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Everything posted by russell
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nice mix.
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I'll listen in work tomorrow hopefully. Why you no make mixes longer than half an hour?
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Jury is still out for me on the Bashmore one.
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Live from LA http://boilerroom.tv/live SET TIMES (PM PST): 7-7:30: JAMIE STRONG (DJ SET) 7:30-8: GOSSAMER (LIVE) 8-8:30: D TIBERIO (LIVE) 8:30-9:15: LOW LIMIT (DJ SET) 9:15-10: CLASSIXX (DJ SET) 10-10:30: NOSAJ THING (LIVE) 10:30-11:00: RHYE (LIVE BAND) i can't even get the video to play
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Mountain People https://soundcloud.com/r_co/mountain-people-rundfunk-fm-25
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Could always synthesize your own kick.
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push looks fuckin awesome...
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They're both lossless formats are they not?
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Perhaps not consciously. And anyway, that's besides the point. As a DJ you want to be providing the best musical experience you can. If you playing mp3's, particularly 128's you losing certain frequencies and therefore losing the feel of the music. a 128 would sound pretty muddy on a good system. Remember in a club you don't just hear the music. You feel it.
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Excuse me if I'm reading this wrongly. You will not be able to get the kick to stand out properly from a loop. The best way to do anything with drum loops is to cut them up and give each part it's own channel so you can EQ, effect etc as required.
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Daft Punk Signs With Sony - New Album On The Way!!!!!!!!!!!!
russell replied to OxyKon's topic in DJ Headquarters
been plenty of rumours for a while now. Other artists have confirmed ages ago they have been working with then on new material. I wouldn't hold your breath for a tour though. -
Nice one. Looking good so far.
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You wouldn't notice the diff on a home system. You would on a good club system though. Regardless you should always want the best quality at the source you can get. I always buy .wav, .aiff or .flac if i'm buying digital.
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take the work out of that and you've got the pro DJ lifestyle right there
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Likewise. Actually went on to listening to vol. 7 after you mix because it put me in the mood for it. Thanks mate.
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nice mix. Got a bit of a Mark Farina vibe to it.
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Akai MAX25 Keyboard controller - £ 279.99 Akai MAX25 Keyboard Controller. Cutting-edge, classic and complete control. Get ready to experience one of the most dynamic and unique performance controllers ever created! This Akai keyboard includes vintage CV and Gate outputs enabling you to use the MAX25 to control analogue synths - seemingly one of the most talked-about features. With 25 semi-weighted keys, 8 groundbreaking LED touch faders and 12 of the familiar, velocity-sensitive MPC trigger pads, the MAX25 provides an intuitive way of programming percussion parts and triggering live samples. MAX25 comes ready to command any controller hardware or software from any era: USB MIDI, traditional 5-pin DIN MIDI and even Control Voltage and Gate outputs are onboard, allowing you to control everything from today's most advanced music software, to analog modular synths from as far back as the 1960s. Mackie Control and HUI protocols are also built in to give you instant compatibility with many industry standard DAWs. As if this wasn't enough, the keyboard comes with AkaiConnect automatic-mapping software, so you'll be up and running in your favorite DAW and VSTs in seconds. AkaiConnect has been designed to eliminate the guesswork and give you more time creating and less time setting up controls. Instantly assign MAX25's MPC pads, touch faders and buttons to your favorite music software plug-ins by simply clicking on the software element you want to control, then touching the knob, pad, fader or button on Max25. Akai MAX25 Keyboard Controller Key Features: 25 semi-weighted keys with Aftertouch for complete musical expression Built-in step sequencer for detailed track construction Expanded arpeggiator with latch and time division controls Included AkaiConnect software automatically maps to VST plugins 12 backlit, real MPC pads with MPC Note Repeat and MPC swing Eight backlit LED touch faders for gradual or instant parameter value changes Four pad banks & four fader banks provide a total of 80 assignable pads & faders CV & Gate outputs for use with vintage analog synths (1V/Oct) Large, centrally-positioned transport controls & rubberized pitch and modulation wheels Mackie Control & HUI modes provide instant compatibility with many DAWs Box Includes: Keyboard Quickstart Guide Power Supply USB Cable Vyzex & AkaiConnect Software CD Ableton Live Lite Akai Edition Software DVD Safety Instructions & Warranty Information Booklet
