yizzle

Wall-climbing vacuum cleaners and two-way baby monitors were amongst the many exciting devices being displayed by electronics giant Philips at this year's IFA technology show in Berlin. However, the event also played host to the launch of the corporation's first venture into DJ technology, the M1X-DJ. A collaboration with trance overlord Armin van Buuren, the M1X combines a simple hardware interface with iOS-based DJing software and a portable boombox. The package's €399 RRP includes the app - based on Algoriddim djay, a straightforward mobile mixing application - and the M1X is aimed at beginners rather than seasoned pros. The device is compatible with the iPad mini, the iPhone 5 and the latest iPad, and includes everything you'd expect from a basic DJ controller: jogwheels, pitch and volume faders, play and cue buttons, crossfader, EQs, and sync buttons. It features a dedicated headphone output for cueing tracks, plus audio outs for connecting to a sound system or daisy-chaining devices together for extra volume. MusicRadar collared Armin at the show to find out more about his involvement with the M1X-DJ. Why create a product for beginners? A lot of people have approached me saying 'what should I give my son for his birthday?' I wanted to make a sound system that's portable and fun. Right now I have perfect speakers in my studio, but in my office I want something compact and easy-to-use. So it's combining all these different elements, plus the fact that Philips were really eager to listen to my comments. I had really, really strong demands. If it didn't have all the tools that you'd have on more expensive equipment, people wouldn't be satisfied. I think it's a great way to learn how to DJ, how to build a night, and how to have a lot of fun playing music for your friends. If you're 15, 16 years old you've never heard of BPM or EQ, then you can learn it in a very easy way. There's not much that you can do wrong with it! You can record mixes for your friends and share them on SoundCloud. I think it's just a fun piece of equipment. There's been a lot of debate about 'sync' technology recently. Do you think that it's potentially a bad idea for new DJs to rely on sync? It depends on how you define DJing. There's no law or anything that defines how we should DJ. Having said that, I think it's a little bit lame if you use the Sync button all the time! But if you get into DJing and you're trying to mix but it doesn't really work, the Sync button can help you. I think, in the beginning, to know what syncing is and what it's actually about is good, but even a Sync button can't make the mixes perfect for you. It's still about counting the bars and starting at the right point. So a Sync button can't make your mixes perfect. Playing and making music is still something that human beings have to do. Computers can only help us. It was only a matter of time before the sync button was invented, wasn't it? It's the same thing with cars: you can drive automatic or you can drive manually. I'd like to drive manually, because it's a lot more challenging and I'm more of an old-school DJ myself. But I don't want to close my eyes to the future, to the fact that the vinyl days are now gone for most people. I'm still nostalgic about it, I still miss it, but I think that it's great that we're moving forward with digital technology to reach a whole new audience and create fun for a lot of people. I see this product first and foremost as a great way to have a lot of fun with your friends. What challenges were involves working with a company that hasn't made any DJ kit before? I think they approached me because they know that I understand my fans a little bit, and I know what they expect from a good party. I know there are a lot of aspiring DJs that look at me and want to achieve what I have achieved. So I said to Philips if I say yes to this, and attach my name to such a big product, then I have to be sure that it's absolutely right, and it does what it has to do for its price. It's quite a fair bit of money. But they've listened to all my demands. For example the daisy-chaining, the D-cell batteries, the pitch control that's a fader rather than a rotary knob, the sensitivity of the jog dial, where you plug your headphones in… little things like that. If you look at how many buttons and knobs there are on the controller it's a lot, but I insisted on them being there, because they are the controls I use most in my own DJ sets. This would be something that I could DJ on for seven hours if I had to. All your music is on your iPad, and I think you have iPads now with 128GB, so if you put everything into MP3, you can DJ for days just with this piece of equipment! Having certain controls on a touchscreen isn't ideal. How did you decide what would be handled by the hardware and what would be handled by the iOS device? I looked at the way I DJ. I don't usually use the crossfader a lot myself, but I know a lot of other DJs do, so I looked a little bit at other DJs and got some advice from colleagues because I want to be realistic. I want this product to be great for a lot of other DJs as well, including non-trance DJs. If you're a hip-hop DJ or a house DJ you can use this product as well, because it has the basic controls that any DJ setup must have. The effects are pretty straightforward. Yes, you do have to press the iPad, but in two clicks you have a great effects section that makes you look really cool if you want! I think what's really great about it is that you can record your mixes instantly, so you press record and whatever you're doing is recorded. Are there any features that you would have liked to have added but couldn't? I would have liked to have added a button that you could have pressed to trigger an effect, but there was just no more room. We'd have had to have made the jog dials even smaller, and I don't think that would have been a very good thing. We want the product to be portable- the idea was to be able to have something that you can use when your friends come over to have a beer to play some tunes. How do you feel that the M1X-DJ compares to the Traktor iOS app? I don't think you can really compare it. Having said that, I think that the app we use for this is the most popular DJ app right now on the App Store. I don't know necessarily if this would be used on a main stage at Ultra Music Festival or something, but for anything below that, and to learn DJ skills, it has all the features that you need really. It has the same features as Traktor. It may not be as extensive as Traktor, but all the stuff that's in the Algoriddim software is there. What do high-end DJ tools lack at the moment that you'd like to see addressed in the future? That's a good question. Everything is going so fast right now, it's really incredible. In 2003 you could only DJ with vinyl - you had to make acetates that cost £150 each. Now everything is possible with digital technology. What you can clearly see now is that production software is integrating with DJ software, Ableton Live being the best example of course. But also, the M1X has the ability to trigger one-shot samples, which is a cool way to stand out, because that's what it's all about. I find it hard to answer the question because I'm a producer myself as well, and I'd like to be able to see a lot more production elements in the software. I still really enjoy DJing live - I'm a 'classic' DJ, making my decisions on the fly. I don't have a pre-programmed set - I never play the same set twice. Maybe I can answer that question at a later stage! Source: musicradar.com

