Cupe

yea good point 8800 would probably be fine too

i'll listen tonight

so only 1 person signed up and bought tracks apparently BUT TOMY WON A PACEMAKER OMFG

get a DX10 card, probably nvidia maybe a 9000 range?

I fixed both

I'll change it now your sig is also spelt wrong

hmm yea i just use it to network really.

haha i'll check it out tonight can't from work -.-

i'll listen tonight

How is it meant to be spelt? What username do you want?

hey man welcome to ADJF!

Can you get tomy a gig?

thanks............. i opened that at work -.-

yea wish i won somethin though they kept doin draws while i was inside lol. i didn't know it was their 10th birthday bash. they put on a good afternoon - free sausage sizzle and shit happening non stop. can't wait til the next one. i'll take the esky

wtf beds in the club? that's askin for trouble

not sure..

I saw a demo of this mad piece of equipment at the Bris StoreDJ opening day. It's incredible..... THE PROMISE Even before its release, Maschine caught the attention of serious beat producers for its promise of delivering MPC-like hardware control of a fresh new groove application. The aim was two-fold: to bridge the programming and editing gap that exists between traditional drum module plug-ins and host sequencers; and to give live performers an instrument of unprecedented flexibility through the boundless sonic resources of a well-stocked laptop. For such a setup to be successful, however, the integration of both hardware and software components must be tight and highly intuitive—an area in which Native Instruments has recently excelled. Nothing can replace the immediacy of touching your beats. To that end, the Maschine controller is brilliantly executed. Its bidirectional communication and workflow blew me away. From browsing samples on disc to capturing audio on the fly and building new kits on the pads in almost immediate fashion, the integration and workflow felt quite natural and seamless. I did find that a certain, sometimes unbearable, lag existed when loading complex sessions containing very large sample sets from disc, but individual kits and samples loaded as fast as I could press the Next button. Physically, Maschine’s controller is a sturdy affair constructed mainly of reinforced black plastic to keep it light weight, but with a thin brushed-aluminum faceplate (anodized-black) to lend a professional aesthetic to the top panel. The thin, wedged profile measures roughly 12.5x11.5 inches and just 2 inches high at the rear—a lean but ergonomic footprint that feels great and won’t get in your way. It’s also perfectly sized to be a travel companion for stacking with a laptop, all in one tote bag or backpack. The controller is entirely bus-powered. A USB 2 cable plugs in back, where you’ll also find a MIDI I/O pair for connecting external gear (the ports show up in your DAW) and a Kensington security slot for tethering. The surface can be flexed out to also become a universal controller, making this hybrid system all the more attractive. A cool new utility included with the 1.0.2 update, Control Center, lets you program operational templates for your current DAW and plug-ins. A dozen preprogrammed templates are provided for Ableton Live, HUI and Mackie Control, Traktor Pro, General MIDI drums, Battery 3, Massive, Pro-53, Reaktor, FXpansion Guru, Toontrack EZDrummer and XLN Audio Addictive Drums. Pressing the Shift+Control buttons calls up MIDI mode, which turns the hardware into a self-contained universal controller for any device connected to its MIDI out port. By the way, Maschine’s control surface is not a dongle, so you can run the software and open previous projects without connecting the hardware. This is cool for, say, when you make a tune in the studio and then take the project away on a laptop and leave the controller behind. SAMPLING THE GOODS Maschine can sample from an external sound source or from the internal group audio buses. Using internal audio as the source, you can sample as many as 16 bars of your arrangement and then slice the recorded loop to a new Group, with the slices spread out onto the 16 pads. This method is a cool way of intuitively remixing your own Maschine tracks in the old-school MPC manner. Recording can be initiated by threshold detection or internal synchronization. If you want to control sample recording by hand, the trick is to set the threshold to 0 dB and press the Start/Stop soft button that appears above the right display. If sample record is set to Sync and the sequencer is already running, then the recording will begin at the top of the next bar after you hit Start. This is similar to how, during playback, Scenes will wait for the current bar to end before any switching of patterns will take place. The manual never mentions a maximum sample length, but just for kicks I successfully recorded an entire 4-minute song without any complaints from Maschine. 
 The sampler’s Edit tab offers surprisingly few features, with only rudimentary control over sample start and end points, and loop boundaries with optional crossfade. I find it appalling that Maschine lacks such basic waveform-level functions as normalizing, cut and paste, time-stretch, pitch-shift, search zero-crossings, DC offset and so on. I don’t think I’m asking for the moon with any of these; it’s entirely plausible that you may want to perform some basic nip-and-tuck prior to or during keymapping. At the very least, Native Instruments should provide a Launch button that allows you to call up your favorite audio editor from within Maschine, without having to leave the sampler environment. SLICE AND DICE Maschine’s Slicing feature is akin to Acidizing samples. It allows you to play loops at virtually any tempo, though you will hear gaps between slices if you lower the tempo too much. Slicing is also useful for extracting single samples from loops, changing the order of slices, muting or editing slices, applying a different quantize value or adding swing. Being a remixer and beat producer, I really put Slicing feature through its paces. Slicing can occur somewhat freely, based on audio transients at user-definable detection thresholds, or more rigidly on 16th notes, a convenient measurement for breaking a 1-bar loop into individual hits assigned to individual pads. For this, you’ll first need to enter a sample’s bpm value by hand or let Maschine detect the tempo automatically. Strangely, given that so much else about Maschine works in real time, detection isn’t on the fly but requires you to trim your sample precisely on the beat for most accurate results. It’s a shame that you cannot beat-slice loops to anything other than 16th notes, though I did find a hidden trick for this: Only when auto-detection is selected, Maschine allows you to choose between slicing on the detected tempo, half that tempo or double that tempo—effectively slicing to 8th- or 32nd-note-sized chunks. That’s a weird workaround, but it does work. Transient slice mode works best for material such as melodic instrument and vocal phrases. I was able to quickly chop a vocal chorus into syllables and map them as a playable kit across the pads (though my initial results were often a little hit or miss). The problem is that Maschine offers no pre-slice auditioning, nor can you manually move markers before slicing. However, once you hit the Apply button, you’re given chromatic key/pad access to each slice; you can then hear what you’re doing and adjust start and end points manually to get the phrasing just the way you like. As long as I’m making a rather long wish list, Maschine desperately needs the ability to add and delete slice markers. Slicing to MIDI/sequencer patterns would be terrific for some truly killer gate effects. And another thing: Maschine’s lack of support for Acid files, Apple Loops or REX files is truly a mystery to me. The hardware does a remarkable job of representing the entire sample edit and slicing procedure on its displays. A soft button calls up slice parameters on the left LCD, while the slices appear as vertical lines in a graphic waveform view on the right display. In the heat of production, you can’t get much faster than the 10 to 15 seconds it may take you to record a syncHed-up loop and hit Apply To, which instantly sends the results to any Sound or Group slot of your choice and spreads the slices across the pads so they’re ready for you to jam on. I also liked how you can pick and choose individual slices from different loops to use as one-shots and hits in building up composite kits. Features: * 16 highly-responsive, velocity- sensitive and pressure-sensitive (aftertouch) lluminated pads. * Dual backlit displays (256 x 64 pixels). * 11 chassis-mounted endless encoders; 41 buttons. * High speed USB 2.0 interface for connection to host computer (Bus powered with modest current draw). * Integrated MIDI I/O ports. * Kensington key lock slot. * Can be used as a regular MIDI controller for other software or hardware * Lightweight yet extremely robust and sturdy metal construction makes it perfect for both studio and stage More info: http://www.native-instruments.com/en/pr ... /maschine/

