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Showing posts with label Gear. Show all posts
Showing posts with label Gear. Show all posts

Wednesday, October 14, 2015

Lançamento Pionner : XDJ-1000 digital deck with full scratch

E foi divulgado o novo lançamento para djs da Pionner!
Trata-se do cdj compacto XDJ 700, versão compacta do XDJ 1000

Um dos detalhes interessantes é o preço! US$ 699!
 
Principais características:
  • Display touchscreen de 7 polegadas com visualização da track (em forma de onda), navegação nas pastas de armazenamento usb e busca (com teclado QWERTY);
  • Autoloops, hot cues, quantização, beat sync, and Slip mode;
  • Compatível com Rekordbox;
Uma das principais característica é o jog que teve uma redução no seu diâmetro, o que tornou o cdj bem adequado para cabines com layout complicado (a maioria por sinal). 

Segue um vídeo pra dar uma idéia de como é o equipamento:

Thursday, October 8, 2015

Bedroom DJ Woes: Why You’re Not Getting Booked (And What To Do About It) - by DJ Tech Tools



Baita artigo publicado já há algum tempo no grande site DJ TECH TOOLS
mas que tem dicas importantes e atemporais!
Então, vale muito a leitura! 




DJ-not-getting-booked-header

Bedroom DJ Woes: Why You’re Not Getting Booked (And What To Do About It)

92 Comments
 
It’s an all-too-familiar story: a DJ of any experience level with plenty of mixing skills, fancy DJ gear, and the latest killer tracks, but no gigs in sight. As DJing continues to grow in popularity around the world, gigs can be difficult to pick up. Today, Nick Minieri examines some of the most important pitfalls to avoid when trying to play out and offers concrete advice how to make sure you’re doing your best to get into DJ booths on a regular basis.

GIG-LESS FRUSTRATION

The dreaded empty gig calendar.


Every once in awhile I get emails from frustrated DJs who have tried it all: they bought equipment, spent thousands of dollars on music, practised for countless hours, and want to play out – but they’re just not getting gigs. I know exactly how this feels. I wish I could say getting booked is easy, but the harsh reality is that it simply isn’t. The market is flooded with DJs, all of who are as driven and dedicated to establishing themselves as you are.
It’s no secret we’re witnessing tectonic shifts both in dance music, as well the role of the DJ, in 2012. Before the Internet, DJs were coveted because they were the “gatekeeper” of the music. It was much more difficult and expensive to build a decent library in the 1980s and 90s. Their importance even became grossly overestimated by the rise of the “superstar DJ” persona at the turn of the century. The playing field has since been levelled, with fewer barriers to entry or “gatekeepers”. Everyone can become an “expert” on dance music nowadays…and as the famous saying goes:
When everyone is an expert, nobody is.
Similar to most other endeavours, who you know will get you much further than what you know. This was true 25 years ago, and it’s true today. I’m sure you’ve heard this a million times already, but the nightlife industry is all about connections. Skills get you nowhere if you don’t know people. Period.
This is not the type of article where I’m going to spew a bullshit 10-step list you can follow to put you on the road to fame, five-figure paydays, and the red carpet treatment. Dance music (EDM) might be in vogue again (especially here in USA), but the fact still remains that DJing is an activity that calls many, and chooses few. Fewer than 5% of DJs who start out will be able to make a living just from playing music that isn’t Top-40. Yet I’m willing to bet ALL of those “chosen few” aren’t making the mistakes I discuss below, especially during their formative years.
Think carefully to yourself if you are getting caught up in any of these traps as well; they could be the difference between routine bookings and complete obscurity. You’re not getting booked because:

 

1. YOU HAVEN’T DEFINED YOURSELF AS A DJ

 


Isn’t it pretty sad to think there are more DJs than ever, yet every time you go out they’re playing from the Beatport Top 100? It’s funny how when DJs had limited access to music 20 years ago, one would have a completely different set of tracks in his or her flight case than the next. Most everyone had the “anthems”, of course, but generally speaking, every set you would hear at a party would be unique.

