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Cupe

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About Cupe

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  • Birthday 28/09/2006

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  1. You need a hosted platform to stream through, butt doesn't do everything, unless it does now but it's not easy to setup
  2. Recordings help me update Soundcloud or whatever to have shit to post. I duno if you'd get a following of just people dj'ing on Twitch. You need tits or major sponsors. And the audio copyright shit will flag us sooner or later
  3. Native Instruments have launched the Traktor Pro 3.1 update that they first showed off last month at NAMM. This update marks the first time that Traktor Pro has gotten a major layout revision in regards to waveforms – and parallel waveforms are finally here. Keep reading for the full details on the 3.1 update. Traktor Pro 3.1 Traktor Pro 3.1 started appearing in users’ Native Access app last night, and this morning NI announced that update has been officially released. The new update has a lot of changes – including a number of visual additions to the user interface layout, a new mapping control for S8 and D2 controllers, S4 MK3 standalone mixer mode, and a number of other smaller changes. Here’s the full list of what’s new from the official changelog, along with a few screenshot examples: ADDED Parallel Waveforms: Two new deck size “Parallel Full” and “Parallel Slim” have been added, which optionally replace the side by side waveforms by stacked ones. The parallel options can be enabled for decks A & B and decks C & D separately in the preferences. A layout preset “Parallel” will be added to the user’s list layouts. ADDED Single Deck View: The number of visible decks can now be set to “1”, which provides a single deck view with the waveform spreading across the full width of the screen to be used for set preparation. A layout preset “Preparation” will be added to the user’s list of layouts. ADDED Duplicate in Layout Manager: A button allowing to duplicate an existing layout has been added to the Layout preferences. ADDED Custom Mapping for S8 and D2: Individual controls on the Kontrol S8 and the Kontrol D2 can now be custom mapped (over-mapped) via the Controller Manager.\ ADDED Non-Destructive File Handling: A set of options called “Tag writing mode” has been added to the File Management preferences to configure which types of metadata Traktor does write and does not write into the audio files. ADDED Tooltips in Preferences and a toggle icon in Application Header: Tooltips are now also available for all preferences panels. Tooltips can be switched on/off in the Global Settings preferences as well as the Global Section. (Editor’s note: it does not appear that there are any tooltips in the Controller Manager section – easily the most confusing page of the preferences) IMPROVED Insert new track to analysis queue: A new un-analysed track loaded into a deck is now prioritized over an analysis queue running in the background. FIXED Keyboard Shortcuts non-functional when exiting Preferences or dialogs The search string in the upper right corner of the browser pane has been grown bigger to improve its readability. FIXED Search by KEY broken: Search by KEY via the refined search dropdown is functional. FIXED D2/S8: Sample Pitch Control Broken: The sample pitch control via the display knobs is functional again on KONTROL D2/S8. Kontrol S4 MK3 Improvements as well! There also were a number of changes made that specifically impact owners of the new S4MK3 controller: ADDED S4MK3 Standalone Mode: S4MK3 can be used as standalone mixer without a computer connected with the latest firmware. FIXED S4: Switching Jog Mode affects Tension: Switching between JOG and TT mode on S4MK3 will no longer affect the jog wheel’s tension. FIXED S4: Haptic Nudges affect Sound during Forward Spins: Haptic nudging will no longer affect sound of forward spins on the S4MK3. IMPROVED S4 MK3 HP Volume: S4MK3’s headphone volume is increased by +6dB in HP-MIX center position with the latest firmware version This new version of Traktor Pro 3.1 is a free update for all owners of Traktor Pro 3, and is available now either on Native Instruments’ website or in the Native Access application. Source
  4. Many producers travel with some version of their studio with them – bringing essential tools for making music on the road. In today’s roundup review, DJTT contributor Stu G shares some of the bags that he personally has found to be particularly effective for his own mobile studio. Subpac Backpack Best Feature: a sleeve for a SubPac S2 inside of the bag Mono FlyBy Best Feature: A standalone/removable laptop bag that’s built into the FlyBy Magma Bags Riot Backpack Best Feature: Accordion zipper that allows bag to expand 3 additional inches in width for loading a second piece of gear. Magma Bags Riot Carry-On Best Feature: Can fit a club mixer and a second controller on top
