Mitch

I prefer to chop up and manipulate a sample/preset if you're going to use it. Otherwise it's just going to sound the same as the 5 thousand others that have used that. To answer your question, as long as it's from a royalty free pack, you're ok legally.

welcome buddy

http://soundcloud.com/saywhatrecords/say-what-podcast-025-with Tonight's entertainment

Sounds like malware. Can you post a screenshot? I can Prob help via teamviewer Edit: sounds similar to what someone from work was dealing with yesterday...

Found this article a while ago and had a skim through - looks pretty good. Going to go back through and have a proper read/review of it soon, but for now I thought I'd post it here for everyone Programs like Ableton Live have made it easier to take an idea, improvise with it and record it into an arrangement. The challenge can be reversing this process and taking a completed work and readying it for performance. With this in mind, I have begun searching for creative ways to optimize my layout and workflow. Although there are a vast amount of possible scenarios for building a performance setup, my personal set of main priorities break down to the following: -Preparing and arranging backing material for playback -Building flexible, processor efficient instruments and effect racks -Automating system tasks to handle things I do not manually control If you are curious about how to get started brainstorming building a performance setup. I recommend reading Preparing a Custom Live Performance Setup which I wrote previously. Backing Material At times I have found it challenging to find my role in the music that I was performing in an inspired way. If I included too much of the ‘studio’ into my set, the sound was polished but predictable and not always exciting to interact with. On the other hand, if it lacked the right amount of prearranged material it could appear less produced and unrefined. A simple solution was to create more space by stripping down parts and sections of the backing layers, making the arrangement more spontaneous and less dense. I came to think of the piece as ‘additional instrumentalists’ rather than material that I simply played over. Below is a list of several techniques I deployed: -Non-uniform placement of clips in the timeline -Backing material with dynamic transitions
(i.e. arrangement builds up and then drops to minimal backing tracks- prompts me to interact with the arrangement and insures I stay on my toes) -Audio events and envelopes not locked to strict, predictable grid divisions (creates another level of spontaneity and breaks up monotonous sections) -Preprogrammed automation tasks to modulate parameters irregularly 
(unsynchronized LFOs, asymmetric envelopes and loop lengths, randomized follow actions) Instruments and Effects for Realtime Expression The instrument portion of my setup pertains to live instruments that I physically play on stage. In an attempt to recreate my studio hardware setup, I mapped several MIDI controllers to software instruments in Ableton Live. Each controller corresponds to a specific instrument and is divided by the type of sound it produces. Much like having a discrete unit for each instrument, playing in this manner has helped me recreate my studio workflow without the need to drag all my hardware to every performance. Limiting the functionality of each controller has helped me to make music-related movement correlate to intended sonic events whilst keeping the performance more intuitive and seemly less about browsing and banking through menus. The breakdown of my controller relationship is as follows: Sound Design Transformations In an effort to make my sound design more performative, I often render short audio segments from my backing material to create multilayered sampler instruments. These in turn can be used to build custom sampler or drum racks to trigger both percussive and non-percussive sounds. I find this more flexible than triggering clips as I can create Macro mapped racks to control specific instrument and effect parameters that I play and manipulate live. Ableton Live makes editing and loading audio into samplers an easy and straightforward process. Simply select the clip you wish to use in the session or arrangement view and drag it into a sampler or drum rack of choice. If the portion of the clip you want is part of a larger chuck of audio, split, crop or separate it and then consolidate the selection into its own audio file. If left unconsolidated, you will potentially be loading a larger segment than you intend to use and subsequently expend additional computer resources. Tip: Easily layer sounds in single drum rack cell by holding down command (Mac) or control (PC) while dragging in additional clips. This creates an instrument rack within a drum rack cell. Audio or midi effects can be added for additional control for each layer. System The system portion of my setup denotes functions that control real-time automation and modulate device settings. Most of these processes run in the background and are not controlled by the performer on stage. They do, however, significantly contribute to shaping sound and managing configuration changes over time. As an example, I use automation clips (dummy clips) to control auxiliary sends, mixer settings and interpolate between device parameters. Automating this process frees me to focus on playing live instruments. To have the system launch automation clips, I experimented with using follow actions. Follow actions trigger clips automatically based on a probability ratio that controls two variables. Depending on how I set the ratio determines the level of predictability of the order that clips are launched. This can range from orderly to random. Based on tempo locked time base divisions, the time control dictates when the trigger action will happen. Follow actions assigned to automation clips can then be linked to mixer, instrument or device controls. Whist this technique suffices for some tasks, it is not flexible or efficient enough for others. Writing or recording envelope automation data for each parameter can be tedious and time consuming across an entire performance. Without careful planning, parameter changes may jump from value to value rather than transitioning smoothly. Upon further investigation, I uncovered a free midi remote script, Clyphx by NativeKontrol. Clyphx extends Ableton Live’s functionality by allowing the user to program actions or a sequence of actions. One of the most useful features is the ability to create and recall snapshots of device and mixer parameters. I was able to smoothly interpolate between snapshots and set interpolation times on a clip-by-clip basis. To take this a step further, I incorporated follow actions to sequence and trigger clip launch by embedding the snapshot action script in automation clips. Launching the clip sets the action into motion; in this case, I applied it to recall Push’s scale and mode changes. My findings reveal Clyphx to be a powerful extension to Live’s functionality and a brilliant tool for managing automation tasks. Wrap Up It is not necessary for the above mentioned suggestions to be extremely radical or overtly dramatic. Sometimes a little goes a long way. The thought process behind such techniques is beneficial because it helps us to think about ways to make the overall setup seem less static while increasing the longevity and repeatability of a performance. Even after performing a set multiple times, I was pleased to find each instance unique and exciting.