Diamonds in the rough on SoundCloud

Now we have more access to music than most could have dreamed of in 1990. Yet it has encouraged many DJs to become lazy and just search the charts on sites like Beatport. Just because finding music is convenient nowadays doesn’t mean you shouldn’t take the time to still do some digging. Next time you’re on Beatport, why not click through the “New Releases” section (within the genre you play), instead of the Top 100?
Try doing some sifting through demos that suit your style next time you’re on Soundcloud. There is going to be plenty of junk, but when you stumble across that gem that almost no one has heard, the effort pays off. While you always have to cater to the crowd, you should still take risks and balance it with music they’ve never heard before.

Read more tips on finding great new music in this article from February 2012

Ask yourself one question: Who are you as a DJ? This can be answered by identifying yourself through your music selection. There is software out there that can mix and key match for you, but no machine will be able to SELECT your music the way you can. It’s still the one way you can separate yourself from the rest of the pack. You aren’t giving promoters any reason to book you if all you do is rally behind the anthems everyone else hammers. There are countless other DJs who can do the exact same thing….let alone a jukebox which doesn’t require a rider and a paycheck. Do you want to be a clone or do you want to stand out? Define yourself.

 

2. YOU’RE NOT PRACTICING ON A REGULAR BASIS

@ztrip on Twitter
A couple years ago, DJ Z-Trip put it rather succinctly in one of his tweets:
“If you don’t practice, you don’t want it.”
Practicing means a number of things. It means taking the time, every day, to search for unique music, and building an encyclopedia-like knowledge of it. It means organizing your digital collection by key & BPM tagging, adding cue points & metadata, and more. It means knowing every song in your library inside and out. Figuring out which tracks go best together, where the build-ups and break-downs are, when to mix in and out, and on which occasions it is most appropriate to play each one. What good are 25,000 tracks on a hard drive if you only know a couple dozen?

Get ready to spend a lot of time on the decks if you want to play with the A-listers in your hometown.

DJs who don’t practice struggle to build a cohesive set that organically evolves in response to what the dancefloor is doing. For every Danny Howells, there are thousands of DJs who haphazardly chuck songs on that don’t fit together, or even worse, pre-plan entire sets without taking any cues from the crowd. There’s nothing wrong with plotting out chunks of two or three songs at a time that work great together, but you can’t interact with the crowd properly if your full set is pre-planned. This wouldn’t be a problem if you knew all your tracks inside and out in the first place. Malcolm Gladwell’s infamous 10,000-hour rule makes no exceptions for DJs.
More importantly, practicing is the only way you will truly define yourself. It’s quite uncommon to become successful just from DJ’ing, but the ones who do have generally added a different or unusual twist to the craft. Sasha and Richie Hawtin were two of the first DJs to utilize Ableton as a performance tool, back when very few people knew the software even existed. Jeff Mills and Andy C became renowned as DJs who could fluidly mix more than just two songs playing simultaneously using three or even four decks. Madeon and AraabMUZIK are currently pushing things forward using MIDI controllers and Akai MPCs to smash existing songs apart and play them back in completely different ways, all live.
In all these cases, thousands of DJs have tried imitating their styles, many rather successfully. But this is tantamount to the thousands of guitarists who can play like Jimi Hendrix. Hendrix obviously made a name for himself by being one of the first to push the newly invented electric guitar to the max with his rapid-fire licks and groundbreaking use of distortion and overdrive. But by playing just like him 45 years later, you aren’t creating anything new, you’re merely repeating something that already happened. And just because you are really good at mixing doesn’t mean you are going to be the next James Zabiela, either. Think of how you can approach the craft of mixing songs in new and different ways, and this will surely help you take more creative ownership in what you are trying to do. This vision only becomes a reality after years of practice.



3. NOT SUPPORTING EVENTS YOU SOMEDAY HOPE TO PLAY AT

 

Just because there isn't a headliner doesn't mean it isn't going to be a fun party

This one should be obvious: if you’re not already well known as a DJ locally, don’t even consider asking a promoter to play at their event unless you’ve checked it out a couple times. Successful local events target specific music styles. They attract people who know exactly what to expect when they stop by after a long stressful day at the office. You really won’t know whether the genre you currently play will fit the theme of the night until you check it out a few times. You wouldn’t apply to become a creative director at an ad agency if you had a background in finance, would you? Nor would you want to ask the promoter of a deep house night at an upscale lounge if you could get on at an upcoming show if you play flashy saw-wave electro.
It’s understandable that getting out to every party seven nights a week isn’t going to happen. You’re an adult and you have responsibilities….trust me, I get it. Promoters will notice and appreciate your support, even if it’s only once a month. Especially if it’s on a night when a headliner isn’t booked. If you have a chance to introduce yourself to a promoter, don’t open the conversation by telling them you want to play their night; just talk with them about music, the scene, or other stuff (like TV shows, sports, whatever). Don’t be shy; in fact, if you are, you’re probably in the wrong business altogether. Remember, DJ gigs are about who you know, not what you know.
At the end of the conversation, hand the promoter a business card with all your contact information. Don’t bother giving them a physical CD at their events, they’re busy and it will get lost in the shuffle. Then follow up online (see below!).

