Cupe

Would love to see a full set done by 1 or a group of acrobatic dancer cunts

MOAR ON TOPIC RESULTS OF ATTENDEES AND IF YOU'RE THINKING OF STAYING AT THE MANSION FUCKING SAY SOMETHING AND MSG MITCH

sup brah

obtains achal votes

what the fuck is wrong with all you cunts confirm your attendance

Looks like the old Music game on playstation 1

Added some specs to first post

With that vector on the right, and the logo somewhere, and the text I outlined above, the ADJF becomes the banner Simple works

It's a dope start. Not too sure on the ADJF font The vector on the right works well though And where the URL is, replace it with 'Forums for Australian DJ's & Music Producers'

Good, but the images cut off on the edges.

https://soundcloud.com/ninja-tune/solid-steel-radio-show-8-2-1 https://soundcloud.com/ninja-tune/solid-steel-radio-show-8-2

Introduction This little yellow beauty is the Korg KAOSSILATOR 2, a pocket-sized synth designed as a companion to the mini KAOSS pad 2, which we reviewed alongside this. I’d suggest reading that review as well to get a better feel of these products. In the box, looks and build quality Much like its sporty crimson sibling, the KAOSSILATOR 2 comes in a practical and easily opened box. Inside, you get the device, some batteries and the manual. Like the FX unit, there isn’t a AC adapter included to power it. These are cheap batteries, so don’t expect to get much play time without investing in some spares. This is a practical and compact device about the size of a smartphone, with a large XY pad dominating the front, a touch sensitive ribbon, cozy OLED screen and backlit buttons. The Korg KAOSSILATOR 2 has an identical layout to the miniKAOSSpad 2, apart from the different use of buttons. The case is solidly built, with no real give anywhere, and Korg didn’t skimp on the buttons, although some are a bit on the small side. Sound quality and synths So what does this thing do that the miniKP 2 can’t? Instead of a wide array of effects to mangle your music with, you get 150 built-in instrument sounds, an arpeggiator, and some overdub recording. All the sounds are excellently done, using Korg’s synthesizer technology, as PCM (pulse-code modulation) audio. Basically, these aren’t samples – they’re done by the unit in real-time. The arpeggiator works really well, helping you build various patterns easily. As you select the different patterns, they are illustrated on the screen so you know what you’ll get. With all the great included sounds, you can build some funky rhythms. Real world use So, on paper this sounds like a cracking little box of tricks. Does it stand out in real world use? Hold onto your hats! We tested this synth hooked up to a speaker set using the 3.5mm output jack. Sounds coming from this thing filled the room well, matching up against the tunes from the laptop. There is a mic input jack next to the output, which allows you to run external sources through the effects, but if you need that, why not go for the dedicated FX of the miniKAOSSPAD 2? We mentioned being able to overdub, allowing you to record loops over each other to form rudimentary pieces of music. This works pretty well until you make a mistake. There’s no undo feature once you have recorded. Although the synth sounds are excellent, using the XY pad means you can’t easily find the right keys to play a tune. Unlike the Monotron series, which feature a ribbon keyboard to give you an idea of what note you’re hitting, there just isn’t enough accuracy to know you’ll hit the right place. This really couldn’t be used for performing. Coupled with the lack of undo while recording, it’s really hard to reliably come up with a tune you want. On the other hand, the percussion sounds work much better. When you select a sound library (for example a ‘Techno’ percussion set), the XY pad is broken up into sections, with each triggering a different sample from the library. This means you end up with a system similar to drum machines such as the famous Akai series. Could this be used for performance? Maybe with practice! Summary So is there anything we feel is missing from the Korg KAOSSILATOR 2? Yes… We really wished it had a built-in metronome while recording, to help build rhythm when using the synths and some form of ‘undo’ would make the overdub feature into a much more flexible and useful tool. We’re not quite sure who Korg are targeting with this product. For an eighth of the price, you can get any of Korg’s great iOS apps (you have an iProduct, right?!). This is definitely a toy for the DJ/producer that has everything. So if there’s space in that Christmas stocking, this may well fill it! Honestly though, I’d go for the classier (and cheaper) Monotron series for some proper knob twiddling filter synth action. If you’re looking for something affordable to enhance your DJ setup, we have to strongly recommend the Korg KAOSSILATOR 2’s red sibling, the mini KAOSS PAD 2. Searching online, you can dig up videos of creative soles putting this to use, but this here synth is strictly a toy for the average user. From djworx.com.

