcoin exchange rate will be calculated to the sliding 24-hour average at the time of purchase based on the average rate from this site > https://bitcoinaverage.com/#USD|nomillibit " Source: soundonsound.com

SweetIshDub. funniest whale.

just did a sync listen with cupe in chat with a few brews and the sun on my back. it was awesome.

or snap, crackle and pop. smart ass looking whales

Ghost producers have become one of the most prominent foundations in the music industry today. It is a technique that has been taken advantage of, as musical stores like iTunes hides the credits of certain producers on a given track, leaving the listeners with a lack of information. Ghost producers and also more publicized producers have kept quiet, in fear of hurting their careers or their image as true artists. The industry has lacked to give certain payments to (most) ghost producers. In some extremes, not even giving credit to some of the producers who have actually helped out an artist or have produced the whole track. Considering when we listen to some of our favorite artists like Swedish House Mafia, Dimitri Vegas & Like Mike, or Quintino, it never comes to mind that there are other producers working just as hard or even harder to create that festival banger, or producing a track so good that it was ranked as #1 on the Beatport charts. Martin Garrix also mentions in an interview with DJ MAG in 2013, how he was once a “ghost producer” stating the following: “I made a ghost production for somebody else — I can’t tell you which track I made — but this track got signed to Spinnin’ Records and became really big. They found out that I made it, and so they invited me to their office and I played them my other stuff — and we signed.” Some artists are now boldly taking forth to who is helping them out or solely producing the whole track. As Benny Benassi posted on Instagram a video giving credit to his cousin Alle Benassi as his ghost producer. Alle Benassi had an interview with Christine Kakaire on Beatport in July of 2013 about the ghost writing phenomenon, As he states “In a production team, there’s the DJ and the musician. Sometimes these two skills are in the same person and sometimes not, so the DJ is the musical memory of the duo and brings the club vibe into the equation while the musician plays the parts.” Moreover, he states the difference between producing for another artist, such as ghost production, “The only difference is in the credits, as far as I can see.” Alle states a valid point; not every producer has all the qualities to become the most prominent producer in the world, but rather needs a partner or a team of producers to combine their talents and essentially create that track fans ooze over for. The collaboration is definitely okay and it is an essential skill to have when one is a producer because you have the ability to find and then combine your strengths and work towards it. The problem is that some are not receiving any credit from their contribution, whether it may be not receiving up-front payments, publishing their names, or even both scenarios. Other than Benassi revealing his ghost producer, we are seeing other well-known artists releasing their collaborations. As Chuckie recently posted a picture on Instagram and crediting Maarten Vorwerk stating the following, “My new club track “Dirty Funkin’ Beats” that I produced in collaboration with the legend Maarten Vorwerk is out at the end of January! Stay tuned! #dirtydutch #djchuckie“ Probably no one has any idea who Maarten Vorwerk is, right? He is the man who has been producing for multiple hits and collaborations with artists like Chuckie, Sandro Silva & Quintino “Epic,” and many more. Many fans look up to producers as their hero, the god of music, the ones who get excited to hear that certain track at an event, and the fans who even cry when meeting their favorite producers in person. We should also be making the same reactions and saying the same remarks to these ghost producers. Bassjackers, also open up about their ghost production, as Marlon Flohr had an interview with Turn Up The Bass, stating how “Ralph is in the studio working, the man behind the scenes, and I’m more the performer” Which some may see this at Bassjacker shows, as Marlon tends to be the front man during the events and spinning solo, while Ralph is behind the scenes in the studio producing. Essentially this is what works best for the duo, and they have been and continue to be efficient with the music that they create. Also Marlon states his opinion about ghost production saying, “Maybe if we knew how it was gonna be before, maybe we would of chosen that construction because with this people don’t understand. ”Bassjackers? It’s only one guy, what is this?” In the end everyone knows, but yeah I get the concept of ghost-producers. Everyone does it the way they wanna do it and we do it our way.” The reality is that most producers in the industry work with that certain ghost producer, whether it may be a team or just a duo. It is clearly okay to have a producer that may not want to be in the spotlight or travel all over the world to spin at countless shows. Some producers may rather like to be back in the studio and just help produce with their team. As long as these ghost producers are getting paid for what they have worked on then this industry standard should technically be okay. On the other hand, some ghost producers may be disappointed when not given credit through the publication of their name and image to the rest of the world, whether it may be through digital and hard copy purchases, through social media, and even at events. Essentially this is censoring ones work, whether it may be a minimal or substantial amount of contribution to the track. We may just scratch the surface to this broad spectrum of ghost producers, and why certain producers do not reveal who they have worked with. On the other hand, we do see a change as Benny Benassi and Chuckie have opened up with who they have worked with. What are your thoughts about “ghost production/producers,” and is there a necessity for change? Source: youredm.com