4. YOU’RE AFRAID OF THE WORD “NO”

 

Getting turned down for the gig is not the end of your DJ career, we promise.

If you don’t already have a name for yourself, get ready to hear the word “NO”. A LOT. You may think you can rock a party, but most promoters have a very long list of well-qualified DJs, many of whom have spent years building working relationships with them, to tap into for playing their events. At the large-scale ones, every single one of them will bend over backwards just to play a half-hour soundcheck timeslot at 8pm. For free.
Similar to searching for a job, opportunities aren’t just going to find you. You’ve got to go out there and pay your dues first. Talk with promoters on Facebook who throw events that are based around the kind of music you play. Let them know you exist, what you play, comment on some of the events they’ve thrown, and describe to them why you think you are a good fit to play their show. Think of what YOU can do for THEM. Essentially this is a cover letter. Copy-paste generalized messages aren’t going to cut it. Limit your introduction to a single paragraph (promoters are busy, remember) and close with a link to your website and Soundcloud account. You have both of those, right?

Following this, consider every response you get a pleasant surprise, because they’ll be few and far between. You have to be persistent, which means you have to be persistent in handling rejection. Promoters get countless emails from DJs wanting to play for them. If you aren’t playing out frequently, you are going to be more of a liability than an asset as you haven’t proven yourself. There is no way in hell they’re going to let you go behind the decks to command a packed dancefloor with their reputation on the line unless they’re convinced you know what you’re doing. Plain and simple.
But remember: if you don’t ask the promoter if you can play, the answer will ALWAYS be “NO”. Promoters don’t have time to research every single DJ in your city, so you need to make yourself visible to them. And if you’re afraid to sell yourself, I’m willing to bet you lack the confidence in your ability as a DJ to justify the self-promotion you need to be doing. Back to the studio to keep practising until you’re 100% confident you’re ready for the prime time.

5. YOU’RE NOT SEEKING FEEDBACK FROM STRANGERS

The Mixes and Productions section of the DJTT forums can be a good starting point for feedback

You need to be soliciting feedback on your mixes from people you don’t already know. Sorry, but your friends and family are biased. Anything you do is going to be “amazing” to them. 
Spread your mixes beyond your inner circle. Start by posting links to them (with a track list) on communities frequented by ruthless seasoned listeners who have no clue who you are. Send them to veteran DJs in your town who have been spinning for longer than you’ve been alive, and see if they can give you some constructive feedback. 
I know that music is subjective and you’ll occasionally have to deal with harsh comments and trolls, but spreading your mixes outside your comfort zone is the best way to get honest feedback. Assume ZERO responses means your mix got lost in the shuffle because it failed to impress, had a predictable tracklist, or a non-descriptive thread title (if posted on a forum). Time to move on and get back to work.
A lot of artists fail because they allow the positive feedback from their friends and family to go straight to their head, causing them to become arrogant, or even worse, complacent. There’s not a single DJ under the sun who hasn’t had friends tell them how amazing they are behind the decks. At the end of the day, none of us are curing cancer with a MacBook and Serato box, so it’s in your best interest to just be humble.
Another mixtape tip: the only thing “studio” mixes prove nowadays is what your current taste in music is. 

They do not show how well you can read the crowd, mix without the luxury of being able to edit afterwards, and deal with technical difficulties at events (which happen FAR more often than you think). Mixes still help get your name out there, but don’t think that a promoter will be convinced in your ability to DJ just because they’re good. Showing them you can play a great set live carries far more value.

 

6. YOU’RE TRYING TO GET FOLLOWERS INSTEAD OF FANS

 

Just because you have followers doesn't mean they're engaged and paying attention.

