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If it's DJ related, try to keep it in HQ This site has enough non DJ bullshit already

BeatControl join BM Soho to create new DJ shop The DJ equipment specialists BeatControl have partnered with the legendary record shop BM Soho to bring DJs the ultimate shopping experience within London. BeatControl are offering DJs the latest equipment and accessories in the basement of London's longest running record shop. Stocking everything from Pioneer digital controllers to Shure cartridges and needles BeatControl have something to offer both the novice and the professional. Launched in 2011 BeatControl offered a cutting edge shopping environment for the DJ in their first physical shop in Edgware, this is now set to be repeated in Soho. BM Soho owner spoke to DJ Mag stating, “All your DJ needs, past and present, in one shop – this is definitely the future for BM Soho, and one what will maintain the shop’s cult status as one the most credible and best loved dance music specialists worldwide.” With the recent crumble of industry giant HMV and independent record shops consistently dropping like flies the new partnership between BeatControl and BM Soho can only do wonders for a worryingly endangered market.

' The battle of the budget controllers has really hotted up, with news from Pioneer of their latest controller to hit the market, the DDJ-WeGo. Fantastic news for anyone who is looking to buy such a controller at the moment. The ultra portable DDJ-WeGo is aimed at new DJs who are keen to start learning the trade or anyone else who is looking to take home a nice quality as well as nicely-priced two-channel DJ controller. With the release of the new unit, Pioneer have ensured that all budgets and styles of DJing are accommodated for within their range of DJ-orientated products, and proved that starting out down the path to DJing glory doesn’t need to cost thousands of pounds. It's a compact two-channel mixing machine the size of a 17” laptop and weighs just 1.6 kg, which makes it absolutely perfect to throw in a bag and take from gig to gig. The build quality is the kind of solid workmanship we have come to expect from Pioneer, so many years of service can be expected from the WeGo even with a heavy touring schedule. An onboard soundcard and USB power mean that the only connection the DDJ-WeGo needs to get things fired up is a USB lead straight into a computer. The WeGo gets its power directly from a laptop — this cuts down on cables and power supplies that would otherwise need to be carried with this controller. A custom version of VirtualDJ LE is shipped along with the DDJ-WeGo, which has been designed to plug-and-play with this software with the least amount of hassle. Of course, being a MIDI controller, it will work with any DJ software and MIDI maps for Traktor along with a hardware diagram for Traktor Pro are available to download from Pioneer’s website. Available in four different colours, with the choice of black, white, violet and red, the DDJ-WeGo has managed to pack a great set of features and controls into the box despite its diminutive size. A two-channel mixer with three-channel EQ and crossfader sits at the centre of the control surface with two four-inch jog-wheel platters sitting either side. Surrounding the platters are a bank of four buttons which are dedicated FX controls, with a further five buttons at the bottom of the platter for hot cue or sampler duties. The DDJ-WeGo’s control surface has managed to stay uncluttered and very user-friendly, while also being very functional, offering a good range of controls. In a first for Pioneer, the DDJ-WeGo will be available to purchase through Apple stores, but Pioneer and Apple’s co-operation does not end there, because mixing tracks from iTunes directly using the DDJ-WeGo is also possible thanks to the availability of a free download of Algoriddim’s djay LE software. The latest release of the full version of djay also now supports DDJ-WeGo integration. It is a fantastic time for any new up-and-coming DJs or hobbyists to be in the market to purchase a professional-style DJ controller. The market has lots of great products at various price ranges and the DDJ-WeGo has just made the range of choices even better. It oozes Pioneer quality without the usual high price tag associated with their products and it will rock a crowd just as hard as their most expensive equipment (if used in the right way). Fresh beat DJs would do well to get hands-on with a DDJ-WeGo before making any decisions to purchase a controller in the near future.