  5. One of the most fun ways to use a DAW is to add outboard devices – synths, MIDI controllers, and more. Today’s article is a guest post from Ableton Certified Trainer Mark Burnett sharing a few clever ways to use out-of-the-box devices alongside Live. Keep reading to learn how to experiment with MIDI-mapped VSTs, triggering FX with external sequencers, and more. Why Experiment With Ableton + External Gear? You might have experimented with MIDI controllers and run external synths through Ableton Live. Only when you start getting to grips with some of the more advanced capabilities will you have begun your journey down the rabbit hole. Be it hacking an old drum machine to act as a MIDI controller, or mashing together the signals of different external devices to create a Frankenstein’s monster of a synth, Ableton brings nearly endless possibilities to the table. Apart from being a lot of fun, getting ‘off-grid’ with a hacked sequencer, or having a completely unique synth signal allows you to escape generic sounds and approaches to composition. It is this sort of experimentation that leads you to those bespoke beats and unique sounds that will give your music its own identity. So here are five tips for stepping outside the box with Ableton Live. Tip 1: Map VSTs to MIDI Controllers What? There are many ways to route and manipulate MIDI information in Ableton Live. This tip is especially useful if you want to create customised Live devices for your favourite virtual instruments. Using this technique, it is possible to create a hybrid software/hardware instruments, turning your MIDI controller into a hands-on synthesiser, drum machine, or effects processor. Why? Unlike a mouse or trackpad, manipulating more than one parameter at a time immediately opens up more creative possibilities. You can customize default patches in your User Library and also combine multiple controls from one or more complex virtual instruments into unique, powerful and easy to manipulate devices. Additionally, you can create sounds without looking at the screen – helping you to focus on the sound itself. This is especially useful if you are performing. There are only 8 macros in a standard rack but there are many ways in which you can expand on this principle to build dynamic patches and unique control templates for your virtual instruments. Tip 2: Stack External Synths, Drum Machines, Sound Modules What? You’ve probably tried layering samples to create new sounds, but have you ever considered layering external synths or drum machines in the same way? Why? Layering sounds from different pieces of hardware not only offers expanded sound design possibilities but it also brings new sonic textures, different from combining software instruments in the same way. This is because all hardware devices have unique output stages, some are very clean and transparent whereas others are dirty and bitty. Throwing all these sound sources into a single patch can result some very large, expansive and unique sounds. How? First, insert an empty Instrument Rack into a MIDI track in Live Populate the chains within the rack with one External Instrument device for each MIDI destination you want to send the MIDI to. In Live, select your MIDI destinations within the External Instrument devices on the chains and the appropriate inputs for the connected hardware devices. Label each chain to make navigation easier and it doesn’t hurt to add a little colour. Finally, name your new Instrument Rack according to your preferred filing system and place it in your User Library. You can now send the same MIDI signal from a single clip or external source to several hardware devices, all within one track. Here’s a quick video example of the setup. Also, try adding MIDI effects before the rack and audio effects after (ex: create a lead sound, then add Arpeggiator, Amp, and Compressor to the chain.) This technique allows you to create huge sounds and dynamic multi-layer patches through layering external instruments while keeping all the processing in one track. Using different chains in combination with the Instrument Rack Chain Selector it’s possible to play a huge number of external instruments, layer them and switch between them all from one master controller. Bonus Tip for Push users: If you place your custom racks and devices in folders within the User library that have the same name as the ‘categories’ in Ableton Live’s browser, then your custom devices will also appear in the sound categories in Live’s browser, along with all the default and installed Live Packs. This is especially handy if you are a Push or Push 2 user. Tip 3: Create + Store Complex, Multi-Device Patches Within One Clip What? One of the problems with stacking sounds is that when you want to recall complex stacks of patches from multiple devices you generally have to refer to notes or load up several different tracks. This tip allows you to create, send and store multiple program change messages all from one MIDI clip Why? Most hardware MIDI instruments respond to Program Change messages; these messages tell a MIDI instrument to switch to the next, previous, or a specific patch number. Within the note tab of a MIDI clip it is possible to assign a Program Change but this will be sent universally to all devices on that particular MIDI track. If you want to be able to send separate changes to different devices on the same track, such as the Instrument Rack created in the previous tip, then you need to use a MaxForLive device. How? The device used in this tip is called ‘DialToProgramChange’ and is available on the MaxforLive website. It’s a very simple device with one dial and two buttons that enable you to navigate up and down through the program numbers. You need to insert this device before the External Instrument device on each chain in your Instrument Rack. Be sure to