imadje

personally i've never liked pioneer sound quality too much. I own a DJM 909 because of the layout and faders but I wish it had rane or allen and heath sound q. Also I would also choose one box over two to avoid setup and cable stress which inevitably causes solder to dry out on internal connections. Just my 2c tho ill.

ok, so i've collected all my gear and set it up for one photo. I wouldn't usually have it all set up at one time, mainly because I don't have 8 arms. Anyway in this picture is: 2 CDJ 1000 MKII with Numark N2 Mixer (in coffin case, bog standard mixer as this is the unit i use for teaching on.) If required I can set this up with either the powerbook, Dell or Macbook for Traktor Scratch Pro DVS. 2 Technics SL1210 MKII with ortofon Pro S carts and needles attached to vestax brand headshells, and Pioneer DJM 909 (these are my babies) Also note the footswitch which lets me add channel specific effects on or off using my foot. <3 the 909 for that. On the Shelf above the Decks is a Dell Inspiron running traktor scratch pro via a NI8. It can also run ableton suite 8 via the Ozone controller/Souncard/Keyboard on the right. Under the Dell is a Powerbook from last century which uses the external screen on the left, can also run ableton 5 using the Ozone and is mainly kept as it has the full Native Instruments Komplete synthesiser software (also from last century) which I cannot transfer to my Macbook due to licensing issues. Its not cracked but i got it as a "not for resale" promotion when I was working in a DJ gear shop and they won't let me upgrade it to my macbook without paying full price. On the far desk is my NS6 and Macbook Pro. This Macbook also has ableton suite 8, traktor scratch pro and Itch 2.1 (beta 40) on it. Basically I use this macbook first for anything wether it's prod or timecode from vinyl but if I am already running it and want some other noises or to record in an external unti I can turn on the old dell and/or powerbook to get access to the sounds/software I want. On the Bookcase is a yamaha MG10 mixing desk through which all signal outputs are channelled. The MG 10 feeds to a pair of wharefedale diamond 8.1pro Active reference monitors for production purposes. I can also turn on the hifi amp and route audio through the hifi speakers if I want to check my reference signals from an end user P.O.V. Hanging around somewhere there is a pair of beyer dynamic DT 150 reference headphones for prod and a pair of AKG k181 phones for DJing. Finally there is a stylophone on top of the hifi speaker. Out of shot is most of the vinyl and there are also flightcases for the technics and the NS6 for whenever I need to move stuff. I know it's not a neat setup but it's all my gear and I've kept it and can get it all to work for the sounds I want without risking doing updates and breaking things that dont need fixing yet. Mine and my wifes home business offices are in the same room, as is the hoover and shit as you can see. I also know my hifi speakers shouldnt be sitting on top of my reference monitors but I never have both turned on and TBH prod isnt my main thing, in other words: it works for me the way it is. Somewhere there is a hercules steel controller I sometimes use to add buttons to my DVS. The only thing missing is my MPC 2000XL which I had to sell to get the NS6 and Macbook early in 2011. I do miss it bigtime and will prob get some kind of pads in the future but at the time I had to get mobile and wasn't using the MPC, that's life. Oh and at my mates studio I have a set of electronic drum pads so I can bash out riddims if I really want to using sticks, i.e. the old-fashioned way

i've always loved music but during the 80's when I was a teen the whole chart and club scene I could get to was terrible. It was pretty much a "grab a fuck or have a fight" mentality that wasn't me at all. The music they played didnt matter to anyone there. So I spent most of the time looking back to the music of previous generations (pink floyd, hendrix, doors, etc). I was also digging deep into the underground of ska and reggae and listening to the electro from the hip hop scene (kraftwerk, Grandmaster Flash, herbie hancock etc) but there were no clubs I knew of at that age that played that stuff. Then I think I was 16 when I heard this on the late night chart show: and the next night I was out dancing in some very baggy jeans

wazza has put up a cool comp: viewtopic.php?f=60&t=8314 even if you dont want the prize you can always sell it right here on adjf. It's hiphop so the tunes you choose are prob more important than the mixes you do. wigga wigga drop the bomb, show this mad pom that Aussie Hip Hop, i'nt just chip shop Hip Pop

Yo Rich chk this: viewtopic.php?f=60&t=8314 comp open to all, get yer mix done quick and post it in there for chance to win. comp needs more aus hip hop bro.

As Jaz, Vlad and Wazza said: The tone arm is out of the way, the start/stop and on/off button for the left hand side is next to the fader on that side, and the two platters are as close to the cross fader as possible. FYI: i am right handed so most transforming/scratching uses the left hand deck. My strongest (right hand) is free to manipulate the fader. If I want a drill or intricate scribble I use my right hand on either deck. My left hand is pretty useless on the fader.

as usual it'll take a few real users to try it out before we get real comparisons. i hope they aren't doing a pioneer and just cashing in on the rep of the brand.

http://www.akaiprompc.com/

Obv there is no harm experimenting with extreme ranges to see if you like or can use the effects produced. The above comments are relating to respecting the original promotion as much as poss.