The promoter behind some of Australia's biggest music festivals has collapsed with massive debts, less than a fortnight after announcing it was joining forces with Michael Gudinski's powerhouse Mushroom Group. Three companies linked to Future Entertainment, which stages the annual Summadayze and Future Music Festival, were declared insolvent on September 4, leaving a string of angry creditors in their wake. The financial woes of prominent promoters Jason Ayoubi and Mark Condron (also known as Mark James) mean next year's Summadayze festival is expected to be cancelled. The event is traditionally staged on New Year's Day in Melbourne and this year was also held in Adelaide, Perth and on the Gold Coast. Founded in 1999, the event has been an annual highlight on the dance music calendar, attracting some of the world's biggest electronic music acts, including the Chemical Brothers, Groove Armada and Basement Jaxx. Advertisement In December 2012, Future's founders were included on BRW's annual entertainment rich list with a combined income of $4.66 million. But evidence suggests their businesses were by that stage already in trouble. Industry sources say the group laid off some key personnel about 18 months ago following a Future Music Festival tour in March 2012 at which headliners New Order played to near-empty paddocks. The same event this year included an appearance by English band Stone Roses, who had reportedly demanded a $2 million appearance fee from a rival promoter, who declined the offer. The eventual fee paid by Future is not known. Court documents seen by Fairfax Media also reveal Future Entertainment's accountants met with an administrator in Sydney last November to discuss the companies' dire financial situation. Over the past six months, several creditors were assured that Future Entertainment would repay the debts when the company's chief executive, Mr Ayoubi, returned from overseas. The long list of creditors includes production companies, equipment hire businesses, fencing companies and alcohol suppliers such as CUB, Treasury Wine Estates and Moet Hennessy. While court records show that the action to wind up the three companies was brought over a $22,215 debt, creditors contacted by Fairfax Media say they are owed more than $500,000. That figure is likely to rise significantly once the liquidator has begun its investigation. Meanwhile, the Future group was due in the Federal Court in Melbourne on August 30 for a hearing over a trademark dispute it had brought against ice-cream makers Cold Rock, but no one from the organisation turned up. In the absence of a representative from Future, the court dismissed the case and awarded costs to Cold Rock, noting, according to a report on music industry site tonedeaf.com.au, that its failure to represent its case was a sign of the "obvious financial trouble the company is in". Mr Gudinski said he acquired the intellectual property of Future Entertainment from a third party, with the deal amounting to a joint venture rather than an acquisition. The Mushroom Group founder said the new promotion company would be headed by electronic dance pioneer Brett Robinson and Mr Gudinski's son, Matt Gudinski, while Mr Ayoubi would be retained as a consultant. Mark Condron will have no involvement with the business. Mr Gudinski confirmed the 2014 Summadayze event was unlikely to proceed. ''I'd heard there were difficulties after this year's Summadayze but I didn't really get a sense of the scale of it until we started due diligence, a couple of months ago. ''We've got a massive job ahead with the Future Music Festival. We want to make it a much better experience for the people who are going. We're looking long term,'' Mr Gudinski said. Source: theage.com.au