Well everyone, it’s official. Deadmau5, (a.k.a. fuckmylife on soundcloud) has decided to delete his Soundcloud account for good. This means no more previews of new songs or just random ideas we all loved to listen to so dearly. Whether it’s the $5 monthly charge, or just boredom with the site, we’ll never know, but Joel Zimmerman is ready to find a new way to push his music without relying on a giant company such Soundcloud. Although we’ve lost him on Soundcloud, at least we still have the mau5 on twitter and we will be working extra hard to continue to deliver you the latest news we receive on new music from him! Source: youredm.com

LOL! actually does look pretty good. haha.

i never even heard of Coachella tbh. So im not sure of the full line up. sure its good. headlines these days never seem to be the best reason to go to a festival anyway

with OutKast, Muse, and Arcade Fire as headlines, i would not care that much

Most DJ softwares don’t use velocity sensitivity in their controls – but with more and more devices including them, why not? Today Ryan shares a quick tutorial on using velocity-sensitive pads to modulate effect parameters and Remix Deck volume in Traktor – read on to learn how and to download a free mapping for Maschine. Quick intro to velocity sensitivity The harder you press, the louder the sound. Velocity-sensitive controllers are able to tell how hard or soft the controller is pressed. Once a pad is hit, it sends a MIDI value between 0 – 127, depending on the amount of pressure on the pad itself. Typically velocity sensitivity is used with pad controllers, MIDI keyboards, and synthesizers to mimic the dynamics of a real instrument. Hit the pad/key hard, and the sound will be louder. It’d be pretty repetitive if a musician could only play super loud or not at all, so don’t let your MIDI controller suffer the same fate. Popular controllers with velocity sensitivity include the entire Maschine lineup, QuNeo, Push, Pioneer DDJ SX/SR/SP1, VCI 380, Numark NS7 II, and many others. Bringing velocity into Traktor Today, we’re going to apply velocity sensitivity to parameters in Traktor Pro 2. By default, there are no mappings or controllers that use velocity in Traktor. The Maschine line is best suited for custom mapping velocity feedback because you can easily customize the control messages in the NI Controller Editor app. The controller editor also allows you to easily change the MIDI channel – this will help avoid any conflicts with other controllers and define the kind of message that the controller sends (control change is the message we’re after). Since it’s using MIDI, there’s a range of 127 steps of sensitivity and using the Controller Editor will allow you to change how sensitive the pads are. Other controllers will do the trick, but you’ll need to use a MIDI monitoring program to find the right messages to map. When using Traktor you’ll have to manually select the MIDI channel and MIDI note for the command. Using the “Learn” button to map velocity may not work as it may mistakenly detect the hit and not the pressure messages. Adding velocity sensitivity to remix decks Once the volume faders are mapped your pad hits will vary in volume. Having velocity sensitive pads makes it great for drum samples in one shot mode. You can even import Maschine drum samples. With the Remix Deck pages you could load up to 4 different styles of drum kits (such as an 808 kit, an acoustic kit, or a Mad Zach soundpack) and play them with the same expressiveness as an Maschine or on a MPC. As of Traktor 2.6.6, Native Instruments has included a default mapping for Maschine’s Remix Decks. For simplicity we’re going to use their mapping and template to demonstrate mapping the Remix Deck Volume slots to the Maschine pads (links for the mapping and Controller Editor template below). Note that we’re setting velocity sensitivity to work with one shot samples, so make sure your samples are set to one shots, not loops. Mapping steps: • Open Controller Editor > Select Maschine Controller MK2 > Templates > Edit > Open > Select “Maschine MK2 Remix Deck.ncm2” • Open Traktor’s preferences > Controller manager > Add > Import Maschine Mk2 Remix.tsi (if you have 2.6.6, select Import TSI > Native Instruments > Maschine MK2 Remix Decks) • Add the Slot volume mapping for each deck: Go to Controller Manager in Traktor and select the Maschine MK2 Remix mapping from the “Device” menu. Add 32 “Slot Volume Adjust” commands (16 for Remix Deck C, 16 for Remix Deck D). Click “Add in” > Remix Deck > Slot Volume Adjust. (Refer to the picture of the controller manager window above – but my controller messages will be different from yours). To save you trouble we’ve included the default mapping with the “Slot Volume Adjust” commands loaded in, just assign them to your pads and map a modifier of your choice. Want to add a toggle for turning this velocity mode on and off? You’ll need to add a modifier that will allow you to toggle between velocity mode. You can map it to any button, I recommend “Note Repeat” on the Maschine as it’s close to the pads (Be sure that the button “mode” is set to “Toggle” under the assign tab in the controller editor). To do this, add a modifier (to toggle between the control modes) and you’ll need 8 “Slot Volume Adjust” commands set to Direct mode with a value of 1.0 – also make sure that inverted is selected. This will reset all the sample slots to full volume. Download this Remix Decks mapping here Source: djtechtools.com