This FX box is the smaller brother of the KAOSS series of pro effects units. Similar to their siblings, these have 100 different effects, broken down into several categories such as loopers, flangers and delays. You use an XY pad to control the behaviour of the sound coming out. These days, packaged electronics seem to come sealed in ways that require a blowtorch and an angle grinder to get in. Korg bucks the trend with an easy box. You don’t get much, literally just the unit, a manual and (thankfully) a pair of AA batteries to get you started. One thing we noted was the lack of AC adapter. More on that later. This is a dainty little box with a nice big XY pad, a touch ribbon and a few buttons. It fits nicely in your pocket and happily sits near your mixer. Korg has a long pedigree of pro gear, and always managed to build light but sturdy hardware. During our run through, we definitely struggled with the small buttons coupled with an interface that can be frustrating. The unit feels sturdy in the hand, with no give anywhere and secure buttons. The back flips off easily to replace batteries. We didn’t try a drop test, but I wouldn’t stress about this thing slipping off the table. It’s also a nice bright Ferrari red, carrying on the Korg tradition of eye-catching paint jobs. There seems to be a noticeable difference in sound quality between headphone use and outputting through speakers with the mini KAOSS Pad 2. This may well just be headphones have better isolation so Also, while running as an ‘FX thru’ on your mixer’s master output, there’s a significant drop in dB back out to the amp and speakers. This meant that while the mini KAOSS Pad 2 was part of the DJ setup, the mixer volume was running near its ceiling. This meant that very occasionally, the sound coming in would confuse the FX processor. All the cutting effects flowed nicely. Stacking up against software equivalents, the Korg seemed to have a really nice ‘tail’ to the sliced up sounds, ducking the end of the slice, unlike the sometimes harsh cuts in DJ software (and even Ableton). The only effect we couldn’t get to work properly was the ducking compressor. We still have no idea why! Something definitely missing is a way to change the order of the effects list for quicker access to the most useful ones. You can add three of them to a ‘favourites’ menu, but that isn’t enough. Everyone has their own preferred filter or delay style and it can get fiddly finding what you need on such a small surface. While we’re on the subject of the effects interface, the unit doesn’t remember previously used settings. This means you either switch to a new effect and it’s waaaay too loud (enough to red-light our pro amp) or you clamber about trying to get it to sound how it did last time you used it. On top of that, altering the wet/dry is something like a four step process involving buttons and the ribbon. This thing could really do with a dedicated wet/dry knob somewhere in the centre of the unit. We gave this FX box a good run through its paces, both using headphones with the built-in MP3 player and as an FX box with the ones and twos. Truth be told, we struggled to understand any practical use of the MP3 feature, other than as something to keep you amused whilst sat on the loo (when you run out of shampoo bottles to read). Since samples don’t sync to the master tempo (ie what’s detected from your mixer output), there’s no easy way to use the MP3 feature as a pseudo sample trigger. We set the mini KAOSS Pad 2 up feeding directly out of our test controller (Reloop Terminal Mix 4) and into a rack amp and speakers. Something quite surprising about this unit is just how flimsy the ins/outs are. A pair of 3.5mm sockets sit at the top of the case, one for input from mic or playback device and one for audio out. If you go for the pro-level £300 KP3, you can have some decent connectors along with MIDI clock. While running music from the DJ gear through this, we found the BPM detection to be way ahead of Traktor and Serato. Apart from very complex tracks, the thing was spot on. This meant the looper and beat slicing effects were top notch. Battery life can only be described as abysmal. We managed to squeeze in about one and a half to two hours with the set of batteries that came in the box. A nice feature Korg have added to save a bit of battery is that the screen dims when you are running low, though with what seems to be an OLED screen, we can’t see this helping much. This comes back to the lack of AC adapter… If this is meant to be a ‘serious DJ toolkit’ (Korg’s very words on the site), how are you supposed to get through a two hour gig with this thing? So, we’ve been quite hard on this poor little box. Despite all the faults that come with this being an almost gimmicky toy, we really do love it. for around £100, you can get 100 FX that completely blow DJ software effects out of the water. Some of this review is definitely a wish list of fixes that definitely seem quite easy to tweak. Korg obviously made some choices to strip out pro features, encouraging us to spend the extra on the KP3, but some of these niggles seem sloppy. The final word from us here at DJWORX: we really recommend this unit to add to your setup, especially if you’re looking to turbocharge your effects use. Find the ones you like, learn their behaviour and have yourself some impressive Korg gear for a very attractive price. Even with the flaws, it’s still worth owning this kit. From djworx.com