Last week, rumor had it that Afrojack, the pioneer that he is, would venture into space to perform what would most likely be a stellar set. Unfortunately, the producer stated he had no plans for a House-fueled celestial voyage in a tweet on Friday: So he has no plans yet, but maybe some day we’ll see Afrojack or another performer up to the challenge of space travel make it up above our planet for a zero G spin session. Until then, we can wait and watch the stars hoping for an artist bold enough to make it up there, but even if they did we all know that in space, no one can hear you rage. Source: edmsauce.com

Ten minutes ago the management of Brooklyn's The Electric Warehouse (The Lab) announced online that they will no longer be hosting rave events at the venue. Although the venue is legal unlike those of many raves in Brooklyn, it has remained one of the main entrypoints into the NYC underground for years and we are all sad to see it go. Statement: Due to excessive drugs sales during rave events the electric warehouse will no longer be hosting rave events. We are not happy about this but if we continue to book these events and partygoers continue to try to sell drugs on the premises the police will shut the club down. We have enjoyed hosting these events over the years but we are being put in a untenable position and have no other choice but to stop hosting these events. We thank you ravers for your years of patronage. Source: edmlounge.com

1st submission for the comp. top work mate

actually is genius idea

SL1 wont be supported.

I use traktor so i chopped the acca's up into the remix decks and kinda drop bits here and there with the F1. i have the Sun & Moon acca working in pretty well. but yeah still changing where to put the other one.