All of above are now expired MXMGFEB15 is the most current one I could find that works

I think I've bought one or two off there a while ago. Just check out the rep of the seller before you buy

Just house things. All the jacking

I'll make a proper post tomorrow if you want help laying out a dj set in Ableton. Basically you make a few audio tracks, add an eq three to each track, drag your songs in then just draw in automation for volume and EQ

This is on point

What sort of mash are you doing? Just laying an acapella over a dnb track??

Tracklist as follows: 1. Osunlade - Envision (Ame Remix) 2. Dusky - Love Taking Over (Original Mix) 3. &Me - Blitz (Original Mix) 4. Steve Lawler - House Record (Original Mix) 5. Archie Hamilton - Two Time (Original Mix) 6. Ben Pearce - What I Might Do (Kolombo Remix) 7. Sly One - Cowbell (Original Mix) 8. Jon Rundell - Feel The Beat (Original Mix) 9. Itchy Newman - Elevate (Original Mix) 10. Jonas Rathsman - Skepparkrans (Original Mix) 11. Digitalism - Zdarlight (Chopstick & Johnjon Remix) 12. Ejeca - Contemplation (Original Mix) 13. Deetron - Photon (WP Dub) 14. Justin Martin - Don't Go (Dusky Remix) 15. Steffi - Yours (Acapella) 15. Josh Butler - Got a Feeling (Bontan Remix)(Pleasurekraft Edit) 16. Mulder - Natural High (Joris Voorn Edit) 17. Terrell - Werk That Filled in the gaps

Just upgraded from Ableton standard to the suite

So many records Richie Hawtin Ellen Allien DJ Hell Sven Vath Dixon DJ T DJ Koze Ricardo Villalobos Frank Wiedemann (Âme) Steve Bug Source: http://pulseradio.net/articles/2015/02/ ... ving-rooms

Options are pretty much endless. The maschine template for ableton is pretty cool, I've played with it a bit. Can also run maschine as a vst inside ableton, then send maschine outputs over multiple tracks, and have extra channels for clips with the apc/launchpad All depends how you want it to work

Sourced from the legends over at Ableton Liveschool - http://blog.liveschool.net/music-fundam ... et-live-9/ Stumbled upon this, thought it may be handy for someone Video works through sampling a chord, then manipulating that with single note midi patterns, aka 'Chord Planing'

http://soundcloud.com/paolorocco/get-social-dub-mix-la-vie-en

We are back again Free entry, cheap drinks, great vibe. If you want to get involved with the night hit me up

We are live! http://trnsmt.tv

Thanks for listening fam <3 2015 is the year of rotorcraft

Sourced from Defected.com Not many people can claim to have had a record label founded specifically to release their music, but Nicolas Geysens aka San Soda is one such artist. Long-time cohort of Red D with whom he records and performs as FCL, San Soda is a true house music devotee, with an encyclopaedic knowledge of the genre that informs his eclectic, accessible and timeless sets. Who better, then, than San Soda to lay down an easy-to-follow, 12 Step Guide to being a successful yet grounded DJ in 2015? Nope, we couldn’t think of anyone either… 12 Steps to DJing 1) Take DJing very seriously. Playing music for any number of people in any circumstance is a privilege and an opportunity. Aim for every track to be the very best track you can play at that time and do it in the best way you can. 2) Don’t take ‘being a DJ’ too seriously. As much as professionalism is important, the number one priority is for you to smile, shake your ass and invite others to do it with you. 3) Never use sarcasm in interviews. People won’t realize when you’re being sarcastic and will stop reading your piece after 3 steps. 4) Always bring a fresh pair of socks to your gig. Your feet are the first part of your body to pick up the bass frequencies and they need to be comfortable at any time. 5) Read up on the history of dance music. Just like you can’t speak a language without studying its grammar and vocabulary, you’ll be a better DJ knowing what happened in NYC in the 80s. 6) Update your biography at least once a year. If you don’t do it for 5 years, people will think you’re still 21 years old. 7) Buy one track you love instead of ten tracks you like. One copy of Womack & Womack ‘Teardrops’ should remain in your record bag forever. No matter where or what you play, at some point this record will become essential to you. 9) Make Discogs your homepage. 10) Don’t forget to eat and drink well before a set. A shortage of Belgian beer or French fries could severely affect your performance. 11) At home in front of the mirror, practice your facial expression for when you mistakenly stop the record that is currently playing. Every DJ goes through some of those at one point so it’s better to be prepared. 12) Finally, don’t take this list too seriously. Once you’ve purchased the latest Defected In The House compilation, you’re pretty much set to start playing and take the party to the next level.

That's true that travelling artists do bring visuals sometimes. However each club has a different system, so it all needs to be in the right format. Most of the time they send files in advance and test it before the place opens

Will link more here tonight, have got some good ones this week