label and colour things appropriately, it will make using the device much easier and improve its usefulness once you have saved it in your user library. Map the Program Change dials in each chain to macros in the rack, again labelling them appropriately. Doing this makes applying envelopes to the correct parameters much easier. Using envelopes, it is now possible to create clips that use different patches from multiple external devices. Draw a break point somewhere in the clip and drag up or down to select the Program Number you want to send, remember there is a different envelope for each device. Once completed these clips can be saved with or without MIDI notes for easy recall of your external hardware ‘stack’. Once you have created your clips with the various program combinations you can save them in your user library. It is always a good idea to save your custom content in a sensible place within your library, create new folder where necessary to help you find things and keep them in order. Aside from notes and program changes there are many more kinds of MIDI information you can store and transmit from a MIDI clip. Once you begin to understand how this information works you will be able to get a lot more out of your setup. Tip 4: Trigger FX Using an External Sequencer What? If you have a drum machine, synth, or groovebox it’s quite likely to have a sequencer built-in – but chances are you’re using Ableton Live as your sequencer. Usually, this renders many hardware sequencers obsolete. However, there are some fun and creative things you can do with this otherwise redundant tool. In the example above, we look at using an external sequencer to automate FX changes. Why? Just for the hell of it basically. Seriously, many hardware sequencers have their own little idiosyncrasies, quirks, and functions that may not be easily replicated in the DAW. It’s also often possible to use them without sync so they will run independently of the clock in your DAW. This ability to run ‘off grid’ often results in those happy little accidents that add a little bit of magic to a song. Tip 5: Process MIDI Thru Using Dummy Clips What: This tip can be used for adding automation to any MIDI input which is then being sent to external hardware such as a synthesiser, drum machine or sound module. The example in the video shows MIDI coming from a TR-505 drum machine being sent to a Novation Peak synthesiser but this is by no means the limits of application. Why: There are many possible applications for this technique but one of the best uses is when playing live. If you are busy playing a keyboard, Push, drum pads or other MIDI device that requires two hands, you can trigger a sequence of effects and modulations that would otherwise be impossible without more arms than an octopus. Source
  6. I don't connect Facebook to anything, but my mate was able to add me to a playlist so I could add tracks to it. No idea how to achaly do it
  7. Most of you have probably seen the SP-16, or perhaps even have owned / used one. I have one at home, and to be honest, it really doesn’t get as much of a workout as I’d like. Since the launch of the DJS-1000, just the simple fact of it being shaped like a CDJ has reinvigorated my interest in the product line. Anyone familiar with the CDJ-2000NXS2 can instantly recognise the basic features of the unit (like the start/stop, pitch, and menu selector placement) so let’s skip over those. Instead, here’s quick overview of the more unique layout elements. The unit has 16 RGB pads which control the samples that you load up through the Nexus2-style touchscreen. The pads also have different modes to control samples. Slice breaks a sample up into individual slices across the pads while Scale mode allows a sample to be pitched across the pads. Pioneer has a pretty good demo of each mode here: Below the pads sits the 16 beat step sequencer and it’s associated scene buttons which allow you to cycle through different pad layouts and sequences. To the left is a touch strip, which gives you live performance control of the samples. Above the strip is a new FX section. The FX are now controlled by an on/off button and depth knob, much like you’d find a DJM-style mixer. To top it off, they’ve also added a new button which takes you straight to the effects list. You can also change the effect parameters easily with the 6 parameter knobs below the screen. The function of these knobs will change depending on what screen you’re currently on, such as when you’re editing samples, they can be used to change the attack, delay and release and so on. They’ve also added two little nudge buttons underneath the pitch slider which sits happily with our good friend, the sync button. How It All Works The DJS-1000 has 16 pads, which on the default screen each control an individual sample. It’s just like you’d find on any MPC-style device – tap the pads and trigger sounds, such as drum hits, synth shots, vocals, and so on. For each sample, you can dive into it and adjust it like you might in a DAW – controlling the sample’s ADSR, start/stop points, amplitude, etc. You can use the DJS-1000 by itself and simply adding one shots to your DJ mixes, but where it really shines is when linked and synced together with a full DJ setup. Sync locks the tempo of the DJS’s sequencer with your CDJ/XDJ players, allowing you to transform your set by layering custom audio sequences into the mix. The unit