yizzle

According to Wikipedia, this is the official artwork for the album Renowned Swedish DJ and producer Tim Bergling — also know as "Avicii" — debuts his first studio album "True" (Island Records) on September 17. Make no mistake, this one's going to be big; not just because it's his first album since entering the scene with "Levels" two years ago, but because it's hands down the most integrative, diverse album to date for the still-emerging mainstream Electric Dance Music (EDM) scene. He put a lot of time and effort into this first album, amassing melodies from a plethora of artists from different genres — none of whom had ever worked with electronic artists before. This collaboration brings together unique influences from rock, soul, folk, R&B, bluegrass, old school house, and funk, yielding a fusion of styles and a multifarious incorporation that's long overdue. Continued ridicule and anti-establishment activism from meticulous artists such as Diplo and deadmau5 have provoked a trans-formative dynamic — a revolutionary movement within the EDM community. Many artists, like Avicii, have widened their horizons to appeal to a broadening fan base and to also avoid a reputation for being stagnant or inept. So far, we've seen incorporation of hip hop, reggae, and soul, blues, and R&B, but many have been awaiting probably the most difficult mix of all — country and electronic music. Avicii rolled the dice in Miami last spring, premiering innovative new tracks to a disappointed, bro-filled crowd at Ultra Music Festival. Most fans assumed they'd be hearing his trademark progressive synths, tapestops, and pitch bends; they weren't expecting a live set with actual instruments and a banjo. Avicii's "True" is uniquely defined by Motown, bluegrass and folk-esque melodies, encompassing sure hit progressive tracks ("Shame On Me"); indie-electronic vibes ("Liar Liar"); a radio-destined hit with Nile Rogers and Adam Lambart ("Lay Me Down"); and, last but not least, impressive collaborations with up-and-coming folk artist Audra Mae ("Dear Boy," "Long Road to Hell.") "Wake Me Up" and "Hey Brother" succeed in achieving a fusion of country and electronic music for the first time ever — a huge step for the industry. These two genres have no business being together, but for some reason, it works. Preview of Avicii's "Wake Me Up" & "Hey Brother" country/EDM tracks here: Wake Me Up Features: Aloe Blacc (vocals), Mike Einziger of Incubus (guitar) Time: 4 minutes, 32 seconds Hey Brother Features: Dan Tyminski (vocals) Time: 4 minutes, 14 seconds. Article source: policymic.com Youtube preview source: soundisstyle.com * the full 12 preview tracks of the album available to listen to on soundisstyle.com

ye.. good to see your heart is backing your next release.