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Kaoss Pad 3+ Korg KP3+ Kaoss Pad 3 Plus, the real-time effects unit/sampler with the latest effects and sampling functionality. Much loved and used by DJ's, producers and musicians around the world the Kaoss Pad 3 let you get hands with your effects and sampling. Updated for 2013 the KP3+ brings a wealth of new effects and features to get fresh with new styles and genres. A total of 150 effects ideal for remixing, DJ and live music applications, and in-studio use. The KP3+ provides new effect programs that are worthy of its status as the flagship model of the Kaoss Pad series. The KP3+ contains a total of 150 programs - 22 more than the KP3. In addition to the 108 effects carried over from the KP3, which include filters, spatial-type effects such as delay and reverb, a grain shifter that freezes tiny pieces of sound and repeats them, and a vocoder, there are 42 new or improved effects that represent today's dance music scene, including effects that were newly developed for the Kaoss Pad Quad, such as the Looper, Vinyl Break, and Ducking Compressor. Vinyl Break simulates a turntable It's easy to obtain the scratch sound that's heard when you scratch a turntable, or use a record-stop effect. In addition to the basic Mod.1 Vinyl Break, the KP3+ also provides the new Mod.2 Break Reverb which adds reverb to the effect, and the LoP.2 Break Looper and LoP.8 Loop Breaker effects which combine the effect with a Looper. Ducking Compressor emphasizes the backbeats You can use a side-chain effect to emphasize the backbeats of the kick. In addition to Mod.8 Ducking Compressor, there's a new rEV.1 Pump Reverb that adds a reverb effect. You can add a sense of “breathing” to your music by dynamically varying the reverberation in synchronization with the BPM. Newly-designed Looper lets you freely manipulate loops For greater usability, the Looper effect has been modified to let you loop the sound starting from the instant you touch the touchpad. The existing programs have been significantly updated; for example, if you move your finger to change the number of beats in the loop, the timing of that change will automatically be quantized. There are also many new programs such as LoP.4 Freeze Looper, LoP.6 Shuttle Looper, and the LoP.7 Slice Looper that finely slices a phrase and loops the location that you choose. Effects for breaks and drops New effects include dLY.2 Echo Break and rEV.3 Reverb Break, which mute the input sound and generate delay or reverb. These are ideal ways to create breaks in your DJ play. We've also enhanced the synth sound effects that are effective when used during a break, bringing them up to date for the evolving dance music scene. Newly added sounds include Syn.3 Pump Noise (noise without resonance, processed by a side-chain effect) as well as Syn.4 Lofi Synth and Syn.9 Resonator. Other added effects include FL.16 Center Canceler for partial vocal cancellation, LFO.1 Jag Filter which uses a non-resonant filter to chop the sound, dLY.5 One Delay which shines on styles such as hip-hop, and Grn.6 Stutter Grain which alternately applies a grain shifter and a Looper. We completely rethought the X-axis and Y-axis parameter assignments and their polarity, and included flashy and glittering synth sounds as well as many more effects that will enhance the latest sounds of today's scene. Use the touchpad to control effects in real time. The intuitive design and amazing flexibility of the touchpad allows Kaoss Pad 3+ users to easily control multiple effects and parameters by simply stroking, tapping, or rubbing the Kaoss touch pad with their finger. Using this remarkable design, you can easily control effects in complex ways that would be impossible on a conventional effect unit. Features: Use the touchpad to control effects in real time A total of 150 effects ideal for DJ mixing and sound design;42 new types including: Vinyl Break simulates a turntable Ducking Compressor emphasizes the backbeats Newly-designed Looper lets you freely manipulate loops FX Release function controls the reverberation to produce a more natural decay Mute function cuts the input signal and outputs only the effect sound Pad Motion function records and reproduces your effect usage Eight program memories let you switch effects instantly Hold function sustains the effect sound Set the tempo with auto BPM, tap tempo, or the BPM knob USB MIDI allows for use as a powerful MIDI controller Store sample data on an SD/SDHC card
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Kaossilator Pro + The Kaossilator series was the forerunner of unique instruments that made it easy for anyone to play musical melodies and phrases. The KAOSSILATOR PRO, which appeared in 2010, was an updated model featuring a rich variety of sounds and loop recording functionality that made it not merely a live performance instrument, but also a track-making tool. Korg Kaossilator Pro+ Get creative on the Kaossilator Pro+, control the pitch, tone and rhythm of 250 sound programs by simply tapping, holding and rubbing the pad. No experience required just get involved with synth tones, DJ sound effects and percussion tones from the Wavedrum series. A total of 250 sound programs The KAOSSILATOR PRO+ is packed with the cutting-edge synth sounds that you have come to expect from Korg. There are 50 additional programs in the KAOSSILATOR PRO+, bringing the total program count to 250! 62 of these sounds are drawn directly from current musical genres, including familiar and extremely useful leads, and synth basses, along with sound effects for DJ use. Of particular note are the 26 drum sounds that have been especially enhanced. Updated drum PCM includes sounds from the acclaimed Wavedrum percussion synth for even greater performance variety. With just a single KAOSSILATOR PRO+ you can perform hip-hop, chiptune, house, dubstep, new disco, electro, reggaeton, drum 'n' bass, plus international styles such as rock and bossa nova. or create your own genre! Loop Recording function allows intuitive performance and track making Loop Recording can be set for up to four measures (16 beats.) Performances on the KAOSSILATOR PRO+ can be recorded into any of the four onboard internal Loop Recorder Banks. By adding (overdubbing) additional sounds one at a time, you can create amazing looped phrases that range from minimal to fully orchestrated. The four banks can be combined for virtually infinite performance possibilities. Each of the four loop banks can be muted or un-muted, its volume adjusted, and its loop length changed, making live performance easy for anyone. The KAOSSILATOR PRO+ provides line inputs and a mic input to allow for the recording of external audio sources as