comes with a few premade projects and samples to get yourself familiarised. Once you’ve exhausted the built-in sounds, load up samples by dragging and dropping onto a USB thumb drive. The DJS-1000 has a USB slot on top, just like a CDJ – but it is worth noting that there is no SD card slot. Preparing a project file does take a bit of time. It’s similar to building an original song on a DAW, spending time to sequence drums, synths, and effects. Once you’ve gotten used to the workflow, it’s quick and gratifying. To sequence each sample, there’s two options: punch it into the step sequencer, or play the part “live” on the pads and record it in (quantization is available. You can edit each individual step with options for volume, key, and even offsetting it slightly for a bit of swing. Toraiz SP-16 vs DJS-1000 Missing Filter? Not Quite Aside from overall form factor, the most noticeable difference between these two units is the missing Dave Smith filter, not present on the DJS-1000. Instead, it’s replaced by a DJM-style FX control area. I think this is preferable, because there’s now an active master effect (which can also be assigned to individual pads) instead of just filter on the SP-16. The FX on the DJS-1000 can also be assigned to a filter – but it admittedly doesn’t sound anywhere near as beastly as the Dave Smith one. CDJ-style Syncing Another feature the DJS inherited from the CDJ line is the pitch slider and sync/master buttons. Yes, the SP-16 also has these features – but they’re hidden under a quagmire of menus. The DJS has made it much more intuitive to adjust pitch and activate sync, yet again reinforcing who this unit is for (if you forget, it’s right in the name: DJs.) Sync is what makes this unit really shine as you can play, beatmatch, and mix your own projects as if you were playing them off a CDJ. It’s also great fun to change parts of your song on the fly with the sequencer and still have everything in time. If it (or the other tracks) fall slightly out of time, Pioneer DJ handily added nudge buttons to let you fine-adjust the tempo manually. Where’s The Outputs? Unfortunately, it’s not all good for the DJS-1000. The SP-16 came with a whopping four dual 1/4” TRS outputs. The DJS-1000 has been relegated to just a single dual 1/4” TRS output along with a single dual RCA output. This again seems like a reflection of the change in intended use case from production desk to DJ booth. The SP-16’s outputs were great, allowing creative users to route drums to one output and top line elements to another, while still having two outputs left over. The DJS now limits that to splitting it just two ways and on top of that, with two different connectors. The good news is for users with other outboard gear, the DJS, retains the SP-16’s MIDI I/O ports and functionality. This is especially good news for DJs with a CDJ setup but who don’t have a DJM mixer with MIDI I/O: it’s a way to have synced outboard gear using your own mixer. Very Similar Overall Everything else has pretty much remained the same from the SP-16 onto the DJS-1000. They both share almost exactly the same backend and software, aside from some small tweaks related to the layout change. Both units read the same files, and projects are interchangeable between units meaning you could do the same performance on either one you choose. Who Is The DJS-1000 Good For? What perplexed me the most about the original Toraiz SP-16 was a lack of intention. It was hard to answer “who is this gear made for?” In the end, I found that most of the people who used it tended to be house or techno DJs. These genres are more receptive to layering and the SP-16 was the perfect tool for adding that extra bit of flavour to a set. Essentially, I saw the original SP-16 only as something you’d use on top of an already-playing song. The more I use the DJS-1000, the more I realize it’s potential to play your original productions broken down into stems and remixed on the fly, especially now that it works much like a CDJ. It is also great for beatmakers. Those who use Maschine, Push, or MPC-style systems will be instantly familiar with this kind of workflow. Unlike offerings from NI and Ableton, you don’t need to connect it to a computer for it to function. Instead, quickly plot out the ideas in your head or even make a fully-fledged original song. You can even use one or two of these standalone to perform a full set if you’re so inclined, but that’ll mean spending many hours making different projects and songs on the device. You can’t just load up full songs and trigger them with the pads – because there’s a 32 second sample limit. In Conclusion At first appearances, I was really not that excited by the DJS-1000. To me, it was just the SP-16 in sheeps’ clothing. Finally getting to use one helped me realize that that’s exactly why’s it’s special: Pioneer DJ have made the same live production gear much less intimidating to use. They’ve implemented a lot of quality of life adjustments so that you can get your ideas out quickly and easily. But be warned: Just because it’s easier to use doesn’t mean you can just buy one and immediately start rocking a dance floor with it. The DJS is a device that rewards those who put in the hours to make projects as without them, this unit is just an overpriced drum pad. Get one, spend some time with it, and it could seriously bring your sets to the next level. Source
  8. Cupe

    TOTD?