http://soundcloud.com/cyrex/cyrex-guest-mix-on-hardstep-fm

lolwat on topic plz (but lol)

LMS

u r 1 cheeky cunt m8 i swear

this sounds like a voting campaign VOTE QUIMBY

You voted for every section yet?

Mattus you boss cunt, thanks for the current banner. But it's time for a fresh look. Any graphic designers willing to have a crack? Specifications are simple: Needs to be a .png with transparent background Can't have any sharp cut offs (image right to the edge) Can't be to large (the top section adjusts to size, but be reasonable) Must include the text: Forums for Australian DJ's & Music Producers Must include the ADJF logo.png Must be dope

I feel like you’re probably tired of being asked about what’s happened to dubstep in England, but the scene’s definitely moved forward — on 'Skreamizm 7' you’ve got the R&B track with Kelis and the acid track, 'Sticky'. How have people reacted to the new material? “Some people don’t get it. With [the Kelis track] 'Copycat' I always get asked where the drop is! But mostly the feedback has been great. The thing is, I really like the song. I’m trying to do things different. With an artist as big as Kelis there’s a pressure to make a record aiming to be in the charts, but I know that 'Copycat' isn’t an A List record, and it was never meant to be. The track has got so much space in it, and the way I made it was how I was making tracks seven years ago, letting it breathe rather than filling up every frequency. Aesthetically, it’s kind of a mood — it’s not a peak-time track. “In fact, 'Skreamizm 7' is my favourite of all of them, because of the variety — the way music’s going now, ‘specially in the UK, you can be extremely versatile. I mean, I couldn’t have put out an acid track five years ago, it would have confused people.” Before you were making the dubstep tracks with Magnetic Man, people didn’t think you could get that sound into the charts, but now it’s everywhere — is that something you’d like to do again, reshape pop music to suit your new sounds? “I’d love to, and I’d like to think I could — with bands like The xx doing so ‘mainstream’ well, and 'Copycat' being dynamically like an xx track, yeah, I think it’d be great if it took off — there’s so much shit on the radio, it stands out. Like, in-between a David Guetta track and a fucking Pitbull track it’s gonna stand out, which is a good thing.” Talking of Guetta, what do you think of his use of dubstep drops in his tracks? “(Much laughter) It is what it is. It’s completely irrelevant, just completely irrelevant to me. I don’t really acknowledge it. I don’t listen to Guetta so I can’t really comment. “The thing is, dubstep, it speaks to so many people and David Guetta is playing to fucking millions of people worldwide, so I can’t complain. It’s huge. Dubstep as a whole has got massive, and we worked for a fucking long time to get people to listen to it and to get into it. So when people ask me, 'Oh, what are your thoughts on Britney Spears having a dubstep track?' It’s great! Fucking amazing that that many people round the world finally — kinda — get it.” And the majority of 'Skreamizm 7' is still made of bass-heavy half-steppers — it’s not like you’ve moved away from the sound... “I’ll never be able to get away from dubstep. It’s… it’s me. It’s what I do. It’s what I’ve done since I was 15. It’s always gonna be in me. I’ve put so much into the actual scene itself; I was making that shit before it was even called dubstep. It’s like my blood group (laughs). So when I’m playing a lot of techno now and people are like, ‘Oh, you're leaving it’, I’m like, ‘I could never leave it’. If you put dubstep in on the internet, Skream comes up. I’m not trying to leave it; I’m just trying to explore other avenues right now.” Is that what people are getting at the Skreamizm shows? “Well, Skreamizm was a concept born of spending so much time at festivals and then not being able to separate a festival show from a club show, the lighting, the mood, the vibe — and I’m sick of going out and watching a fucking light show. It’s like people don’t get into it, they’re watching a show rather than going out and raving. I used to go out raving, I’d be in a dark corner all night dancing my arse off listening to tunes, and I feel a lot of the time it’s hard to find that vibe now. You don’t get small club shows.” Is that not just because of how big you’ve got? “No, not necessarily… I mean, I get what you’re saying, but on a whole, dance