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AUSTRALIAN DJ FORUMS

Cupe

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Everything posted by Cupe

  1. You can't post pic links to privately hosted images.
  2. tbh I appreciate that you're sticking around and contributing quality conversation and content. It's getting hard to keep this place cranking. Thanks
  3. Pushed to Facebook
  4. Closing down the studio that sucks
  5. Updated first post so Soundcloud displays correctly. You can just paste the mix link then enter down to a new line and it does it automatically
  6. Yeah def agree with that, get them sat at each end of the table pointed at your ears not the wall @Craig
  7. This is hard to manage but will keep at it. #Friends
  8. I started in turntablism after watching sick cunts like DJ Qbert, Peanut Butter Wolf, Cut Chemist, Mix Master Mike et al and got a set of stanton vinyl decks (which I still have over a decade later). Starting in the scratch world taught me heaps of shit valuable shit. I can basically beatmatch anything except I duno how the sync button works still 🤷‍♂️ Now I mix anything. Also like the absolute filth dubsteppy shit probably most than other genres. Also just over 10 years ago I noticed there was no support forum for Australian DJs and made this website.
  9. Cupe

    Help me !

    You probs gotta post more info than that. What even genre does he mix?
  10. Thanks for posting the solution!
  11. Paging @Scottie @OxyKon @BeatLeSS @LabRat
  12. Thanks to every cunt for coming to another annual ADJF Meat. It doesn't exist without you faggots. Time for some big ups. Big ups to everyone that chucked in money, paid their dues, bought shit in advance for cunts, brought activities, paid for groceries, installed annoying apps to order shit, shared ciggies and introduced people to new substance abuses. Big ups to @ThatPartyGuy and @OxyKon for doing most of the vehicular activity. Big ups to @CapFive for making sure we were all decked out in fitted suits. Big ups to @lloydc for getting us sorted for gear and bringing replacement speakers when we fried the first set. Big ups to @AlexJ for dropping by even though his missus was having a whinge. Big ups to @Scottie for helping find such a dope mansion. Big ups to @BeatLeSS for being a constant source of amusement and a great example of why infants shouldn't do drugs. Big ups to @Pending for making bail so he could attend even though he probably missed a few social worker check-ins. Big ups to @yizzle for the length of his toenails. That kind of disgusting dedication is admirable. Big ups to the plasic bag chicken for spending a night in the crab pot. Big ups to Swanky7 for being a mad dog. Big ups to the neighbours for doing so many sick flips into the water. Big ups to another sick af Meat. ON TO 2020!
  13. You need a hosted platform to stream through, butt doesn't do everything, unless it does now but it's not easy to setup
  14. 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
  15. 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
  16. 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
  17. 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
  18. 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
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