HOLLYWOOD, FL – September 19, 2008 – Stanton DJ, an industry leader in the design and manufacture of professional audio products for DJs, introduces the DaScratch, the company’s newest addition to the SC System controller line. DaScratch is a USB-MIDI controller that combines fast response, easy customization, and a compact form factor to create an ideal instrument for any digital DJ looking for total control over their software. Small and portable, DaScratch makes a space-friendly addition to any existing DJ gear set-up or can stand on its own as a complete controller solution. DaScratch marks the introduction of Stanton’s StanTouch® technology, which allows DJs to use traditional performance motions and gestures on a touch-pad style surface. "With SCS.3d, we stepped back from the playing field and created something unique using emerging touch technology,” states Jim Mazur, Stanton’s Director of Product Development. “DJs are constantly looking for new ways to interact with their music. By studying their actions and creating a control surface analogy, we are able to bring some fresh ideas to fruition without being held back by traditional ways of interfacing with equipment." The StanTouch® interface is highly responsive to popular functions such as scratching, scrubbing, and navigating through digital audio files. In addition, tactile buttons, triggers, and virtual faders are able to control samples, pitch, effects, cue and loop points, and other mappable functions. Multiple finger touches can also prompt quick kills on EQ's or transform effects on volume. Another notable feature of the SCS.3d is the implementation of DaRouter® software. DaRouter allows customized support and control over most DJ, DAW, and audio applications. DaRouter also enables DaScratch to provide two-way user feedback by illuminating LEDs to indicate the status of buttons, triggers, virtual faders, and transport controls. A preset library is also available on the Stanton website that supports popular applications such as Traktor™, Traktor Scratch™, Ableton Live™, and Serato Scratch Live™. A complete list of supported current applications is available at http://www.enterthesystem.com/downloads/darouter.php According to Timothy Dorwart, CEO of the Stanton Group, "DaScratch reflects our commitment to deliver products based on technology, innovation and differentiation. The flexibility and affordability of DaScratch will attract new users to digital DJing while at the same time providing professional DJ's with a useful tool to augment their current rigs." For simple connectivity into any set-up or environment, DaScratch features USB connection, allowing easy plug and play connection to your software. The unit is class compliant with Windows XP, Vista and Mac OSX to ensure that drivers are never needed, and is bus powered by design to ensure that no external power or batteries need to be used. Additionally, the DaScratch employs the Magnect® connection system, allowing multiple SCS.3d units to securely snap together magnetically, creating a larger control surface with increased performance options. Technical Details: • 5 Touch sensitive sliders (3 switchable via presets) • 1 Touch sensitive continuous rotary control (switchable via preset) • 4 Backlit (red, blue) buttons • 10 Back lit (red, blue, purple) touch sensitive buttons • 9 Backlit touch sensitive buttons (switchable via preset) • USB 1.1 and 2.0 class compliant MIDI controller • USB bus-powered* • System Requirements: • Mac: Power PC G5 or multicore Intel® processor Mac OSX (v10.4 or later) ª Windows: PC running Windows XP or Vista • Dimensions (H x W x D): 8.52 in x 4.72 in x 1.38 in 216.5 mm x 120 mm x 35.25 mm • Shipping Weight: 2.64 lbs (1.2 Kg) *USB hub / port must meet USB power specificatio Package includes: DaScratch® Unit, USB cable, and Quickstart guide.