if you have an audio 6 it will do the job.

about to go out **cked as. a track that always pumps me up & matches how messy i feel.

ye stickers & skins are a much cheaper way to go about it. This does look very clean and easy to read. some of the stickers etc can take over from the norm look of the everyday keyboard layout though.

There are some notably successful accidents in the DJ scene. The Technics 1200 is one, and Sennheiser’s HD 25s are another. Never designed to be DJ headphones, they became one of the lasting standards in the DJ scene. But today, Sennheiser has announced 3 new pairs specifically for DJs. The HD8 DJ, HD7 DJ , and HD6 MIX are aimed at specific styles of performers. Some official words from Sennhesier: Sennheiser’s new DJ headphones redefine professional performance Las Vegas, 7 January 2014 – From the studio to the DJ booth – great sound gives you the power to move the crowd. Driven by this ethos, audio specialist Sennheiser has led the professional audio market for over two decades with its iconic HD 25 headphones used by the world’s leading music producers and DJs. Now, the Sennheiser legend continues, with an all-new range of professional DJ and Mixing headphones. Designed for the most demanding users and punishing pro environments, the HD8 DJ, HD7 DJ and the HD6 MIX have been developed in conjunction with some of the world’s top DJs. Whether creating music or moving crowds: The three new headphones deliver excellent, dynamic sound reproduction with the highest levels of external noise attenuation. The durable materials, exceptional build-quality and unrivalled product support make these the headphones of choice for professionals. Designed for the most demanding users and punishing pro environments, they have been developed in conjunction with some of the world’s top DJs, among them Bob Sinclar, Luciano, Andy Baxter, Missill and Davina. Naturally, the best sound quality tops their list of demands: the new headphones deliver excellent, dynamic sound reproduction, inspired by the legendary HD 25. “Drawing on our success based around the HD 25 and extensive experience in high-end audio, the DJ range applies Sennheiser’s proprietary acoustic system to answer the needs of different performing and production applications”, says Ivan Kuan, Head of Product Management, Sennheiser Consumer Electronics. The HD8 DJ is dedicated to the needs of professional DJs with truly excellent sound reproduction, while the HD7 DJ offers an engaging, dynamic sound that’s perfect for playing live. Both delivering a mid-low end emphasis, the sound remains tight and never overwhelms, with clarity retained in the high frequencies. Meanwhile, the HD6 MIX, a model aimed primarily at studio-based music creation, delivers a balanced, accurate sound for mixing and monitoring work. “To hear every detail, the elliptical, circumaural ear cups were specially designed to ensure a perfect fit for more users. This provides excellent external noise attenuation that can cope with very high sound pressure levels for safer listening without turning up the volume excessively,” continues Ivan Kuan. The DJ headphone range is built for complete user comfort for hours at the decks, in the studio or performing. The elliptical shape of the ear cups also avoids pinching the ears and is enhanced by interchangeable ear pads for comfortable listening during long periods of use. For hassle-free one-ear monitoring, both DJ models feature swivelling ear cups with up to 210° of movement and three different wearing positions. With both coiled and straight 3m high-performance cables included that can connect to either ear cup, these headphones can adapt to suit any individual preference. A bayonet twist lock makes for secure connection to the headphones. All three models are built to withstand the rigours of daily studio work and a life on the road. Sennheiser has engineered the range from durable, high-quality materials to take even the roughest everyday professional use, proven through rigorous and extended quality tests. And when the life on the road pushes the limits too far, Sennheiser’s new headphones offer replaceable parts and a peerless commitment to customer service with at least five years’ parts availability guarantee even after end-of-life, and global support for quick replacements, wherever the work takes you. Picking through the lengthy PR guff for a moment, you soon find out that there’s not a lot to be gleaned, and pictures of the whole range are notable by their absence. So there’s not actually a lot that we can say about these. They’re obviously specific to a range of needs, and while looking more stylish, they seem to want to mimic the durability and replaceability of the HD 25s. Given that the HD 25 is the DJ’s favourite, it does make you wonder why Sennheiser would move so far away from the industry standard format. Source: djworx.com