music’s just become very accepted now. Whereas before, no matter what genre, dance music was never in the same field as pop music — now pop music is dance music.” To a certain extent you’ve been instrumental in making dance music pop music, do you feel comfortable being a pop star? “(Laughs..) No, I’m not a pop star!” C’mon, you’ve been A-listed four times on Radio 1! How is that not pop? “Yeah OK, the term pop, it does mean popular and I’m totally down with being popular, but the term pop star, I mean Justin Bieber is a pop star. And I’m not Justin Bieber (cracks up).” OK. We’ll accept you’re not Justin Bieber. So what’s coming up in 2013? We hear you’ve got a disco album on the cards… “Yeah, I’ve gotta be a little bit tight-lipped with the details — there’s gonna be seven or eight tracks, so it’ll be a mini-album of straight-up disco stuff. There’s gonna be some guests that I don’t wanna mention, 'cos I haven’t got the demos back yet. But people are gonna be so surprised.” Have you made it on old school kit or stayed digital? “Both, but the main thing about it is that there are no samples. It’s so easy to try and make a record that sounds like Daft Punk, but you’ll never be as good as Daft Punk! The musical element is really important to me. I finally feel comfortable saying ‘I’m making disco’. Before, I was finding it so hard to get that vibe, to make it feel authentic, now I’ve played some of the tracks out between big disco records and they stand up with them, which is the thing I’ve been aiming to do for so long. It’s so hard!” So what sort of records have been influencing you? “Ahhh! Fucking hell, I don’t know… well… Five Special 'Why Leave Us Alone' is my favourite record ever, but I could come up with a thousand names… I tell you who have influenced me, people like Chromeo. There’s definitely a Chromeo vibe about it. It’s happy music, it's fun. It’s how I perceive dance music.” Are you gonna release it as Skream? “Yeah, Skream is my life. I can’t change my name. I’ve put so much into building it up, it’d be silly for me to change it, but I think that’s what the problem’s gonna be. People associate Skream with 140 bpm dubstep and I think that’s gonna be the battle for the next year. I’m gonna be doing a lot more of the Skreamizm nights where I’m gonna be covering a variety of styles.” At the recent Skreamizm nights you’ve been playing a lot of the old school Plastic People type of tracks, are you going to stick with that dubstep base and expand on it? “To be honest for the past few months all I’ve been writing is music at 120 bpm, so there might be nights where I don’t play anything at all 140 bpm. I’m really enjoying it. Studiowise, I’m the happiest I’ve been for a long time, whether I’m making things 110 bpm, 120 or 150 — I’m just doing what I want again.” Do you think that’s because you’ve moved away from the Magnetic Man stuff, which, maybe because of its success, got to be a bit rigid? “No, not at all. We’re working on the second Magnetic Man album right now, so I’m still making that sort of stuff, but Skream as a separate identity is going to move to other places.” How has the reception been to the new sets in America? Do they get it? “Well, I’ve only switched up my style for six shows, but from what I’ve seen from those few shows, the reaction is, they seem to get down. I mean, I still get a lot of dubstep fans coming to see me, so when I end on techno and house there’s a little bit of confusion, but on a whole it’s going pretty well.” Have you been sharing bills with other artists pushing the genres? “No, I’m going to do a Skreamizm tour like that ‘cross America sometime in the future, but I’m using these shows to get people used to me playing different shit. It can be a hard battle out here. It’s taken this long for club music to become as popular as it is, and they get used to one thing. People are afraid of change.” Yeah, the narrow-mindedness must be frustrating, ‘specially when you consider dubstep and two-step’s roots in US house records... “That’s what I’m saying — but it’s really hard to play UK garage out here. They never got it the first time round. I did a show in New York last week, and 4/4 bass stuff is alright, but when you start playing two-step rhythms, they get real confused.” Maybe if you taught them some two-step moves they’d start dancing… “The gun finger dance? Yeah, I might do a 'Gangnam Style' garage video with a full dance routine and get them right into it…!”