Denon DJ, a leading manufacturer of reliable, premiumgrade DJ equipment, is expanding its renowned lineup of advanced professional mixers for working DJs at NAMM 2009 with the introduction of the new Model DN-X1100 Professional 4-Channel Matrix Mixer, designed to offer users the best possible combination of audio quality and creative features in the analog domain. Notably, thanks to its Matrix Input Assignment capability, the DN-X1100, unlike conventional mixers, no longer requires DJs to be “married “ to any particular channel for a given input. The unit’s eight separate input sources are freely assignable to any channel, or even multiple channels, providing unprecedented flexibility. An ideal companion piece to Denon DJ’s new DN-S3700 Digital Media Turntable, the DNX1100 is a professional 12” tabletop rack-mountable analog matrix that provides users with a groundbreaking array of technologies and features. In addition to its eight analog line inputs and three phono switchable capability, the DN-X1100 features a High Performance “Flex fader” (crossfader) with tension adjustment. Four smooth 60 mm VCA channel faders provide level control, and a responsive 45 mm VCA crossfader offers contour adjustment. For added flexibility, the crossfader features A-B Post Channel assignment capability, and the Channel Fader-Start Trigger is compatible with all Denon DJ CD/MP3/Media players. Additionally, thanks to its channel fader contour controls, the DN-X1100 allows DJs to express their craft with the subtlest and most effective touches, permitting them, for instance, to utilize a slower 2 contour for seamlessly smooth traditional style fade-ins, as well as execute crowd-pleasing audio cuts for performance scratching. The DN-X1100’s independent PFL channel meters help DJs optimize and match levels for each source, ensuring a smooth transition between sources when crossfading. Each channel has a 3-band equalizer with independent EQ kills (high-mid-low). Any channel, including the Master, can be premonitored through the Booth Output in the same manner as with headphones, including volume control. A Master Output Stereo/Mono Switch adds to the unit’s practicality and ease-of-use, and a powerful, clean headphone output provides optimum quality personal audio. Independent 3-band Main and Aux Mic EQ is supplied, as well as independent Cue for all channels. There is also a 3-band EQ for both Mic inputs, which includes a Mic Ducking Function with Sensitivity Adjustment. For total durability and reliability, the DN-X1100 features high-quality Gold Plated Connectors, with outputs including: Master Out, Booth Out, and Record Out. An Effects Send/Return Control is multi-channel assignable, and has a wet/dry control knob for setting the balance between processed and unprocessed signals. Effect On/Off switching is included, as is pre and post Effect Cueing. A removable power cord adds to the unit’s portability and ease-of-use.