DRUMLAB is the first-of-its-kind instrument combining the organic, expressive sound of acoustic drums with the power and punch of an electronic edge. The secret weapon of top professionals in a super-intuitive interface that makes mix-ready drum design fast and fun. Create thousands of new drum combinations that bear your signature stamp and kick with ultimate impact. Get into the lab and start experimenting – DRUMLAB guarantees a winning formula every time. ACOUSTIC COMPOUNDS DRUMLAB’s fundamental sound is built on an all-new set of premium drum samples. 38 individual drums were perfectly tuned and performed by top-tier drummer, Derico Watson. All drums were recorded in three different rooms to ensure maximum sonic versatility. High-end modern and vintage gear captured every nuance of the performances on analog tape. Grammy-winning producer Kenny Barto was then brought in to polish the sounds to a professional shine. COMBINING THE ELEMENTS The key to DRUMLAB’s alchemy is an advanced layering technique used by top hitmakers to give drums maximum weight and punch in a mix. 80 electronic layers from a range of classic and modern drum machines were expertly matched, phase aligned, faded, and pitched with the acoustic samples. Choose your own combination of each element, then dial in the perfect blend with a convenient slider on the front panel. The finished sound is mixdown-ready and always uniquely yours. PERFECT FORMULA DRUMLAB’s controls and effects turn up the heat to bond pro performance with an ultra-intuitive workflow. An elegant main screen puts every essential control in one place for ultra-fast drum selection and blending. A unique effects chain features an optimized drum compressor, TRANSIENT MASTER, SOLID EQ, and SOLID BUS COMP, plus convolution reverb – all with simple controls for quick adjustments. DRUMLAB also integrates perfectly with MASCHINE for the ultimate in hybrid drum groove production. BIONIC GROOVES Groundbreaking drum sound without a tight, pro performance? Not with DRUMLAB. Over 900 drum patterns and fills in a wide range of genres and styles – all recorded live especially for DRUMLAB – deliver everything you need for instant pro sound. DRUMLAB gives you a visual groove display so you know exactly where drum hits line up – seeing is believing. Find the beat that suits the track you’re working on, choose fills and variations to match, then drag and drop into your host sequencer. And if you’re a drummer, just hook up your e-drums and you’re ready to go. AT A GLANCE: DRUMLAB Product type: Advanced drum layering instrument For use with: Free > KONTAKT 5 PLAYER (included in free > KOMPLETE PLAYERS), or KONTAKT 5 Number of instruments: • 1 NKI for hybrid custom drum kit consisting of: • Kick (9 variations) • Snare (10 variations) • 3 Toms (6 variations) • Hi-hat (7 variations) • Ride cymbal (2 variations) • 2 Crash cymbals (4 variations) • A choice of 5 percussion sounds from 20 different instruments • Plus a set of perfectly mapped and matched electronic layers for kick, snare, toms and hi-hat (20 variations each) 108 NKIs for individual drum instruments • Total of sampled acoustic instruments: 58 • Total of electronic layering sounds: 80 Sound presets: 60 Groove library: 90 grooves with ten variations each Sound category: Hybrid acoustic/electronic drums plus groove library and studio effects Size: 2.6 GB (5.26 GB uncompressed) Sample content: 26.500 samples System requirements: Mac: Intelmac only, no PPC support PC: needs SSE2 (CPU supplementary instruction set) Due to file size, the Download version for Mac can only be downloaded to the internal Mac hard drive or other 'Mac OS extended' formatted discs (No FAT32!) "DRUMLAB is the first-of-its-kind sonic laboratory, combining pristine acoustic samples with a punchy electronic edge – all in one intuitive interface." Price: $99 Source: native-instruments.com

Akai has release iMPC for iPhone – a new app that promises to “turn your iPhone into an MPC.” Here’s what they have to say about it: "Turn your iPhone into an MPC. With more than 1,200 samples, 50 editable programs, 80 editable sequences, and iconic MPC workflow, iMPC is the first app to bring the look and feel of the classic Akai Pro MPC to your iPhone. iMPC includes everything you need to create a beat quickly and easily, including built-in effects, plus the ability to create new sequences and record and overdub beats." Time correction from 1/8 note to 1/32T with variable swing, and Note Repeat from 1/8 note to 1/32T with latch control are also built in. The app’s built-in sampler can record samples three different ways: using the mic on the iPhone, using the line input on the iPhone, or using the multi-touch turntable interface in iMPC to record samples directly from iTunes or other music libraries. Features: - More than 1,200 samples, 50 editable programs, and 80 editable sequences - Exclusive iMPC sound set and classic Akai Professional sound library - Sample from iPhone mic, line-in, or music library using multi-touch turntable interface - Exciting “3D Perform” controls — use your iPhone’s motion sensors to control parameters! - Export tracks to MPC Software for use with MPC Renaissance and MPC Studio - In-app SoundCloud community, powered by CloudSeeder - Share on SoundCloud, Facebook, Twitter, Tumblr, or export to your computer - 16 Levels mode: 16 levels of attack, velocity, length, and tuning - Note Variation slider: adjust attack, velocity, length, and tuning as you play - Trim and categorize samples, undo takes and erase samples - Create new sequences, record and overdub beats - Live Sequence queuing for real-time performance and playback - Simple drag and drop program creation - Built-in effects: delay, bit crusher, master compressor/limiter - Time correct: 1/8 note – 1/32T with variable swing - Note Repeat: 1/8 note – 1/32T timing, with latch - AudioCopy beats and sequences to compatible apps - AudioPaste samples from compatible apps iMPC is available from the App Store - iPhone is $2.99 - iPad is $7.49 Source: synthtopia.com

LOL!!

what ever happened to 'any publicity is good publicity' guess it goes out the window when you are making a fortune off anything you seem to touch..