It's sad but true, following in the foot steps of last Novemeber's cassette walkman axe, Sony have announced that from March 2013 they will no longer be manufacturing and shipping their classic MiniDisc players and stereo systems. With more than 20 years production behind the MiniDisc it will now be added to the long list of obsolete formats. Sony had previously tried to revive the format back in 2004 with Hi-MD which could hold up to 1GB worth of tracks but by that point the mp3 players had already taken over the market. The silver lining is that Sony have said that they will continue to produce the discs themselves and repair any broken MiniDisc systems.

We’ve seen exciting advancements in live looping and performance control in recent years, particularly in Beardyman’s new setup. Today we’re excited to share this video (originally published by WiredUK in January) of Imogen Heap and her 3D performance gloves that she uses to control her Ableton Live session. “It’s really like playing an instrument in 3D space” – Imogen Heap We’ve seen other videos of Imogen’s gloves before, but here she does a great job of explaining the evolution and function of the system, and gives a solid demo performance. She’s also using a Kinect in this video to create onstage locations that have their own associated effects- like an echo when she’s further from the audience. The video is below – but if you need a synopsis of what to watch, here’s a quick guide: 0:00 – 7:20: her explanation of the evolution of the concept behind the instrument 7:20 – 13:20: her talk through demo of each of the different types of movements and controls available in her rig 13:20 – 19:56: her performance

This morning the popular music-identifying service Shazam announced a partnership with electronic music distributor Beatport to add a massive collection of dance music tracks to the service’s repertoire. If you’ve never used Shazam before, the concept is simple – hold your phone up during any song and let it sample the track, send the sample off to Shazam’s servers, and more often than not it will return back the name of the song, artist, and album. Most likely every DJ has tried to use it in the club before and been quickly disappointed, as DJs are often times breaking songs that haven’t trickled down to the larger music catalogs. Since Beatport is the hub for a lot of producers, this means that Shazam will be able to ID songs closer to the cutting edge of their release, making it way more viable for use in the club. The New York Times has more context on the deal’s impact: Shazam says the deal will add about 1.5 million songs from Beatport to its database, which when tagged can send users back to Beatport to buy the tracks; users can also watch a YouTube video, for example, or send a note about it to their Facebook contacts. As with Shazam’s other deals, the company collects an affiliate fee for sales that it facilitates through the app. The access to Beatport’s catalog could also give Shazam an advantage over its closest competitor, SoundHound, which last year said it had reached 100 million users. Shazam also has a few tricks that can help in a dance club — for example, it can identify a song even if it has been sped up or slowed down, as D.J.’s often do, or if other sounds interfere, like shouting patrons or the occasional bullhorn.

Deadmau5 along with other EDM artists Mat Zo and Porter Robinson have given their opinion on a new reality TV program with the working title Superstar DJ. The show is geared towards discovering ‘the next electronic dance music DJ/Producer superstar’. Casting director Doron Ofir (Paris Hilton’s My New BFF, Jersey Shore) is behind the project and those wanting to audition for the show can head over to edmcasting.com and answer questions such as: ‘Break down your typical day from the moment you wake up till you call it a night’ and ‘Describe your personality (the good and the bad)’. Unsurprisingly, the reality program has been criticised by EDM artists who didn’t obtain notoriety by entering a contest show. Perhaps the most vocally opposed artist is British DJ Mat Zo, who has blasted Ofir directly on Twitter. The outspoken Deadmau5 and fellow American DJ Porter Robinson have also tweeted their opinions on Superstar DJ.

