yizzle

welcome mate, great to have ya here

play and cue will have some pretty hard use. if he is your friend and more importantly you seem satisfied. then $450 for two seems pretty decent. also, not really sure what your definition of "quite loose ( like they have had a good use )" is but if you think they will give you at least a good solid 2ish years worth i would be happy. personally.

Nicolas Jaar released his debut album in 2011 and it was received with high acclaim, ‘Space in Noise’ not only describes some of the elements found on the album but helps paint a picture of the mental process that Nicolas visualizes when searching for the right sound. His essential mix (from 2012) begins with a beautiful exploration with live instruments, especially an acoustic guitar. When others started to slow down their BPMs and utilize some of the same techniques, Nicolas didn’t speed his music up, rather he began implementing live instruments, creating sets that would only be heard once, when they were played live. This transition toward live instruments marked an important part of Jaar’s life and one of his friends, Dave Harrington a guitarist from Brown. They realized that they had formed a band and “Darkside“ was born. The two have a performance lined up at the Pitchfork Music Festival in Paris and are rigorously preparing daily for the live tour, hoping for the same acceptance their previous tours have received. Check out the first 11 minutes of ’Psychic’ Darkside’s debut album, below. Source: youredm.com

yup, suck it and swallow mate. or in my experience, when you stand up to those kind of people and tell them to fuck off, next minute. they are nice to you. but it can go sour too

well done mate. its a good track

Announced earlier this week, the new Mixed In Key DJ software is set to go into a limited beta as early as today or Monday – but what makes the development of another DJ software unique or interesting? Read on for a first look (and a quick demo video) of how the software plans to stand out from the rest. The software is divided into three sections – prepare, play, and export – designed to follow the main times that a DJ uses the software. Here’s a closer look at each: PREPARE This section for the most part behaves like it would in any other DJ software- setting up playlists, analyzing tracks, and setting playback metadata on the tracks themselves. While you can add tracks to the collection at any time, in order to do track analysis, you will need an internet connection as it communicates with Mixed In Key’s servers for energy and key detection. The interesting element is that instead of detecting energy levels on a per-track basis, the software actually splits up the track into segments – about 5 to 10 per track. This is done based on the energy for that segment – so it looks for major phrasings and attempts to set a segment start point there. You can adjust all of the segments + the initial downbeat in the prepare screen. Once it’s locked in, you can check “Mark this song as Personalized” so you’ll know when playing if a track has been prepared or just auto-detected. It’s also worth noting that the key detection in the prepare step apparently includes a brand new Mixed in Key 6.0 algorithm – which would mean an upcoming release is due in that department as well. PLAY The play section is very similar to most other two-deck DJ software, but instead of loops and cuepoints, the primary form of intra-track movement is done by blending between different segments. Here’s a quick example: A few things to detail about this playback style: • Crossfades: You can hear that the software fades between each segment smoothly – so it’s not quite the same as a cue jump • Legato: when jumping between segments, it keeps the track beatmatched and in the same relative point in the phrasing of the segment • Energy Choices: The labels under each segment make it easy to know what intenisty the section has before you jump to it • Beatmatched: There’s no pitch control or nudging in the software – nor is there a sync button, because it’s always on. This is where the software feels less like Traktor and more like Ableton. • Master Tempo: This is the only tempo control – so if you want to move around, it affects everything. Obviously there’s quite a bit missing from the software still because of the beta status – you’ll note that there’s no looping, filters, or effects in the software, and you can’t add more decks. One thing to note is that Yakov (Mixed In Key’s founder) has made an intentional choice to not build in any timecode into the software – instead focusing on a synced workflow by locking in all off the tempos to that master tempo – that means no scratching or manual pitch adjustment. EXPORT Having a whole section dedicated to after-set actions aims to solve a lot of the headaches that come after a set – did I remember to record it? What were the tracks that I played, and when? The export screen not only organizes every individual set you’ve ever played with a complete playlist, it also can automatically record every single set and associate that recording with the right playlist. A secondary feature is that the software keeps a nice dataset of the most-played tracks in your DJing history, so you can quickly check out what your personal top list is for the last week, last month, or the last six months. HARDWARE COMPATIBILITY The software works with any MIDI controller that you might have on hand – with built-in mappings for all of the popular controllers. One of the nice workflow features that the Mixed In Key team has added to the software is the MIDI learn layout – which lets you quickly map out a new controller with a simple graphical interface for mapping (see above). There is a significant limitation of internal mixing – meaning that you won’t be able to route each deck to its own channel on your hardware mixer, so you’ll have to use your MIDI controller for the volume faders and EQ knobs. External soundcards are supported for previewing audio, or you can also plug in a headphone jack into your laptop and output that way. Source: djtechtools.com