Designed by Numark in collaboration with Serato, NS7 represents the pinnacle of DJ performance control. NS7 combines an all-metal chassis with adjustable torque, motorized, aluminum-turntable platters, vinyl, and a professional audio interface to deliver a complete performance solution that will satisfy even the most hardcore turntablist. A full complement of premium faders, knobs, buttons and our new Strip Search (patent pending) virtual-needle-drop control integrates seamlessly with the included Serato ITCH software. NS7 delivers hands-on control of every aspect of Serato ITCH and sends data to the software more than ten times faster than standard MIDI resolution, resulting in a rock-solid hardware/software DJ system that works with Mac or PC and feels as good as it looks. Serato ITCH is completely compatible with Serato Scratch LIVE crates, loops, and cue points, so the Scratch Live DJ can step up to NS7 without missing a beat. DEVELOPED IN PARTNERSHIP WITH SERATO NS7 was a collaborative development effort with Serato to develop the finest computer-DJ experience. It is a one-to-one hands-on control instrument for Serato ITCH. Because it was designed for ITCH, NS7 setup time is the bare minimum. No tweaking, no mapping; just plug and perform. PERFECT FEEL Forget your experiences with other controllers. NS7 has two seven-inch, motorized, high-torque aluminum turntable platters. The turntable controls feature modern and classic settings that alter the feel to model the feel you prefer. Seven-inch, legit vinyl records with 45RPM adapters sit on real slipmats. There’s no simulation here – NS7 is the real deal. Solid, rugged, rubberized buttons and knobs compliment a high precision, replaceable CP-PRO crossfader and D-TYPE line faders for an unquestionably high-quality feel. We selected the CP-PRO digital-VCA crossfader because it is outstandingly durable with low wear for a long life. It has a solid feel that is smooth and rigid. It’s only natural that our finest crossfader is a component of our finest controller. We selected high-performance, D-Type digital-VCA line faders for their rugged, long-life performance. Like the crossfader, the line faders are replaceable. The crossfader offers contour adjust and reverse adjustment, enabling you to customize its operation. SYSTEM SIMPLICITY Forget the mouse. Forget the keyboard. NS7 renders ITCH software perfectly simple to operate, with its click knob and large, backlit buttons navigating though your music library. You’ll spend less time looking at the screen and more time enjoying performing thanks to the visual feedback you get from NS7’s more-than 100 LEDs and more-than 100 hands-on controls. A single USB cable between NS7 and your Mac or PC is all you need to send audio and data back and forth. NS7 has onboard audio outputs so it’s the only piece of gear you need to connect to the PA system or powered speakers. NS7 outputs 24-bit, 44.1 kHz digital audio to the sound system on XLRs and RCAs. The front panel contains mic input, RCA line input, and both 1/4" and 1/8” headphone outputs with volume control. NS7 comes with an integrated laptop stand that supplies safe, secure mounting for your laptop. You can use an ultra-small space because NS7 elevates your laptop off the table. PRECISION CONTROL NS7 sends control information over USB at more than ten times the standard MIDI rate. This innovative communication technique yields extremely high-precision, low-latency control. There’s nothing like dropping the needle on a record for quickly locating a point in the track. We took that idea and developed our own modern take on it with Strip Search, the unique virtual-needle-drop touch strip. You can locate a point instantly within the track using the on-screen waveform and Strip Search. Five hot-cue-assign buttons on each deck digitally mark your cues on the track. These marker points are recallable in ITCH and Scratch LIVE, and you can load Scratch LIVE cue points in ITCH. We developed an extensive Serato-style loop section on each deck for creative remix capabilities. You can choose between manual and auto-loop functions and an automatic BPM analyzer further assists loop makers. Creating automatic smart loops of any measure length is a breeze, and you can