Editors Keys today introduced a new custom wireless keyboard for Apple’s Logic Pro X software. The keyboard is based on an official Apple keyboard, but has been modified with custom keys with over 150 Logic Pro X shortcuts. The custom keys put all the most commonly used commands at your fingertips. According to the company, this not only makes it faster to edit within Logic, it also makes it easier to understand. It’s priced at $200 AUD. See the Editors Keys site for details. Souce: synthtopia.com

hence the m8

well in fairness this guy is is Harvard

that is all cgi. right?

In Heineken’s latest advertising campaign, the company has conducted an experiment which sets out to determine how the skills of the DJ can affect the average punter’s bar tab. Heineken studied the same club between 12:00 am and 2:00 am and with the same amount of people on two nights. However, the only difference was of course the DJ. On the first night 1078 drinks were served and on the second, only 632, a percentage difference of 41%. Of course, on the second night the DJ was Armin Van Buuren. So naturally, people are less reliant on drink to have a good time. Unless they’ve taken other substances. But what do you think? Would you drink less if you were to attend one of your favourite DJ’s performances? Would you drink more if you were after a standard night out? Or was Heineken’s experiment just another marketing campaign? Source: youredm.com

This article is inspired by the king of loops: Mr Richie Hawtin, who masterfully moves around songs, layering loops into an energetic blend of drums that always stay in time. How does he do it? Fortunately for you, I asked him that exact question on the CNTRL tour. Today we’re sharing one important concept from Mr. Hawtin that is critical for DJs looking to play musically with loops. Searching For The Perfect Loop The basic concept behind this style of loop mixing is that when mixing in a second (or third, or fourth) track, being able to set a loop at a certain part of a phrase (often the beginning) and then moving the loop around the track in 16/32 counts keeps the loop phrased correctly. The process is as follows: • Always start the track on a down beat. I use load markers set on the 1, with Traktor configured to always load to that marker. • Set a loop that starts at that point (I macro-mapped my play button to also loop by default) • Now move around in the track by jumping 16 or 32 counts. This keeps the beginning of the loop always at the start of a musical phrase. • When it comes time to release that track, just release it on the 1 and everything will stay in time. Mapping Loop Macros Just a few commands needed to map a loop move macro. Making a Loop Move macro isn’t very hard – you’ll just need to map four commands in Traktor for it to work. • Loop Size Select + Set: (Encoder Press) Sets the first 4 count loop and activates it • Size Selector: (Encoder Press) Sets the move distance to 16 counts • Mode Selector: (Encoder Press) Sets the move mode to Loop move • Move: (Encoder Rotate) Moves the loop It’s important to hard code all the mode and size commands so the encoder works every time, even if the Move section was changed to a different type, like beat jump, or length. You want your mapping to consistently give you the same results, even if you’ve clicked around in the transport section. Source: djtechtools.com

Takao Hensch, professor of molecular and cellular biology at Harvard, is studying a drug that restore your brain’s early-life learning abilities. In an interview with NPR, Hensch discusses how a pill might be to give adults perfect pitch: Hensch is studying a drug which might allow adults to learn perfect pitch by re-creating this critical period in brain development. Hensch says the drug, valprioc acid, allows the brain to absorb new information as easily as it did before age 7. “It’s a mood-stabilizing drug, but we found that it also restores the plasticity of the brain to a juvenile state,”notes Hensch. Hensch gave the drug to a group of healthy, young men who had no musical training as children. They were asked to perform tasks online to train their ears, and at the end of a two-week period, tested on their ability to discriminate tone, to see if the training had more effect than it normally would at their age. In other words, he gave people a pill and then taught them to have perfect pitch. The findings are significant: “It’s quite remarkable since there are no known reports of adults acquiring absolute pitch,” he says. Source: synthtopia.com

doesn't ex-hire also make warranties void?