^ no idea

Life, The Universe & Everything For me, its an ADJF 24/7 stream of mates just having a chat. Also there are members of ADJF that don't post too much but are in chat always. Its an extension of something we love and check on a daily basis

nice site there eggs. cheers.

gusta buy eggs

my tip, will go for $600 easy

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Jonathan Wise has been experimenting with the Korg Monotron Delay, using nearly-dead batteries and ‘circuit-starving’ the device to see if it would create interesting sounds. The YouTube video captures the result of his experiments. Here’s what he has to say about it: "You can get some weird sounds by using batteries that are nearly or going flat. The sound of the monotron changes quite a bit as the batteries loose charge. Additionally , I recorded the results into Guitar Rig, creating a dry version and a wet version through guitar rig’s ring modulator, transposer and reflektor reverb." 'Circuit-starving' is a less destructive way than circuit-bending to explore the unanticipated audio possibilities of existing circuits. Source: synthtopia.com

ill spoon with u mate lets go 1/2's

Mobile app firm Agawi has released the results of its TouchMarks II research, which compares the touchscreen latency of flagship tablets running Android, Windows RT, and iOS. Touchscreen latency measures the length of time it takes for devices to react to touches. Faster is better, especially for musicians that do realtime music-making on mobile devices. Agawi benchmarked the touchscreen latencies of leading tablets, including iPads, Microsoft’s Surface and several Android tablets, including Amazon’s newest Kindle Fire HD. They also tested the Nvidia Shield – an Android-based gaming device. They found that the iPad Mini and iPad 4 are the most responsive devices, followed closely by the Nvidia Shield (Android) and Surface RT. The remaining Android devices they tested were relatively laggards, with up to twice the latency of the iOS devices. Their conclusion: "If you primarily use your tablet for reading, watching videos or browsing the web, then shop around and pick the best tablet - iOS, Android, Windows 8 - that suits your needs. With their lower price points and high PPI screens you may find an Android tablet works perfectly for you. If, however, you’re into latency-sensitive applications like games or interactive music apps, then your best bet might be an iPad." It will be interesting to see how the Surface Pro 2 ranks in Agawi’s latency test. The Surface RT has not been embraced by musicians, but Microsoft’s Surface Pro 2 has better chances, since it runs legacy Windows apps. Source: synthtopia.com

never mind mate. its a darn good mix anyway

Here are a couple of sneak preview videos for the Naonext Crystall Ball – a MIDI controller designed to be an “innovative solution for interactive creations and stage performances.” Crystall Ball Demo Crystall Ball Teaser by Yeahr7ght Features: • 5 optical sensors measuring the distance in real time between 5 and 35 centimeters • 24 gaming keys backlit white and blue • 8 control buttons blue backlit • 1 USB port • Port 1 MIDI in / 1 MIDI Out to connect the Crystal Ball a MIDI device (drum machine, sampler, etc.) • 6.35 Stereo Jack 1 port for adding a footswitch or external sensors • 7.5 V supply – 1A • Sphere: ultra resistant polycarbonate • Hull keyboard: metal alloy • Fixed on a microphone stand Source: synthtopia.com

dope.