mutilate and modify to heart’s content with a variety of controls such as Doubling, Halving, Shift, and manual controls. Multiple loop banks per deck make NS7 a great choice for scratch and club DJs alike. Beat matching is straight ahead with 100mm, smooth, stiff pitch sliders and plus and minus buttons, by popular request, for bending. There’s a zero-point LED, so it’s easy to know when you’re in the middle. AUDIO QUALITY We took extraordinary care in selecting the components of the audio signal chain. NS7 contains a host of professional audio connectors and a multichannel, 24-bit USB digital-audio interface. The high-definition post-mix analog audio output features a minimized circuit path with containing only one audiophile-grade bipolar capacitor. This optimized design maximizes phase coherence, ensuring that audio is tight and punchy. PROFESSIONAL APPEARANCE NS7’s dual decks flank the mixer section. Its recognizable, professional appearance is supported by clean design in matte and glossy black. The entire unit is housed in a heavy-gauge, industrial-strength metal casing that is ready for the torture of travel. SERATO ITCH SOFTWARE Serato ITCH is already familiar if you use Scratch LIVE. The new program builds on Scratch LIVE’s popularity and adds some key, new features. ITCH doesn’t require a timecode interface, so the system can be as simple as, say, NS7 and your computer! Since ITCH makes timecode a thing of the past, you won’t need to worry about needles skipping or vinyl wearing out. You can load your Scratch LIVE crates, loops, presets, and cue points seamlessly in ITCH. NS7 also works with most other MIDI DJ software and supports iTunes. ITCH is a high-performance portable music system with internal mixing and platter-style playback control. Because it is designed specifically for use with hardware control, ITCH has a clean information display. ITCH handles audio processing and mixing including channel fading, EQ, crossfading and track trim are processed for outstanding control and management of your tracks, ease of recording your set, clip-proof gain management, and BPM calculation using the power of your computer’s processor. Serato's unique color waveforms provide an easy identification of sound and changes in the track. ITCH can set and store cue-points. It offers three-range pitch control: ±8%, ±16%, and ±50% with Key Lock for manipulation of pitch and tempo independently. ITCH has library management tools for backup and restoring your music. Advanced input and mix recording capabilities include recording your mix or just the aux input for sampling. The software supports AIFF, WAV, MP3, and AAC audio files. High-resolution controller built for Serato ITCH and compatible with Scratch LIVE libraries Direct-drive, motorized turntable platters with classic and modern feel settings Includes Serato ITCH DJ software, fully pre-mapped Audiophile-grade audio circuitry with mic and line inputs, system and cue outs Extensive loop, cue, and track-access controls Strip Search (patent pending) virtual-needle-drop control Controls most MIDI applications without requiring a mouse or keyboard Rugged, all-metal construction High quality, replaceable, customizable CP-PRO crossfader and D-TYPE line faders Audio Inputs: Mic (1/4" balanced) Stereo line (RCA) Audio Outputs: Master (Stereo XLRs) Master (Stereo RCAs) Booth (Stereo RCAs) Headphone (Stereo 1/4" and stereo 1/8") Dimensions and Weight: 29.875" x 14.875" x 3.75" (WxDxH) 34.6 lbs (15.7 kg) 38.3 lbs (17.4 kg) with laptop stand Minimum System Requirements: Mac Core Duo 1.8GHz processor or better 1GB RAM OS 10.4.11 or higher USB 2.0 port Hard disk space for music Windows XP Core Duo 1.8GHz processor or better 1GB RAM Service Pack 2 or higher USB 2.0 portHard disk space for music Windows Vista Core Duo 1.8GHz processor or better 1GB RAM Service Pack 1 or higher USB 2.0 port Hard disk space for music Please note that NS7 does not currently support 64-bit Windows. If you are purchasing a Windows computer for ITCH, please ensure that it has 32-bit Windows. Includes: NS7 controller Two turntable platters Spindle wrench Spindle screw Allen wrench Laptop stand USB cable Power cable Software CD Quick-start poster More details at: http://www.numark.com/ns7