    @BeatLeSS the entire 10 hour tracklist is here: https://hearthis.at/cupe/cpe-detat-journey/ DJ Spooky - The First Reading (Yoshio Machida & Sussan Deyhim Remix) Lemon Jelly - His Majesty King Raam Nightmares on Wax - Les Nuits FC Kahuna - Hayling DJ Spooky - Une Aventure Extraordinaire Arrivée À Vladimir Maïakovski, E (Yoshio Machida Remix) Bonobo - Recurring DJ Spooky - D'Un Cahier d'Esquisses (Claude Debussy Remix) George Bruns - Nine Lives Gotan Project - Last Tango in Paris Nine Inch Nails - 1. Ghosts I Clint Mansell - The Last Man Clint Mansell - Summer: Summer Overture Rob Dougan - Clubbed to Death (Kurayamino Variation) The Cinematic Orchestra - The Awakening of a Woman Clint Mansell - Death is the Road to Awe Intro - Swedish Rhapsody Numbers Station Boards of Canada - Sixtniner DJ Spooky - Mémoires d'Un Surfeur au Bord du Désert (Tobias Hazan & David Shea Remix) Funki Porcini - River Skalpel - Long Distance Call #2 Cüpe D'etat - Thoughts of Trees (Vocal Edit) Piero Umiliani - Panoramica (Cinematic Orchestra Remix) Bonobo - Terrapin Chocolate Weasel - Flying Saucers Amon Tobin - Nova The Herbaliser - Sensual Woman Boards of Canada - I Love You Boards of Canada - King of Carnival Limonadovy Joe & Konska Opera - Me Zvlhle Rty Aphex Twin - Avril 14th 2raumwohnung - 2 Von Millionen Von Sternen Kid Koala & P Love - Moon River Coralie Clément - Salle Des Pas Perdus Blue Fountain - Sweep Lamb - Gabriel Deadmau5 - Strobe Stevie Ray Vaughan - Tin Pan Alley Cour de pirate - Corbeau The Cinematic Orchestra - Ma Fleur DJ Shadow - Midnight in a Perfect World Pink Floyd - The Great Gig in the Sky Dirk Maassen - White (Cüpe D'etat Remix) Fear Factory - Timelessness Korn - My Gift to You The Herbaliser - I Know a Bloke (Interlude) The Herbaliser - 8 Men Strong The Glitch Mob - Palace of the Innocents Roebeck - 1000 Miles Zero dB - Sunshine Lazy Aphex Twin - White Blur 1 DJ Spooky - Subnubus (Mouse of Mars Remix) Overseer - Heligoland Boards of Canada - Over the Horizon Radar Squarepusher - Iambic 5 Poetry Wolfgang Amadeus Mozart - Klavierkonzert (K488) Adagio Clint Mansell - Finish It Bonobo - Kiara Moby - Porcelain Tortoise - His Second Story Island Overseer - Sparks Cüpe D'etat - Si Nexus Aphex Twin - Jynweythek Blockhead - Triptych Pt. 2 DJ Krush - Song 1 Portishead - Theme from 'To Kill a Dead Man' Waking Life - Self Destructive Man (Sample) Volcano Choir - Dote Plaid - Craft Nine Aphex Twin - Strotha Tynhe Massive Attack - You've Never had a Dream Four Tet - Clouding Boards of Canada - The Color of the Fire Shlohmo - Empty Pools Blockhead - Triptych Pt. 1 The Glitch Mob - Starve the Ego, Feed the Soul Kronos Quartet - Quasi un Fantasia, Quartet No.2, Op.64: I. Largo (Sostenuto Mesto) Massive Attack - P is for Piano Animals on Wheels - Soluble Ducks Zero 7 - Waiting to Die The Herbaliser - Outro Aphex Twin - Words (Processed) Aphex Twin - Blue Calx Ludwig van Beethoven - Piano Concerto No. 5 (Op. 73) Adagio un Poco Mosso Skalpel - Sculpture Four Tet - Parks Volcano Choir - Still Clint Mansell - Crawford