Introduction In the modern digital age, DJing is many things to many people. It can be the size of a van, or fit in your pocket. And just when you think you’ve seen every paradigm, along comes another that welds together the traditional and the new into a single standalone unit. The JD Sound PDJ has garnered much attention since showing its face on the market. We first saw it way back in October 2012, where it certainly gathered the usual disdain, but also a solid amount of positive words too. In a Nutshell The PDJ is an extremely portable DJ device, consisting of rudimentary hardware controls sandwiched between a pair of touch screens. The PDJ also has microphone and external inputs as well as a single output. Music is added via SD card, and the internal battery is charged via USB. So the PDJ really is a complete DJ system crammed into something about the size of a large remote control. First Impressions JD Sound certainly pushed the boat out with the packaging. Plastic sleeve, outer sleeve, inner box, foam protector layer, velvety cradle, and another box for the international power supply… and a high quality but nearly illegible manual. I don’t know if this box is designed to be the carry case as well, but I’d preferred to have seen more basic packaging wrapped around a nice case that would allow you to cram the PDJ in and out of the hostile environment that is the DJ bag. Once you’re past the ooh and aaaah of the box, the JD Sound PDJ appears as a pleasure to behold. It’s not quite the DJ device that Apple would make, but near enough. The case feels weighty, and although looking like a unibody is in fact plastic. I suspect the internal batteries make up the weight as bar the glass touch screens and the ports, everything else is plastic, albeit high quality. And for those who plan to use this as a handheld rather than tabletop device, the back has some nice flat slight rubberised pads to make holding the PDJ a lot easier. The Controls Let’s take a look at the more traditional elements of the PDJ, and arguably the reason it exists in the first place. Let’s be clear — touch screen DJing is nothing new, but the very fact that controllers exist at all shows that people do want a tactile experience as well as the convenience of touch controls. So the PDJ has a smidgen of knobs and faders, each with specific features that mirror conventional DJing, but also tie into the touch elements too. Firstly, there’s a crossfader. It’s a long way from being the best in the world, but does the job. The knob is narrow, and the travel feels more console than DJ. There are settings to define a regular dipped curve, a sharper curve, a useful EQ tweaking curve and to turn it off completely. No amount of curves will ever allow this to be useful for scratching, the EQ crossfade (brings in the highs of the new track first and takes out the lows of the old track first) did give some nice transitions, although this is really shorthand for doing with the EQs anyway. Top left and right are the channel and monitor volume controls. It’s basic stuff – turn for volume up, press and turn for headphone volume, and press to engage monitoring – either both ears, split or off completely. The remaining 4 are to directly control the internal elements. Effects This is one of the several surprises that awaited me when dipping into the PDJ. It comes with 6 perfectly adequate effects (phaser, flanger, delay, filter, roll, and bit crusher), that all apply to the master channel. What I found interesting was that you can apply them all at the same time, with no apparent quality hit. Yes, it’s a bloody racket of course, but they can all be switched off at once by turning the FX select knob full to the right and pressing to kill everything. One thing to note — because effects are applied to the master, there’s no cueing of effects. You’re left in the realms of having to check the master out to hear what’s going on. Some effects have different parameters, enabled by pressing and turning knobs. When you’re used to full-sized controls or even complex FX units, this all feels a bit cramped. limited and tricky. But when you realise that it’s a miracle that the PDJ has a DSP at all, let alone 6 effects all of which can be applied at the same time with wet/dry and parameter controls, it soon becomes apparent that it’s a matter of learning how to use them and just what can and can’t be done with the limited feature set. The Screens Now we’re in the realms of the screens and exactly what they can do. The main screen manages to cram one hell of a lot into it. By today’s standards, it’s quite low res and has a decidedly bluey-grey theme. It wouldn’t have hurt to employ a tad more of the colour spectrum in the PDJ. Note to the developers — colour waveforms please Half of the screen is dominated by a rotating platter. This platter is a multi-purpose