Brace yourselves, because this is one of those “I remember where I was” moments, because Serato have just announced that Serato DJ 1.5 will be DVS enabled, which also signifies the retirement of Serato Scratch Live. Yes — an epic announcement, but not before time. This does however mean that the Rane exclusivity has finished, and there’s a remixed Pioneer DJM-900SRT, a new Rane Sixty Four, and a DDJ-SP1 sample controller. Don’t worry — we’ll pull it all apart in detail for you. First, the video: So let’s get to it — the full length version of Serato’s historic announcement: SERATO ANNOUNCES VINYL/CDJ CONTROL FOR SERATO DJ Serato is proud to introduce Vinyl and CDJ control to Serato DJ. Serato DJ 1.5.0 inherits our world class NoiseMap™ DVS technology, refined for over 10 years in Serato Scratch Live. Coming October 2013, Serato DJ will support a number of brand new hardware devices, designed specifically for use with Serato DJ. Support for a number of existing Scratch Live devices will come to Serato DJ in February 2014. Combined with the long list of new features and improvements to Serato DJ over the past year, the addition of vinyl and CDJ control in Serato DJ signals the future for the platform, as our top end professional DJ software. For existing Scratch Live users with supported devices, DVS support in Serato DJ will be a free upgrade in February 2014. There will also be a public beta period coming later this year. Sam Gribben, CEO of Serato, says: “Today’s announcement is a very special day for Serato. It represents the final stage of years of planning and development. We’ve done a huge amount of work to re-engineer Serato DJ, to deliver a new platform, with a new but familiar look for existing Scratch Live users. Today is also very exciting as we announce a range of brand new hardware specifically designed for seamless plug-and-play connectivity with Serato DJ. The Pioneer DJM-900SRT and Rane Sixty-Four mixers will both have Serato DJ support built-in. DVS support in Serato DJ will give our existing Scratch Live users a great opportunity to take advantage of the many new and impressive features Serato DJ has to offer. The new Pioneer DDJ-SP1 add-on controller is natively mapped to Serato DJ and packs a powerful punch to any existing Serato DJ, DVS or controller set-up. This is just the beginning of much more to come in the future for Serato DJ”. New Hardware For Serato DJ 1.5.0 Pioneer DJM-900SRT mixer for Serato DJ The Pioneer DJM-900SRT is the very first mixer from Pioneer to ship with seamless plug-and-play Serato DJ integration and with support for Serato NoiseMap™ Vinyl and CDJ control in Serato DJ. Connection is simple, via easily accessible USB on the top of the mixer. All the high performance features from Pioneer’s extremely popular line of DJ mixers are included. • Six Color FX (Space, Dub Echo, Gate/Compressor, Noise, Crush, Filter), Thirteen Beat FX with tempo matched to your tracks BPM in Serato DJ and with intuitive X-PAD control. • Mix with up to 4 decks with fader start and built-in switchable 3-band equalizer (+6dB to -26dB) and 3-band isolator (-6dB to -∞dB). • High quality 24bit, 96kHz sound card for high quality audio output and recording. - Available October 2013 Rane Sixty-Four mixer for Serato DJ The Rane Sixty-Four is designed for seamless plug-and-play connectivity and integration with Serato DJ. A professional, four-channel club mixer with dual USB ports, it allows two computers to be connected simultaneously, making for effortless DJ changeover and back-to-back performance. Building on 10 years of collaboration with Serato, the Sixty-Four supports Serato NoiseMap™ Vinyl and CDJ control in Serato DJ, and is built to Rane’s high standards of quality and performance. • Serato DJ software controls built-in. Control Cue Points, Auto-Loops and Loop Rolls, browse through Crates and load tracks, engage Sync, Slip Mode and trigger samples with the SP-6 Sample Player. • As well as the natively mapped Serato DJ controls, there are two custom MIDI layers that can be mapped to your own preference. • Powerful hardware FX (Filter, Flanger, Phaser, Echo, Robot, Reverb), individual channel filters and a USB insert to take advantage of the post fader software FX, powered by iZotope. • The Rane Sixty-Four also features faders and EQs natively mapped for Serato Video control. • High quality 32bit floating point, 48kHz sound card for great sound output quality and recording. - Available October 2013 Pioneer DDJ-SP1 add-on controller for Serato DJ The Pioneer DDJ-SP1 is a brand new add-on controller designed to be a portable but powerful companion to your primary Serato DJ setup. Perfect for any Serato DJ users that want to get the most out of Serato DJs advanced features. The DDJ-SP1 is