howdy bud

Price: $130/€119/£111 Introduction I have been waiting for a solid modular DJ solution for a while. I remember the excitement surrounding the release of the Stanton SCS3 line and the sense of acceptance that it was the best I was going to get at the time. Now, all these years later, I have another stack of Behringer CMD modular controller boxes to be excited about getting because I am that many steps closer to building my dream rig, whatever it may be this week. So I unpacked the five boxes and locked everything together. Just looking at them is kind of overwhelming, and I know it’s going to be difficult to review them in a way that makes sense. While they all have their own use cases and they are also all made from the same stuff. I am not planning on spending a lot of time discussing the included mappings because while Behringer has worked hard to provide you with as much assistance to take these things out of their boxes and get to work, their real strength is in being utilized based around what you need in your personal rig. Take note, each controller’s mapping in Traktor is set up precisely around what the expected work flow of each individual controller is, not how they work together as a greater whole. The community around these will most definitely invest time into building their perfect combinations, though. The 5 main modular controllers (the MM-1, DV-1, PL-1, LC-1 and DC-1) are all $129.99 and they all come with Behringer’s 3 year warranty. Unboxing and First Impressions All of the controllers are designed the same. They are all anodized aluminum with hard plastic buttons and smooth rubber knobs. All controllers but the MM-1 use exclusively endless encoders with LED rings around them. The rings around the knobs are clear with a small little indicator for position, though they are very close together with some lights almost touching. The MM-1 uses almost all absolute encoders with little white dots to indicate position. The buttons are well-lit between orange (off) and blue (on) (except the LC-1 which also has green and pink). The LEDS can also blink via a MIDI message. Connecting the units can be a chore, but is so much better than every other solution we have been presented with. The bottom of each controller holds a metal plate with two screws. You unscrew the plates from the bottom of each unit and connect them by screwing the plate back between the two controllers. Compared to the terrible magnets used on the SCS3s this is a godsend. I just wish that the other manufacturers dabbling in modular controls *cough*NI*cough* would take heed of this as connecting these makes moving them so much easier. Each controller is 6” wide by 12” long and just under 2” high. They come with a TSI file and direct integration into Deckadance 2, and the DC-1, LC-1 and MM-1 all have Ableton scripts for direct integration. Each controller sends on its own MIDI channel (PL-1 on channels 1-4, MM-1 on 5, DC-1 on 6, DV-1 on 7 and LC-1 on 8 ). The MM-1 Years ago I wanted nothing more than a simple 4 channel MIDI controller. I didn’t want a full four deck controller, I just wanted something I could put next to the multitude of controllers I was gathering to get the core mixing requirements for four decks. The only option I really had was the ill-fated SCS.1m, and while getting that controller kind of kick started my entire career in the industry it was not what I wanted, and it ended up sitting off to the side after not-too-long. The MM-1, though, is a much more compelling option. It is not crammed full of controls, gives you everything you need for a simple 4 channel mixer. There are 4 knobs in each channel strip and a 60mm line fader. The top section has four knobs to control the output levels in your software and a small browse section consisting of two buttons labeled left and right and an endless push encoder. The buttons are used in Traktor to scroll through your Explorer, though I would use them to change what the knob scrolls (Browser, Explorer, Favorites). There is a small shift button in the lower middle section of the mixer, in Traktor’s case it allows the Cue button to load tracks. In each channel below the knobs are two mixer buttons and a long cue button. The mixer buttons are used to route FX to the channels but you could use these for anything you wanted. The faders feel fine, in a stock standard MIDI controller sort of way. I wouldn’t be looking to do any tricks but they definitely will take a hammering before you are done with them. While the controller is very minimal it carries everything you need for mixing. This is not a controller that can handle your entire work flow, but its main purpose is to be used between two other CMD controllers, or in an existing rig consisting of, frankly, anything. You could put this between two Maschine Mikro’s and probably have a massively compelling controllerist rig. The MM-1 is the only controller with a built-in USB hub, which also requires a power supply to power other connected CMD units. The DV-1 All these years later a good friend of mine still uses his BCR-2000, and I can’t blame him. Finally Behringer has provided a solution that might not be as powerful as that classic controller, but at least shows they are still serious about utility. The DV-1 has 12 endless rotaries and 39 buttons. There is a whole host of control crammed into this one little box and any creative mapper could have a field day jury rigging this thing to do almost anything they could need. The most compelling use case for this controller is to sit it right next to any all-in-one DJ controller (like the Studio 4a) and add almost every single command the larger controllers don’t have the real estate for. It is, by far, one of the most complete utility controllers I have ever used. While the buttons are not the most comfortable (like all the rest of the CMD line) there is such a host of control in a small, elegant package that I can really see myself taking advantage of the various extra pieces general manufacturers leave out of their own controllers. Just keep in mind, with Traktor, the A-D buttons change the deck focus. If you’re setup is, for whatever reason, reliant on deck focus, this may cause you issues. The PL-1 Much like the MM-1, there are very few controllers on the market that fill the need the PL-1 fills. There are 8 endless knobs, a 60mm 14-bit pitch fader, a 4 inch jog wheel and all the necessary transport controls. While this controller doesn’t cover every need you could have, putting two of these on either side of an MM-1 will provide a solid control scheme for not-too-much-money (approximately $390). The platter is a smaller version of the 4a, but without any of that frustrating extra loose spinning. The Deck button cycles through 4 different channels (1-4). You can’t change