wheel that allows you to scratch, pitch bend and simulate spin downs amongst other things. Despite the obvious hampering of technique inherent with a 30mm touch jog wheel, I was able to pull off the most basic of scratch techniques, and when firmly secured to a surface, I even managed basic juggling too. But part of me wanted it gone completely and the screen given over to other features more suited to touch screen DJing. Hot cues for example would have been lovely if they’d had touch screen buttons available. Instead, you have to use the function knob to define and trigger them, which is absolutely fine if you want to quickly jump to parts of a track, but not too clever if you wanted to do some clever controllerist stuff. I did just about manage to work up something nice with “tank fly boss walk jam nitty-gritty” but it was a chore. This is strictly for jumping to parts of track than anything else. Usefully, hot cues are saved with the track, and visible in the library view. I also really like the fact that if you’re rocking doubles, defined hot cues on one appear on the other instantly. Loops are pretty well catered for though, You’re given loop ranges from 32 beats down to 1/8th, selectable across 2 screens, and engaged with a simple press. I like that you can easily crunch down and back again with a simple turn, or come out of it with a button press. The success of the loops will come own to the accuracy of the analysis, which generally is accurate… when it can get it right. Some tracks that normally would analyse fine seemed to throw the PDJ somewhat. Deelite’s “Groove Is In The Heart” is a pretty basic 4 to the floor groove, but it came in at 160bpm. Rozalla’s “Everybody’s Free” was 89bpm, both of which are clearly wrong, but easily fixed with the tap function, where you can tap in and save the BPM into the library. The moral of this story — check your tracks before trusting the PDJ, because it’s a bit poor at BPM analysis. Which leads me neatly to sync. As is custom in the modern digital age, a sync feature has been included, but frankly is quite a letdown. While the BPM might be calculated, there’s no beat grid, so engaging sync throws up some unexpected results, with no easy way of fixing it. There is a pulsing beat light, but without the beat grid, it’s flashing more or less whenever it wants. It’s the kind of thing that you’ll learn the shortcomings of, but it really should work better than this. EQ A swipe away from the main screen are the EQ settings. You get 3 bands which go down to -25dB and up to +10dB. This can be done with multi-touch so you can push all 3 at once, or assigned to the function knob to manage one or all of them, with a handy 0dB reset assigned to the press. A word on sound quality — it’s OK but nothing earth shattering. With a little help from the EQ, I was able to get something better, but it’s only to be expected from such a device, and via a mini-jack output too. Samples More swipes and more features. Samples are becoming a standard fixture in the digital DJ age, and the PDJ offers a decent implementation. You get 3 types: • One Shot: As it sounds, one hot, one sound that plays in full. • Loop: Plays like a one shot, but if kept pressed plays every beat until you let go. • Drone: This sound plays only for as long as pressed. You can only play 2 sounds at once, which I found to be enough. And you can load in new ones as well. It’s quite an arcane method of plugging in via USB and dropping files into folders, but it does at least work. Overall, it’s a good implementation, one that I didn’t expect to find on this device, but was very happy to nonetheless. Sequencer Yet more functionality is hidden in more screens, and one such gem is the sequencer. It’s a bare bones implementation with 8 beats and 6 instruments that locks to the BPM of the playing track. To be honest, at the time of writing it feels unfinished. The documentation is light on detail, and there seems to be no way to load new sounds, or to preserve your own sequences across a restart. It’s great for creating a simple bridge beat, and has the promise of good things if the developers assign more time to it. Managing Music The JD Sound PDJ isn’t exactly a powerhouse of music format compatibility, but does work with MP3 and WAV files. While the PDJ does have 4Gb of internal space (although mostly reserved for system and recording), you can work from SD card, up to 32Gb which for the potential user of this is ample. SD does make music organisation easy as you can do it directly from your computer, and is simple as copying a folder structure over to the SD card. You can also leave the SD card in the PDJ, enable USB mode in the setting menu and work with your music directly to the SD card. Once inserted, the PDJ will happily analyse all the music for BPM and waveforms. You can still load