an exciting addition for new users of the Pioneer DJM-900SRT, or any other Serato DJ set-up. The DDJ-SP1 comes with tightly pre-mapped controls for the exciting performance features of Serato DJ software including: • Hot Cues, Loop Roll, Slicer, SP-6 Sample Player, Auto Loop, Manual Loop, Velocity Mode for the SP-6, Slip Mode, Sync and also Hot Loop. • Hot Loop, triggers an Auto-Loop when you hit one of your 8 cue points. • Directly matched controls for the Serato DJ FX, powered by iZotope. Select, load and control your FX in both Single FX and Multi FX mode. • Each FX unit can also be switched to be dedicated to Serato Video FX controls. - Available October 2013 Serato DJ with DVS – Supported Devices & Public Beta With the release of Serato DJ 1.5.0 this October, Serato DJ will support Serato NoiseMap™ Vinyl and CDJ control (DVS) for the Rane Sixty-Four and Pioneer DJM-900SRT mixers. The natively supported Pioneer DDJ-SP1 add-on controller, and Novation Dicers will also be supported from October. A public beta version of Serato DJ to support DVS for a number of existing Scratch Live devices will be available later this year. Devices to be supported include the Rane Sixty-One, Sixty-Two, Sixty-Eight, SL2, SL3 and SL4. Key Serato DJ 1.5.0 Features and Additions Library Management Like all Serato DJ products, your existing Scratch Live library is compatible. Your crates and songs will be automatically read, and all the classic Scratch Live library functions are there like, iTunes library compatibility, prepare and history. Serato DJ is also interoperable with your iTunes library and offers support for your Whitelabel.net files. Serato DJ 1.5.0 also adds a new bright blue “played track” color option in the setup screen, to see your regularly played tracks more visibly. Users will still have the option to choose grey as their played track color if that is your preferred option. User Interface and Virtual Decks Serato’s famous user interface and virtual decks have been improved to give Scratch Live users an even better visualization of your tracks waveforms, and an improved work flow. Easy to read BPM, time remaining/elapsed, track progress, pitch information and cue point indication are all clearly displayed on the Virtual Deck, and the option to work in REL, INT or ABS modes at the click of a button. iZotope FX The FX in Serato DJ are hugely improved, and powered by industry leaders iZotope. You can now use the new FX modes in Serato DJ. Choose Single FX mode to get in-depth and have control of a range of parameters, or use Multi FX mode for simple and powerful control using one knob to control 3 separate, chained FX per unit. Expansion Packs and Accessory Support All Serato Expansion Packs are supported in Serato DJ 1.5.0. Including Serato Video and the powerful iZotope FX Expansion Packs. Choose from up to 10 standard FX, developed in partnership with industry leading FX developers, iZotope. As well as the standard offering, you can unlock our new FX Expansion Packs within the software. Unlock the Wolf Pack for free, a classic pack of basic effects and standards from other Serato products, or pay USD19 to unlock the Back Pack, a dub pack of analog & old‑school effects. There’s more to come in the future too. The release of Serato DJ 1.5.0 this October will also work with the natively supported Novation Dicers. Sync Sync is finally here for vinyl/CDJ DJs that want to use it. Hit sync to quickly get your tracks in time and give yourself more time to focus on other parts of your mix. If you’re not a fan, then Serato DJ with DVS gives you the option to disable sync and never see it again. Serato DJ 1.5.0 comes with Simple Sync for Vinyl and CDJ control, which matches the tempo and transients of your tracks. There’s also an added “Snap to Beatgrids” option, for using Beatgrids in Simple Sync so you can use features such as the Slicer. Slip Mode Brand new to users coming to Serato DJ from Scratch Live, slip mode works in a similar way to loop roll. Engage slip mode and scratch, trigger cue points, and engage loops. Stop scratching or disengage the loop and the playhead jumps back to where it would of been, allowing you to always be on beat. Cues and Loops Serato DJ has 8 cue points, compared to the 5 found in Scratch Live, so you can mark up and trigger even more. In Serato DJ 1.5.0, you can choose to display cue points or saved loops and scroll through all 8 within the on-screen virtual deck area. Sample Player (SP-6) A fresh but familiar look for the SP-6 in Serato DJ for Scratch live users. The SP-6 has two view modes, an advanced mode designed for preparing and complex control, and a simplified mode with the minimum controls so you can focus on what is important in your performance. Source: djworx.com