how this interacts, so if you are only using two decks you still need to cycle through decks 3 and 4 to get back to 1 from 2. If you wanted to, though, you could go into the TSI in Traktor, as an example, and change all Decks 3 to 1 and 4 to 2, and you would effectively fake a two channel controller. Since Traktor’s controller manager is not the best thing ever, I would understand you not wanting to take the effort to do that. The layout is really elegant. The transport buttons are very large, and the mode buttons around the jog wheel are extremely clear. The fact that the jog wheel is just a little stiffer on this controller definitely makes it more useful for simple tricks and just moving around a track. The wheel didn’t give me a lot of issues with simple scratching, and I didn’t notice a lot of drift, at least for simple tricks. It is a small platter, though, and the grip feels funny in the beginning. The platter is loose enough to spin quickly, yet tight enough to stop almost instantly when being spun allowing for very smooth backspins. The LC-1 While all of these controllers can be used with any application that receives MIDI, the LC-1 is the only one in the pack that looks tailor-made for Ableton’s Session View. There is a good mapping for Traktor as well, but the available commands lend themselves very well for a simple controller to play in Ableton. There are 8 endless encoders and 52 buttons with four color states (orange, blue, green and pink). Effectively you get half a Launchpad + some knobs and mode buttons with an extra color. Unfortunately, the LEDs behind the clip launch buttons have a LOT of bleed amongst them. If a button is off it picks up the surrounding colors and looks, well, really ugly, especially when the blues and pinks clash and make some hideous color combinations. The buttons suffer from the same issues as the rest of the controllers, namely that they don’t respond uniformly across the whole physical button, and they are not very comfortable to play with. Since this lends itself more toward a performance style controller, I could see getting very tired of using these buttons, especially when there are better solutions for not that much money on the market (the Launchpad 2, for example). That being said, when in Ableton, you have a good host of controls, including Mute/Solo/Record and you can build your own macros using the knobs. All in all I think that this controller has the least use cases to it, whereas almost everything else can be seriously used in many different instances. The provided Traktor mapping is alright, but I would seriously recommend remapping this to suit your needs and not to even bother with the one that comes with it. I could definitely see this controller being used to take advantage of the new remix deck functionality, but I just wish there was some sort of navigation or browsing section. I know there is only so much space, but it is the only piece that’s missing. Put it next to the DC-1, however, and you can have a really compelling workflow. The DC-1 And finally, we get to the drum controller. The DC-1 has 8 endless encoders, a browse section consisting of 8 buttons and an endless push encoder, 8 small buttons and 16 large performance buttons/pads. The pads are not velocity sensitive and are made of the same material as all of the other buttons in the line. In comparison to the comparable controllers I’ve used (the F1 and the MIDI Fighter 3D) this one has the most features available with the least amount of needed layers, and I am a huge fan of the layout. That being said, the buttons are extremely simple. If you mis-hit you will not get a good response, so make sure you’re aiming for the center of the button. This is a problem I experienced with the F1 as well, but not nearly to this level. The LED feedback is bright, though, and the buttons feel like they could take a beating. There is no need to complain about the lack of velocity sensitivity, honestly, because this is really made for cue juggling and possible session juggling in Ableton. I don’t see the need, especially at this price point. To quell the rumor mill now, though, the DC-1 will work with any DJ Tech Tools MIDI Fighter preset. You won’t get the X/Y joys of the 3D, and it might not be wireless like the Spectra, but it does tap any purchaser into a larger community of mappers to get even more compelling layouts. And, beyond that, there are more controls on the DC-1 than the stock MIDI Fighters, so you can take what’s out there and make it much better for your needs. The DC-1 is also most appropriate to map to the Remix Decks, now that they allow direct MIDI mapping. It has just about as many controls as the F1 and is set up in a very similar manner. With the experience I’ve had with mapping the remix decks, I’d very much recommend this controller if you don’t want to pay the surplus for the F1. And Behringer is the first company so far to release a MIDI map for the Remix Decks, using the DC-1. While the direct integration of Native Instrument’s offering is definitely useful, the lower price tag and extra buttons (the DC-1 has 8 more buttons than the F1), as well as the ability to develop your own preferred workflow, gives it a slight advantage. Wrapping It Up All of that being said these controllers are far from perfect. The absolute knobs do not give a very good indicating position, and the buttons have a mixed response if you don’t hit them right. For the price I can forgive these issues, but I wish they weren’t issues at all. I would not recommend buying all of them unless you’re willing to map, since the provided mappings cover a lot of duplicated commands in Traktor (the DC-1 and the LC-1 both control Key and Filter; the PL-1 and the DV-1 both control FX banks, etc.) and are just screaming to be remapped to fit what any DJ would want. So having got the gripes out of the way, what are we left with? These are absolutely wonderful controllers for the price. At $129.99 there are so many options for what you may be lacking in your existing rig that doesn’t justify the cost of purchasing another full controller. I would, without a doubt, recommend any of these controllers, depending on what you need for your individual setup. Behringer will be fostering a community of mappers to provide tons of solutions based on individual needs. Want a compelling 4-deck controller for under $400? Get an MM-1 and two PL-1s, and then remap them so they do all the crazy stuff you want them to do, and then share them with the internet so others can take advantage of them. The true power of these controllers does not lie in the provided mappings and the options on the silk screen, but instead in the open endedness of them, and the ability to lock them together to develop your own personal workflow. Source: djworx.com