Oh yeah key lock. This is a digital effect and at extreme pitch if keylock is on the processor may be working so hard that you can hear a digital "tinny" sound at high speed or a deep "wobble" at low speed. It sounds kind of like abletons warp and if you are using vinyl to stay as close to the original as possible then again: extreme pitch should be avoided. Hope that makes sense, am on phone/ cant chk.

PItch bend normally relates to the amount of bend or nudge a nudge button will apply but i dont think st150s have pitch bend buttons. If you mean the range over which your pitch control works: Cons to 25%: The larger the range the less precision you get with each movement so the harder it is to get two tunes exactly matched. If you have to speed up or slow down massively your songs will be very far from the tempo that the producer intended them to be played at. Pros to 25%: You can get tunes to match that otherwise wouldn't. From your avatar I guess you are a DnB DJ. As DnB is such as a specific tempo range (160-190) it can be useful to have a wider range so you can get House/hiphop/other tracks to sit for the purpose of live remixing/adding accapellas. Personally I stick to the narrowest range as much as possible to respect the promoters original tempo and give myself precision over range. On your deck you can always use the larger range as and when you need it anyway. hope that helps

a whole pint of cheap lager upturned on a cdj 1000 millenium eve. Luckily only took £75 to sort professionally and I still use same deck 12 years on. a line of expensive stuff blown into a yamaha MG12 mixing desk by a security man who didnt know his job cost more to replace. good thread for the important RIPs mattus.

^lol. it aint that good guys but thanx. I think maybe there are better mixes to come.

I wouldn't want this to get lost amongst the comp entries so have double posted here. Just some class tracks, some great beats, some cunning linguists and some conscious lyrics. I was going to do this on vinyl using timecode but I kept wanting a third or fourth deck to add scratches, loops or short samples so in the end I just banged it out on my NS6. No beatgrids, sync or autoloops. It's all manual as you can probably tell.

Ok, done this mix. Just some class tracks, some great beats, some cunning linguists and some conscious lyrics. I was going to do this on vinyl using timecode but I kept wanting a third or fourth deck to add scratches, loops or short samples so in the end I just banged it out on my NS6. No beatgrids, sync or autoloops. It's all manual as you can probably tell. P.S. I'm only entering for fun. Even if no one else enters and I win by default I dont want Wazza to post the prize all the way to the U.K. I just wanna support the mans comp. ...and educate some of you kids with some real hiphop

My apologies. My dad worked in construction in Tehran until I was 4 years old (1977). He habitually used the phrase "enshallah" as we were growing up so I wrongly assumed it was Persian. I stand corrected Is this not why you train your ear to listen to two things at once? one ear listening to the cue'd track and the other listening to the PA. While beatmatching yes but as soon as a tune is beatmatched/otherwise prepped I take the phones off. This way I can concentrate much better on the eqing for the specific room while I'm mixing without any distraction from the 'phones. Obv on big club or festy/stage systems I trust the engineer to do front of house so am happy to do all in-ear mixing but in a house party/small bar scenario I like to immerse myself as much as possible in what the audience is hearing. I still listen to two things at once; two tunes though, not two audio sources.

Mate i dont think it matters. Like cupe i have rubbish headphones. I prefer to do most mixing on the fly through the speakers anyway. Especially at house parties where it is so important to hear what the house is hearing. Good luck with your scene man. Its great to know the vibe continues and always shall, enshallah.

edit: ^just noticed this, in case anyone is in any doubt this is probably the worst advice possible regarding how to stay safe around electrical equipment. Just sayin.

Ez. This is a good forum and you will find what you want if you ask the right questions.

Ps- jogging on the spot= running man in my lingo. I used to do that for about 8 hours straight with the occassional jesus pose during a big break. Now that was really dancing lol.

Outstanding eggs. I actually met vegas and first rate (previous perv) once. Top blokes both. Knew you'd like it eggs. No boundaries to their music or skills. Just good djs playing to a floor. What the whole scene started from and will always return to imo. Big up eggs. Happy new year bro.

yep, your set looks ok for a standard function. Please respect the thread title

I made a post on this topic ages ago on my blog: Please remember my blog is used a resource for kids I work with so my aim is to give the most all round background to a topic. It doesnt mean it's up to date tho. http://djworkshops.wordpress.com/which- ... t-to-sync/

^ being Robsta I guess I'm walking face-palm-first into a troll but anyway: You use the sample in scratching like a musician uses his instrument. It is to add an entirely new sound, flavour or dimension to the music that is entirely your own creation. eg: You have record one playing. You scratch (AKA "solo like a musician") along with it in musically relevant places with a sample that fits harmonically. Then you remove the scratch sample and put on record two to begin the next mix. There are so many variations on this basic idea that I dont have enough words to describe them.

Only on phone but it's thrown up mo' horizons' funky fried lovesong. Class funk soul from the nu breax era. Great tune to see hips sway as has that latin shake goin on. Happy new year all.