well. This makes it easy to add a vocal, or audio from any external device to any loop phrase created on the KAOSSILATOR PRO+. Unlimited performance possibilities Musical Scale, Key, and Note Range help create musical performances Even if you've never played a musical instrument, the KAOSSILATOR PRO+’s Key and Scale features ensure that the notes being played will match the song being performed. Use the Key setting to specify the musical key or “root.” Choose any of 35 scales, ranging from popular scales such as chromatic, major pentatonic, and minor blues, as well as unusual scales such as Spanish, Ryukyu, and Raga. By using both the Key and Scale settings to match the song, you can play perfect solos without a single wrong note. In addition, the Note Range allows you to specify the range of playable pitches. You can set this to a narrow range to ensure that melodies will be played accurately as you intend, or to an extremely wide range to allow unexpectedly dynamic and unconventional phrases to emerge. Features: The Gate Arpeggiator function lets you control phrases with complete freedom. Pad LEDs ensure excellent visibility even in the dark. Highly expandable: USB MIDI, SD/SDHC card support, and dedicated editor software USB MIDI allows use as a powerful MIDI controller Store recorded loop data and even externally –made .WAV files on an SD/SDHC card Numerous functions for unlimited performance possibilities Scale/Key settings make it easy for anyone to perform with no wrong notes Note Range function lets you specify the horizontal pitch range of the touchpad Gate Arpeggiator function allows you to easily control phrases with the slider
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Korg have been busy in the run u to NAMM. Gotta say I'm pretty excited about the return of the MS-20 in the form of the MS-20 Mini. Want. An analog synthesizer that reproduces the original circuitry from 1978 Korg’s MS-20 monophonic synthesizer, first introduced in 1978, is still a coveted instrument to this day, thanks to its thick, robust sound, its powerful, iconic analog filter, and its versatile patching options. Over 300,000 people have enjoyed the distinct MS-20 sounds from the original, from Korg’s MS-20 plug-in synth, and the iMS-20 iPad app. KORG MS-20 mini Monophonic Synthesizer One of the biggest names in analogue synthesis is back, Korg brought in the engineers of the original MS-20 in order to make sure this reproduction sound exactly right. Used by some of the biggest names in music, whether it's searing leads for the Prodigy, huge round bass lines for Daft Punk or the sonic terrorism of Aphex Twin. A complete replication of the original analog circuitry The MS-20 mini painstakingly replicates the original MS-20. A development team led by the original engineers themselves worked to recreate the original circuitry, and when it was necessary to substitute a part, these engineers made the decisions based on careful listening, in order to reproduce the original sound faithfully. In fact, the sound of the MS-20 mini has a somewhat bright and extreme quality to it because its sound is that of an original MS-20 in mint condition at the time it went on sale, before any of the components aged. 2VCO / 2VCF / 2VCA / 2EG / 1LFO structure The MS-20 mini reproduces the distinctive synthesis of the MS-20; two oscillators with ring modulation, and envelope generators with hold and delay. The VCA maintains the basic design of the original, but it’s been modified to produce less noise than the original. Self-oscillating high-pass/low-pass filters with distinctive distortion One of the greatest characteristics of the MS-20 was its powerful filters, which provided resonance on both the high-pass and the low-pass. Maximizing the resonance would cause the filter to self-oscillate like an oscillator, producing a distinctive and dramatic tonal change that was acclaimed as inimitable, and was later used on the monotron and monotribe. The filter circuit was changed mid-way through the production lifecycle of the MS-20; the MS-20 mini uses the earlier filter, which was felt to be superior due to its more radical sound. External signal processor (ESP) for processing an external signal The ESP carries on the experimental spirit of MS-20; it allows you to use the pitch or volume of an external audio source to control the synthesizer. For example you can input an electric guitar and use the MS-20 mini as a guitar synthesizer, or input a mic and use it as a vocal synthesizer. Extremely flexible patching system The patching system provided to the right of the panel lets you create complex sounds by plugging-in cables to change the connections between the various units. The possibilities are limited only by the user's imagination; different combinations of the modulation input/output and trigger, sample and hold, and noise generator can produce an incredible variety of sounds. By patching according to the MS-20 flow chart that’s printed on the panel, even the beginner can start taking advantage of these possibilities right away. Features: Faithful recreation of the MS20 at 86% of the size MIDI IN connector and USB connector Self-oscillating high-pass/low-pass filters with distinctive distortion
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cheers man.
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Thanks guys. Always looking to get anything signed. Need to get another couple of tracks finished then I'll see what happens with it.
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There's always an underground scene regardless of what that may be from country to country. Play what you love otherwise there's no point. It will become a chore otherwise. Start throwing your own parties. starts small, build a following and see what happens if you need to.
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Got Australia day gig at busy nightclub... Advice?
russell replied to ThatPartyGuy's topic in DJ Headquarters
fuckin right. Used to never Dj without takin a few disco biscuits never mind drinking.