Native Instruments came out swinging today with a double punch, updating the Machine software and launching the brand new Maschine Studio controller aimed at taking over even more of your production workflow. The hardware is large and in charge with jog wheels, double LED screens and full control over all editing features. On the software end of things, Machine 2 edges towards a DAW with included synths, compression, and even a unique-sounding drum synth engine. Check out all the details and our exclusive walk through video inside. MASCHINE STUDIO Dubbed the Maschine Studio, the extra large controller adds two full color LCD screens, VU meters, and an editing jogwheel for massive workflow improvements aimed at eliminating laptop interaction. The jogwheel makes browsing and editing a bit easier than in previous Maschine iterations, and makes it significantly easier to edit volume, tempo and swing for samples and groups. While the Maschine Studio continues to be a software-integrated solution and not a standalone unit, expanding the units overall size reveals perviously buried shift-menus. As you can see the studio version is quite a bit larger than the Maschine Mk2, but the layout and design remains balanced and manageable. The VU meter and the surrounding level section lets the user monitor all volume – from individual samples to master volume – and also acts as the controls for monitoring other inputs when an audio interface is plugged in as well. This speaks to the overall enhancement of the combinations mixing capacity, which is vastly improved from the previous versions. The physical pads haven’t been changed from the improved versions found on the MK2 controllers, but the unit does have a significantly increased I/O section on the rear, including one MIDI input, three MIDI outputs, and two foot switch inputs. We love the clever feet/wings that enable easy angling without added hardware. The LCD screens absolutely stand out on this controller – they’re high resolution, multicolor, and respond smoothly with every adjustment that you make in the software or on the unit. Our only complaint is that they are so lifelike, that we want to touch and press them like an iPhone which isn’t possible. Native Instruments spent a lot of time figuring out how to deliver high-end LED displays, so it would not be a surprise to see other products include similar-looking displays in the future. Imagine a hypothetical Kontrol S4 MK3, with multi screens displaying all stripe information and metadata right in the controller. MASCHINE 2 SOFTWARE The entire Maschine line will get a complete software update in November as well, meaning that even if you’re not excited by the new hardware, you’ll benefit from the software improvements. There’s a whole litany of changes in the software that casual users and power producers can both get excited about. First up, the entire code of the software was rewritten from scratch, including a brand new audio engine. The new multi-core engine means that users get side-chaining, faster load times, more concurrent VSTs and dynamic routing just to name a few. There’s also now a dedicated mixer page, and unlimited groups or insert effects. We’re guessing with these updates, NI is hoping to win over some DAW users that might incorporate more of their studio work flow directly inside of Maschine. Not that dis-similar to the popular Ableton Push, this new studio configuration is starting to look like a studio instrument of the future for hip hop and electronic producers alike. Native spent two years designing five drum synth plugins exclusive to Maschine for this release – in the hopes that the synths will give the software a uniquely identifiable sound, similar to many classic drum machines. The synths allow full adjustments of all of the controls of the drum (pitch, decay, tone) at a synthesis level – not after the fact. While there are not any specific emulations of popular analogue drum sounds like the 909, you do have the same level of granular sound control over some very rich sounds in a digital domain. Please note: the software visible in the video is in beta – some graphical parts of the software are not yet finalized. How do I get it? The software will be a paid upgrade for current Maschine users, starting November 1st for $99/€99 but anyone who purchases a Maschine between October 1st and the launch gets a free upgrade to version 2.0. Source: djtechtools.com

exactly my thoughts