im practicing mine. will be submitted

The MiniKey looks pretty good, a nice upgrade from say an Akai MPK mini but as for the Launch Control, i can think of 10 better controllers. Just cause they make it look tight with the Launchpad S dont mean much imo.

this is also pretty.. humorous imo (more so when you click 'park' and he is rocking out next to a homeless looking fella)

Novation continues to build out their production-minded set of tools with Launchkey Mini, their new micro-sized keyboard controller designed for use with their iPad application that bears the same Launchkey name – and in tandem is announcing a companion controller to the Launchpad, the Launch Control. Check out an overview of each of the controllers below, as well as their product launch videos: Launchkey Mini Release Date: Late September 2013 Price: $125 MSRP / $99 MAP Key Features: • Instrument/controller for iPad, Mac and PC • 25-note mini-keyboard • 26 assignable controls • 16 velocity sensitive, three color launch pads • Eight knobs, seven function buttons, two performance buttons Launch Control Release Date: Late September 2013 Price: $125 MSRP / $99 MAP Key Features: • Compact control surface with 16 knobs and eight three color launch pads • Integrates with the Launchpad app for iPad - control volumes and filters with the knobs, and trigger FX and clips with the pads • Tough, portable and bus-powered – even from an iPad • Eight factory templates and eight user templates allow you to create and save your own control setups • Comes with Ableton Live Lite and a Loopmasters sample pack Source: djtechtools.com

Sunday, the dance music community was rocked by the news of the tragic deaths of two attendees at New York’s Electric Zoo. The deaths resulted in the shutdown of the third and final day of the event under the City’s recommendation and Electric Zoo’s compliance. The repercussions of this tragedy will likely be felt across the world of electronic dance music. Notably, this tragedy comes at a particularly crucial time for one of the industry’s biggest investment group, SFX Entertainment. Headed by Robert Sillerman, the group aims to capitalize on the rapid growth of electronic dance music or electronic music culture as they so aptly called it. The group has already filed a $175 million IPO (initial public offering) to go public. SFX Entertainment are already majority owners of Beatport, Disco Donnie Presents, Life in Color and MMG Nightlife, SFX is planning to acquire Totem, ID&T and Made Event, the promoters of Electric Zoo. Under the terms of the planned purchase of Made Event, SFX will acquire 70% of the company for $35 million and will be required to buy the remaining 30% in 2018. The deaths at Electric Zoo will undoubtedly cause SFX Entertainment to take a large financial hit. Companies that want their brand associated with these events are sure to become scarce. Advertising plays a massive role in the production of these events, especially the large scale ones. With SFX looking to go public next week, this tragedy will likely cause investors to be wary. SFX believes they are “the largest producer of live events and entertainment content focused exclusively on the electronic music culture (“EMC”), based on attendance and revenue.” A big financial hit to this investment group could very well change the course of electronic dance music. Ambivalent advertisers and nervous investors are a very dangerous concoction for SFX Entertainment and, in turn, electronic dance music as a whole. Not only will this take a toll on SFX but also likely the rest of the electronic music business world as well. This tragedy will cause far-reaching consequences for both the big and small companies. Resources could become possibly scarce. For smaller organizations this could mean being forced to sell to bigger, more respected (by advertisers and investors) and more established companies. Lastly, I just want to say that I don’t mean to, in any way, look past the fact that two people lost their lives. I just feel that it is important the electronic dance music community understands the consequences of this tragedy on a larger scale. Source: youredm.com

ditto

i have said this time and time again on this forum, its not the name you put behind music. Its the music you put with the name. DJ'ing, producing, whatever your doing. best of luck friend, work hard and the name (you picked) will resonate through out the community and the world with hard work hard and effort

it has not been, i just thew up the SC link to make it easy on ADJF community to find/listen to

which is right here : https://soundcloud.com/thedankles/excision-shambhala-2013-mix

you could make it shorter with Lauren Hoddi?

what is 'proper' anyway?

sell all camping gear you pick up outside of backpackers cheap. #winning

i like Lauren Hoddinott

ill just save ppl going off ADJF

i honestly cant get past how ugly this thing is. It looks like it was made by Mattel.