Enhanced by studio grade preamps and 24-bit audio processing, this compact new solution produces a warm punchy sound to heighten the senses. Extra outputs allow DJs and electronic musicians to intensify the mix with the Scratch Live SP-6 Sample Player (New in Version 1.9). The auxiliary input provides a live input feed for creative sampling or recording your set. Use any combination of audio source. Control CD, Control Vinyl or MIDI for more flexibility than ever. Feature and performance enhancements include: New, Compact Hardware Design Higher output improves ability to easily match levels of various source types Improved Dynamic Range (104 dB) Improved audio performance (24 bit converters) Galvanic isolation prevents computer noise from interfering with the audio path USB 2.0 high speed audio interface Aux Input for Live Mix Recording or LiveFeed Aux Out channel allows use of Sample Player as a virtual deck and opens the door for future expansion and creative configurations for DJs and electronic musicians High-grade Phono Preamps upgrade performance of most mixers Software switchable Direct Thru Connections for simplified connections Independent Line/ Phono-level selection for each input for greater flexibility Includes International Power Supply to insure optimum performance and easy transfer between DJs Soft Carry Case Included

HOLLYWOOD, FL – March 31, 2009 – Stanton DJ, an industry leader in the design and manufacturer of professional audio products for DJs, announces the official release of the SCS.3m, the next installment in their award-winning, SC System 3 series controllers. The SCS.3m is a portable new MIDI controller with a unique control surface that emulates the layout of a traditional two channel mixer, but is completely touch-sensitive and features the acclaimed StanTouch® technology introduced in its deck controller counterpart, the Stanton SCS.3d. Each SCS.3m will ship with a new version of Native Instruments' Traktor LE that is based on the latest TRAKTOR PRO software platform, allowing the SC System 3 products to be used together to create a full DJ system with intuitive control over the robust software features introduced with Traktor LE. Using only the SCS.3m, SCS.3d, and Traktor LE, a complete DJ rig with performance control features that surpass the capabilities of traditional mixer/deck equipment can be setup anywhere in the world within minutes. The SCS.3m incorporates all of the functions of a two channel DJ mixer, plus a host of new performance features made possible by Stanton’s unique touch sensitive control surface. The touch sensitive sliders can be used to tweak EQs, allowing DJs to bring in different elements of a song during a mix, or instantly switch the sliders to control FX parameters within Traktor LE. The wide, touch-sensitive crossfader allows for seamless slow blends between decks, but is also able to detect multiple finger presses, allowing for quick transform effects all in one control surface. The multicolor buttons can easily perform transport controls for starting and stopping playback, setting loops, doing EQ kills, or engaging effects without requiring a separate trigger controller. All of the visual indicators stay 100% in sync with applications supporting MIDI feedback, allowing for clear indication of the software settings and positions in low light situations. Additionally, the unique surface provides a new level of durability, since there are no moving parts to wear or break. “The SCS.3m is the next step in creating a modular, flexible and scalable control system. It’s always been our vision to make the 3 series a powerful, adaptable, and expandable line of products and the 3m takes the next logical step in providing the mixer analogy to stand next to the 3d”, said Jim Mazur, Stanton’s Director of Product Development. Every SCS.3m comes with the ability to unlock Native Instrument’s award winning Traktor Pro software. One of the first controllers integrating with the new Traktor LE, the SCS.3m is designed to interface seamlessly with Traktor’s internal mixer, and incorporate full application feedback from Traktor, ensuring complete parity between hardware and software. iTunes® integration, album art support, and broad file compatibility allow for unparalleled music collection browsing and management, so finding and organizing tracks is quick and simple. An advanced tempo detection / synchronization engine enables the DJ to sync the decks for an automatic beat match once music has been loaded into the virtual deck eliminating the traditional challenges of lining up two songs for a mix. For the more accomplished DJ, Traktor LE also opens the door to advanced performance techniques such as dropping FX and looping for live remixing. The SCS.3m can be used as a standalone controller for basic software mixing, but when paired with the SCS.3d deck controllers, provide a completely mobile MIDI control rig that allows DJs to plug and play anywhere in the world without the traditional hassles. With a built-in powered USB hub, the SCS.3m can also be connected to one or more SCS.3d controllers, offering up a high tech version of a full traditional DJ setup, without weight, size and connectivity issues. Additionally, special custom presets for other popular DJ applications are available for free download on the Stanton website. The SCS.3m will make its international debut on April 1st at Stanton's Musikmesse booth in Frankfurt, Germany. The unit is priced at $249US Suggested Retail, and will be available in music and DJ retail locations worldwide in May of 2009. For more information on the SCS.3m, other products in the SC System family, or Stanton’s full line of traditional DJ equipment, please visit http://www.stantondj.com and http://www.enterthesystem.com. About Stanton Magnetics Founded in 1946, Stanton Magnetics is an industry leader in the design and manufacture of professional audio products for DJs, Live Sound Reinforcement and install applications. A member of the Stanton Group of companies, Stanton DJ products include turntables, high-performance cartridges, CD players, DJ mixers, accessories, and digital controllers. With over 50 years of innovation, Stanton is the name DJs trust. For additional information, visit the company online at http://www.stantondj.com.

only thing i can say is you might want to drop those synth noises down a bit cause they smash over the beat

went and checked it out. Lightsounds put on quite a show! Old mate went crazy on the motorbike (got some pics to upload later) funniest MC, duno who he was but lol.