When it comes to DJ controllers, the big boys' toys tend to get the most attention. Anyone new to the scene could be forgiven for thinking that to get a decent hardware controller with enough features to make it a professional piece of equipment, a seriously large amount of cash is going to have to be paid in order to take it home. Kam’s DigiTwo controller is the exception to the usual rule that applies when buying modestly priced DJ controllers. That rule is, of course, settling for less features or quality than the more expensive controllers. However, that is no longer the case because the DigiTwo is absolutely crammed with features normally only seen on much more expensive controllers. Upon liberating the DigiTwo from its packaging, the most immediately noticeable feature is the fact that this is a four-channel controller with a proper four-channel mixer — complete with crossfader. A less noticeable but still extremely important feature of the mixer is the standalone capability, ensuring that DJs can easily add conventional equipment to the controller via the external inputs for CD players or other music sources. The mixer accepts two external stereo inputs that are switchable between phono and line levels, as well as a grounding post for turntables along with gain controls for the input levels. Kam have not skimped on the outputs either: there are XLR main outs that are paired with phono-style outputs along with another discreet booth output via two phono output connectors. These sort of features are normally only found on much higher ticket controllers, and ensure that the DigiTwo is as useful in a club environment as it is back at home in a lounge or bedroom. Managing to pull off a compact size but still retaining a huge amount of functions without the control surface becoming cluttered or too tightly spaced is a delicate balancing act, but one that the DigiTwo has managed to pull off with aplomb. The mixer is a great example of this clever design. Each of the four channels on the mixer has three knobs for EQ, a dedicated gain knob, filter knob as well as cue buttons and two crossfader assignment buttons. The crossfader assignment system is one of the most intuitive and best thought-out for a controller in this price bracket. The two buttons on each channel select either the left or right side of the crossfader, with instant visual feedback thanks to the backlit buttons. A master section is squeezed into the middle of the mixer to control the booth and master output levels, along with a rotary file browser knob and track load buttons that make browsing and loading tracks an absolute breeze. The jog-wheel sections sit either side of the DigiTwo’s mixer section with nicely-sized platters dominating the lower half of each section. Three large pad-style buttons sit at the bottom of each platter to provide control for Sync, Cue and Play. At the top of the controller section, alongside the pitch faders, are four cue buttons that also double as loop control buttons. Four knobs at the top of the controller sections take care of FX and sample controls, with the rest of the very impressive and generous control features being taken care of by an array of buttons in various shapes, sizes and locations. Setting up the DigiTwo is a painless process. VirtualDJ comes included in the box, and the integration between the software and the controller is flawless as well as being very well thought-out. There is no need to fiddle with drivers, audio settings or MIDI settings — everything just works when the DigiTwo is connected. This is a very nice surprise, and will be a godsend for those new to digital DJing or the less technically minded. Despite the diminutive cost of the Kam DigiTwo, it is a very high quality controller that has been very well designed and manufactured to a high quality. Given the ease of setting up the controller to work with the supplied VirtualDJ software, and the competitive price, the DigiTwo is perfect for new DJs as well as people who like to have a mix but have no desire to give up their day jobs. The DigiTwo is also likely to find favour with DJs who are looking for a controller that is easy on the pocket, as well as easy on the back. The size and weight of the DigiTwo make it perfect for throwing in a bag and taking on the road, and the rugged construction should ensure many years of faithful service. The DigiTwo is one of the most feature-packed controllers in this price bracket. This, along with the build quality, make it a great choice for a wide range of DJs.

Me and mitch talked about one on The UGLY Show once and posted the clip