in tracks that have yet to be analysed, but it’s just good practice to load up your SD and let it do its work. As is the joy of having 2 separate screens, loading tracks is done on a per deck basis. Using the ubiquitous function knob is best, but you can double-click around the touch screen if you like. There are file name, track name, and BPM tabs to allow you to find tracks quicker, as well as a pseudo search function which is essentially an alpha-numeric touch strip. It’s not the quickest or most intuitive of library methods, but does work as well as can be expected with a single knob and small screen. Ins and Outs For such a small unit, the PDJ is surprisingly accomplished, albeit via mini-jacks. We covered headphones and monitoring controls, as well as outputs too. What we haven’t covered are the inputs — there’s a microphone and line in, allowing external devices to be connected up. They don’t route straight through to master out, but instead take over a deck, so if you want to talk over a playing track, you have to select the mic input via the library screen to get the mic to work. What I am impressed with is that you get a decent amount of the deck controls enabled on the live inputs. I know it’s crazy, but you can scratch slip mode style with a live input — so yes, you can do live scratches with microphones, and use effects and even loops. So in theory, you can use a pair of iPods connected up to the PDJ and use it as a rudimentary mixer with the ability to do more than just play tracks back to back. I find this to be impressive for such a device. In Use Whilst the PDJ is quite intuitive, it’s definitely worth a flick through the manual to understand everything that is on offer. The system menu for example throws up a few things that will change how you interact with it, and generally stabbing around the menus for a couple of sessions will yield more choice than you thought you had. For me, it’s a simple matter of realising that the PDJ isn’t 2 turntables and a mixer, nor is it an iPad, but is in fact unlike anything I’ve used before. If I were to try to relate it to something, it would be the Stanton SCS.4DJ, albeit with a lot less physical controls. I like that it can use a large SD card and analyse by itself without having to be told. Once mastered, loading tracks is quick and simple, as is mixing, EQing and applying effects. I’m especially impressed with the on the fly manipulation of the live inputs. You can of course just leave it playing on its own via AutoDJ. Select a folder, and the PDJ can slam mix or attempt to mix your music unattended. It sort of works, but certainly isn’t a replacement for an actual DJ mixing. It is however almost certainly good enough for a house party or bar that just wants a device to constantly cycle music. On that note, I found the battery life to be pretty good. I’ve sat playing with this for 2 days and only recharged once, and the PDJ has been playing music for around 6-8 hours solid per day. Also included is a record function, which streams your master output to a WAV file in a specific area of the PDJ’s internal memory. Plug the PDJ into your computer to access the recordings. It’s uncomplicated and simply works as it should. It would be fair to say that there are hurdles to overcome, like the way BPMs aren’t always calculated properly, and how sync just doesn’t work well enough to be reliable, and how features like the sequencer seem to be an afterthought. But when I think about how engaged I was to make the PDJ work as a DJ tool, these shortcomings were soon worked around, with the hope that they’ll be fixed in future firmware upgrades. Summary Let’s be quite clear — the PDJ is not intended to be a replacement for a conventional setup. It is however a capable DJ unit, that can pull off a full set once you’ve mastered the foibles. It has a certain cool factor to it, to the point where I could see P Diddy or Will.i.am pull one out of their pockets in a music video. Where it truly does score is in the portability stakes. This will go quite literally anywhere and be completely unobtrusive in use. Bus, train, plane, office, hotel, restaurant, dentists, doctors, coffee shop — the PDJ fits in a pocket, can host a lot of music, as well as last for a long time. This is the real selling point of the PDJ — it’s a teeny-weeny self contained box of trick and tracks, that requires no laptop, and if charged up, no power either. Of course, you could buy an iPad Mini, ION iDJ2GO, a Griffin cable splitter and algoriddim djay 2 for a similar price, but it lacks the all-in-one-ness of the PDJ. Ultimately, the aspirational cool factor, the form factor and feature set sells the PDJ. If they can give some of the features the attention they deserve to polish and finish them, the PDJ is a highly attractive proposition for a lot of people. Source: djworx.com