Institute (Family Secrets) Bonobo - Terrapin (Sonorous Mix) Boards of Canada - Gemini Mia Wasikowska - I'm not Formed by Things that are of Myself Alone Boards of Canada - 1969 Nine Inch Nails - 1 Ghosts I Ludovico Einaudi - Indaco (Live) Waking Life - Alive Waldeck - Dope Noir Ludovico Einaudi - The Planets Little People - Unsaid Plaid - Craft Nine Boards of Canada - Turquoise Hexagon Sun Shlohmo - Blankets Amon Tobin - Bloodstone Cujo - Sighting Homelife - The Lantern Amon Tobin - Chocolate Lovely DJ Krust - Re-arrange (Cinematic Orchestra Remix) Fog - I call this Song Old Tyme Dude Bonobo - Shadowtricks Up, Bustle and Out - An Unmarked Grave Plaid - 35 Summers Alan Silvestri - End Title Jan P. Muchow - Ráno Tortoise - By Dawn Hans Zimmer - Time Clint Mansell - Smokey Bacon & a Kiss Goodnight Funki Porcini - English Country Music DJ Shadow - Stem - Long Stem / Transmission 2 Massive Attack - Right Way to Hold a Spoon Aphex Twin - Ventolin (Marazanvose Mix Edit) Amon Tobin - Down and to the Left DJ Food - Nevermore (Sleep Dyad 2) Amon Tobin - Golfer vs Boxer Disclosure feat. Eliza Doolitle - You & Me (Flume Remix) Charlie Chaplin Speech Appero Mix - T2'n Dusky Pines - Green Storm Amon Tobin - Creatures DJ Food - Sexy Bits (Autechre AE9V Mix) Cinematic Orchestra - All Things Science Teheran - Dance Under the Stars (Cüpe D'etat Remix) Aphex Twin - Gwely Mernans Gentle People - Journey (Aphex Twin Care Mix) Polygon Window - Quino Phec Cüpe D'etat - String Array Mike & Rich - Bu Bu Bu Ba Philip Glass - Heroes (Aphex Twin Remix) Vangelis - Rachel's Song Daniel Licht - Flooded Suspense Copilot Strategic Sound - The Drunken Whaler Boards of Canada - Roygbiv Bonobo - Noctuary Four Tet - Hands G.Shyman - Elizabeth Blockhead - A Better Place DJ Krush - Dig This Vibe Chocolate Weasel - The Nonsensical Ramblings of a Lunatic Mind Cinematic Orchestra - Durian Cüpe D'etat - Clear Milk Daniel Licht - In The Ravine Cliff Martinez - Ask Him Why He Killed My Brother Voodoo Highway - Wrenhaven River Steven Price - Don't Let Go Daniel Licht - Wink
  9. I've been added to a playlist so I could add tracks to it. I literally checked every fucking setting on mobile and desktop and couldn't find shit. They keep changing the UI
  10. We used to do that on a similar streaming service, I forgot the name, where we had the one login for VIPs to jump in and stream from. Back in the day it was always a fuck around to config your shit to just work. Turned most people off. Should be easier now, just need to find the right service. Having the recordings would be good though, especially to keep Soundcloud updated and get more exposure from replays on whatever we end up using.
  11. I'll snap a shot of my home booth at some point. It's fucking mad having the right amount of space to spread out
  12. man @dflux4 get to IKEA and get yourself a non shit desk for that setup
  13. Can give it a shot at the meat
  14. You can add this event to our calendar. https://www.ausdjforums.com/calendar/
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