From djworx.com DMC is many things to many people. For most, it’s just a DJ battle, but for old duffers like myself, it’s a foundation of the modern dance scene and instrumental in shaping the careers and lives of a huge number of people on a global level. And today is a special day for them – happy 30th birthday DMC! I know DMC as The Disco Mix Club – a Radio Luxembourg radio show broadcast from a boat in the North Sea in the early 80s by the royal ruler himself Tony Prince. It gave me my first access to a stream of funk and soul, as well as that new thing called Hip Hop. I remember hearing Herbie Hancock’s “Rockit” on the show and embarrassing friends in the shop they worked at the next day about how “fucking amazing” it was in full unapologetic voice. Just like anyone else listening on a regular basis, I had a solid collection of tapes. And even though the show was broadcast on 208 shortwave, the quality of the music and the emotions it stirred were undiminished by the lack of fidelity. Sadly, the tapes got destroyed in a flooded cellar, but in a time before the internet, these were the only way to hear mixes and importantly how to learn the craft of DJing. Of course, DMC in a modern sense is more about the DJ battle than anything else. Granted, many of us have bemoaned much of what has gone on during the battles, but DMC are at least putting them on and promoting turntablism. We can but hope that they capitalise on the solid foundation and start to look at the tools that today’s DJs are using. It is vitally important to understand where the dance music industry has come from to appreciate what you have now. We stayed in to catch the hottest tunes from the Disco Mix Club, and then we’d head off to the nearest good record shop to empty our wallets into their tills. And as archaic as the process of listening to and shopping for music sounds now, it’s a proper experience that I’m glad to have been part of and hugely grateful to DMC for making it happen. You can’t download memories or real tangible things. Anyway – to radio show, record label, DJ battle and all round important DJ company – happy 30th birthday DMC. We salute you and owe you a great debt of gratitude. Hopefully we’ll be here to celebrate your 50th and the worx’s 30th!

Germany’s Faderfox has always done things in its own sweet way. Having set their vision for DJ controllers out via a stream of similar modular controllers, they’ve now taken the decision to rationalise their range, knock the price down a little and bring out an all new controller. The UC3 is a pretty generic controller, but Faderfox seems to be aiming at Ableton. The official words: The swiss knife of controllers UC3 is a universal controller for all kinds of midi controllable software on Mac, PC and iPad. The little box has 8 push-encoders and 9 faders, all switchable to 8 groups that allow to control a total amount of 136 control parameters. All controls are independently programmable very fast and easy by a small display. The factory settings are perfect to control music and video software products out of the box if they are freely assignable. So any additional device programming isn’t necessary for many applications. Last but not least the UC3 is also a great extension for your Ableton Live setup. A special control surface script for Ableton Live 8 is enclosed in the package. With that script you can also use two UC3 devices to control up to 16 tracks simultaneously. Check out this amazing power box and you will get a reliable mate… Features Universal controller for all kinds of midi controllable software iPad compatible with camera connection kit Control surface setup for Ableton Live 8 is included (no manual mapping necessary) USB interface - class compliant / no driver necessary 8 push encoders without detents (resolution about 36 pulses) 8 faders with 45 mm length crossfader with 45 mm length 4-digit-display to show control values and programming data 14 bit high resolution encoder mode for sensitive parameters data feedback for encoders avoid value jumps All controls fully programmable in the device by channel, type, number and mode Advanced programming functions like copy, paste and channel set 8 groups for all controls About 136 commands per setup (17 controls x 8 groups) 16 setups with backup functionality USB bus powering –­­ consumption less than 500mW / 100mA Very compact design in a black, plastic casing with metal faceplate (180x105x70 mm, 350 g) System requirements PC or Mac with a free USB port (1.0 or higher) or any USB hub iPad with iOS5 or higher The Faderfoxes have always had a pretty free run in the controller market. Their high build quality and unique boutique stylings have garnered a lot of fans. But the market has changed in the last 12 months – the trend is modular, typified by Behringer’s upcoming CMD controllers, which workflow-wise adopt a more mainstream appeal. The attention the CMDs have got is a clear indication that people want larger units with bigger buttons, or ideally pads. And given that said units are coming from a global megacorps with a town sized factory at their disposal, I suspect that Faderfox have had to make some tough decisions. A range rationalisation makes sense. To me, the range was a bit too specialised with a number of units that crossed over in a lot of ways, and its hard to maintain a wide number of niche units, especially when those units are expensive. So what’s left is a more focussed range, complimented with the new UC3 that for me makes the most sense in the evolving market. The Faderfoxes are still extremely nice controllers that will continue to sell a good number of units into a niche market. The question for me is when is someone going to make a proper dedicated controller for Serato’s SP-6 sample player? From djworx.com

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