been all fixed up now. should have mentioned. thanks anyway mate

Ways to optimize MacBook for dj'ing: - If possible, turn off wi-fi and bluetooth as they can interfere with the audio. Turn off Apple Talk (OS X System Prefs>Network). - Turn off infrared receiver. To turn this off, go to System Preferences, click on Security. In the General pane, make sure "Disable remote control infrared receiver" is checked. You may have to click on the lock icon in order to make changes in System Preferences. - Disable Dashboard to speed up the system significantly To disable dashboard, open Terminal, and then type this command, followed by the Return key: # defaults write com.apple.dashboard mcx-disabled -boolean YES # killall Dock To enable dashboard, use the following commands: # defaults write com.apple.dashboard mcx-disabled -boolean NO # killall Dock - Disable the Sudden Motion Sensor to avoid the harddrive heads parking them due to loud noise in a club. To disable Sudden Motion Sensor, use the following command and look for the sms setting. 1 = enabled # sudo pmset -g # sudo pmset -a sms 0 To enable Sudden Motion Sensor, use the following command # sudo pmset -a sms 1 - Optimize Energy Saver. This optimization will free up system resources as well as prevent the computer from going to sleep or standby mode which can cause audio dropouts. Click the 'Energy Saver' preference. Set the slider for 'Put the computer to sleep...' to 'Never'. Uncheck the box for 'Put the hard disk(s) to sleep when possible'. - Disable Time Machine - Disable screensaver - Disable Spaces in your System Preferences - Disable startup items to lessen the load on the machine. - Set your latency to 8,5ms in Traktor Preferences/Audio Setup. This is a value that generally should deliver good performance on a Macbook (Pro). Alternatively, set sampling to 48000Hz, 2.5ms latency, keylock set to scratch. - Use the correct USB port. Due to internal routing of the USB ports in many cases only a certain USB port is working properly for using an USB audio device on MacBook Pro's. You need to check in the Apple System Profiler (in Utilities) under Hardware->USB if your USB audio device shares a USB High-Speed Bus with another USB device or not. If necessary try another USB port on your computer. Finally the USB audio device should not share its USB High-Speed bus with any other device. In some cases it already helps to take the USB audio device away from the USB High-Speed Bus that is shared with the internal iSight camera. - If you get crackles in your audio, then try to increase real time audio performance and prevent issues with speed stepping. - Disable a core: install Xcode, go to /Developer/Extras/PreferencePanes, double-click on Processor.prefPane to install - In Traktor, turn off album art in the collection/playlist view *edit; obviously traktor biased.

nice review bud

For better or worse, Vestax have always walked their own path in the DJ world. And one such amble off the beaten track was to add MIDI into the PDX and Controller One turntables. While the C1 was an extremely limited run, MIDI became a standard feature in the PDX 3000 turntable series. But what about the old 2000 series? Well DJ Backtrack has devised a kit that will add MIDI to the old Vestax PDX 2000 too. But what does this mod do? Basically it adds a MIDI 5 pin DIN port to the back of the PDX that allows you to hook up a regular MIDI keyboard to control the speed of the platter. Pressing the key reproduces note perfect pitch changes, to create a musical performance from a regular PDX turntable. The ±50% ultra pitch of the PDX gives a 20 note range Vestax’s Controller One took this to the next level by building such functionality into the turntable, but despite being hailed as the next logical revolution of the turntable, it never really took off. This was partly down to the price, but also because it didn’t function in a convention turntable way. This mod is not for the feint hearted though. The installation PDF outlines the soldering and drilling hackery that you’ll have to carry out to make this happen. And it goes without saying that this absolutely invalidates any warranties, and Backtrack is in no way responsible or liable should you mess up your PDX. No word on if this idea would work on other decks. I know that the Numark CDX and HDX had MIDI, so in theory the TTX might be able to be modded like this, and in theory, other decks like the Stantons and OEMs could be too. But what about Technics? Souce: djworx.com

you can also look into buying some high quality ear plugs. not some cheap foam things.

tbh, i just put my headphones on so both cans are over both ears when out. never have a problem. what type of headphones do you have? maybe need to upgrade to something with better sound cancellation?

awesome to hear. i was not sure if anyone had tried this out yet. I haven't, i dont have iPad/iPhone etc.

had to skip through quickly (work soon). Was good though, love that dj/vdj mix. will check out whole thing tonight, looking forward to some more of this

welcome mate

very nice mate

also if a career is what your after, music theory is really important. Music theory is the universal language of musicians. The basics may seem tedious and irrelevant, but they are not. They are essentials. You can write a few hits at home, but once you get into a professional studio with other professionals, you are going to need to express your ideas professionally. This guy is good if your not going to school or need to refresh what you may have learned back at school.

nice one. always good to get some history

Whether you just want to mix for fun in your house or decide to be a DJ and newly starting, you will need players, controllers and digital DJ software programs to mix music. Best way to do this is professional tools with full functionality and features that you purchase. Of course a certain budget provides all. These are the top 7 free DJ mixing software programs for beginners without a budget yet or in need of self practice before investing in equipment. You can download and install any of them and use personally. You are able to control the software with your keyboard & mouse. 1. Virtual DJ HOME Version Virtual DJ is a world known brand name for DJ mixing software used by top DJs. This free version carries most of the functions but does not support MIDI control which means you would need your keyboard to rule it. Paid versions are good for use with controllers. - Available for Windows & Mac 2. Mixxx Mixxx is one of the best free DJ software you can find in terms of features available as a free edition. These include integration with Itunes, MIDI support for most controllers, BPM detection and sync functions, Auto DJ, different skin choices, recording, broadcasting and more.. - Available for Windows & Mac 3. DJ ProDecks This might be a good choice if you just want to use it at home and practice since it is designed for keyboard control. DJ ProDecks is totally free with no limitations. Features include but not limited to; Three effects, memory banks and samplers per deck, complete mixer, equalizer, auto mix, sync and beat detection functions, resizable windows, ultra fast search. It also has a customizable skin which you can put your name into it. - Available for Windows & Mac 4. DJ ProMixer DJ ProMixer offers a free edition with some limitations. It has interesting functions like converting and saving YouTube videos in mp3 format. MIDI control is available with it so you can use most major DJ controllers with this software. DJ ProMixer NB Netbook edition is specially optimized for netbooks which is a plus for people who have one. - Available for Windows & Mac 5. Zulu DJ Software This is a professional DJ mixing program by NCH. The free version does not expire but will lock some additional features after 14 days. Until then, enjoy this fully loaded pro DJ software. - Available for Windows & Mac 6. KraMixer KraMixer uses the latest technology with FMOD sound engine which is proven to be the fastest and used for Playstation 2 and XBox games. Features include Auto BPM, sound effects, real-time recording to mp3 format and looping functions. - Available for Windows only 7. itDJ Runs off iTunes. Features include but not limited to, looping, queing, pitch lock, SFX functions, Auto DJ and more. - Available for Mac only Source: digitaldjinfo.com

Music Computing, a leader in touch technologies and advanced computer enhanced musical instruments releases Modulas PRIME and Modulas Consoles. MotionCOMMAND™ Modulas is a system of touchscreens and other controls capable of controlling any music production or video editing software. Modulas PRIME is a standalone 32” or 42” touchscreen controller that is designed to be used as an add-on to any desk or console. Simply place the Modulas PRIME on a flat surface, plug in the USB and video cables, run the driver software and it’s ready for use. Standard number of simultaneous touch points is two or four but custom versions up to 40 touch points are available. Modulas Consoles are turnkey professional consoles designed to be the center piece of any studio. The following are the three models available: (1) Modulas Mix / DAW Console, (2) Modulas 42” Keyboard Workstation Console, and (3) Modulas 32” Keyboard Workstation Console. The Modulas Mix / DAW Console is a traditional mixing console, which provides a center bay for a mixer or a Modulas Main Module (32” or 42”), and two 12U bays on each side capable of housing any combination of additional Modulas modules including the Modulas 22” portrait module, multiple Modulas 10” modules or the Modulas QWERTY computer keyboard module. Two additional 4U rack bays are available on the top of each side for outboard gear. The Modulas Keyboard Workstation Consoles have a center shelf where a Modulas PRIME can be placed as well as various other rack bays for Modulas modules. The 32” version can accommodate a 32” Modulas PRIME while the 42” version can accommodate either a 32” or 42” Modulas PRIME. Both models provide a space for placing a keyboard controller, keyboard workstation, or keyboard production station like the StudioBLADE and ControlB LADE. The space is sufficient for up to an 88-key keyboard. “The Modulas product line is a new and prudent approach to controlling today’s audio and video production software.” Said Victor Wong, CEO, Music Computing. “By providing controls that can instantly adapt to any software application or plug-in, Modulas is the only control system that will always be 100% compatible today and in the future.” Modulas is compatible with Windows 7 and Windows 8 and is capable of controlling all native multi-touch features within the operating systems as well as multi-touch functions in multi-touch capable software applications. Modulas is also compatible with Mac OS X 10.6 and later. However it is only single touch capable for all Mac OS X system level functions but can be multi-touch capable if the application running within Mac OS X is also multi-touch capable. A wireless keyboard and mouse is also included with the Modulas PRIME and Consoles for detailed editing and text input for applications which may not be optimized for touchscreen use. Prices start at $2,099 and configuration engines are available in the Music Computing online store for each of the Modulas line so the perfect combination can be create for the user’s needs. Source: djnews.be

it looks a lot like traktor. its looks like a good product for me, i use traktor so similar look and i use FL Studio and incorporates the same features. If the final version is solid. could be a winner.

I'll def grab the demo of this.