 Social media is the biggest change in dynamics to take place on the Internet since the birth of the World Wide Web itself. What’s awesome about places like Facebook, Twitter, Tumblr, and Soundcloud is they have enabled major artists to engage more closely with fans. They’re no longer high up in an ivory tower. Fans are curious and want to know what sort of debauchery their favorite producers and DJs are up to.

As for you…I hate to say it, but you’re probably not living quite as interesting a life as, say, Diplo. People aren’t going to flock right over to your Instagram feed or Facebook wall to read every mundane detail of your life. A drawback to social media is we’ve all become narcissists to a degree, myself no exception. We’re obsessed with trivial things like how many followers we have and how many people “like” our status updates. Everyone wants to build a following. But doing such can take years, and you need to be adding value in a way that justifies your audience having your content in their daily Internet lives.
Want to know a surefire way to NOT get followers? Treat them as followers, instead of fans. Posting only generalized information about your DJing, the events you’re involved with, and the obligatory what-I’m-eating-for-lunch status, are surefire ways to get ignored. You look like an advertisement. Add to the signal instead of the noise. Post other artists’ work you admire, post open-ended statuses that spark conversations with other like-minded people, thank the people who came out to your last gig, and carve out a unique persona for yourself. It’s okay to use Facebook and Twitter to let people know about your shows and mixes, but don’t be that guy who has nothing else to add to the conversation. Stop worrying about the “likes” and the follow count. What’s the point of having 10,000 followers if only a few are engaging with you? Worry about the 500 fans you have right now, not the 10,000 followers you wish you had.


The Facebook event thread-jacker. Please don't be that guy.


Oh yeah, DEFINITELY don’t be “that guy” who stops at nothing to post your mixes everywhere: on the Facebook walls of people you don’t know, on Facebook event pages you’re not involved with in any way, as a status update several times a day, and on other people’s tracks on Soundcloud. Ever notice how these are the people who NEVER get booked to play anywhere, ever? They almost make those pop-up adds for Viagra seem tame in comparison.
Remember that everyone sucked not only as a DJ, but also at building a following, when they started out. There’s nothing to be ashamed of by not having a large fanbase during your formative years. Find your rhythm when it comes to promoting yourself online without being invasive or desperate. At the end of the day, the mixes and the music do the talking, followed by your fans if you’re a class act about it.
Read more tips how to build a DJ web presence in this June 2012 article

 

7. YOU AREN’T THROWING PARTIES OR PRODUCING MUSIC

Ever noticed how the non-headlining lineups of most parties are comprised of DJs who are also promoters? This is no coincidence. Whether or not promoters will admit it to you, booking swaps are the norm. In case you’re new to the scene, a swap is when a promoter (who also happens to be a DJ) invites a DJ (who also happens to be a promoter) to play his/her event. The first promoter/DJ hopes the second one will return the favor. Generally, they will. It’s unfortunate when the requirement to getting gigs is the ability to create them for other people (rather than on the skill of DJing itself), but similar to other saturated markets, it’s the reality. And it sucks.
Starting a night of your own doesn’t have to be a major commitment, however. The thing I recommend doing is to approach a bar or smaller venue that is struggling. Let them know who you are, the kind of event you wish to create, what your goals are, who the target market is, and how you will help get those heads through the door. You may consider starting it up as a monthly first, and joining forces with one or two other like-minded people to make it happen. Don’t bother with headliners early on, just focus on spreading the word of the night around town and figuring out how to make the experience unique. DON’T book promoters in the hopes of them returning the favor. Instead, book yourselves and the people you believe in.
Now if you’re trying to start this night to make money, do yourself a favor and go find a job in finance or healthcare. Chasing paper is going to be the LEAST of your worries. Here’s the real payment: real-world experience DJing in a club, in front of other people, outside your house. Like I said earlier, this is where you will truly cut your teeth in this craft. It’s where you will prove to your colleagues you’re really good at this. It’s where you will convince promoters who happen to check your night out to give you a shot. Finally, it’s where the doors will start to open.
 

Of course, there is a second way you can score loads of gigs if you don’t want to take the promoter route: become a producer. This is NOT a path you will want to tread lightly on, as the number of people making original music has exploded over the past decade. Producing requires music theory, which will take YEARS of time to master. It’s way more complex than just “knowing the software”. It will require the strictest of discipline to wait until your ideas are fully baked before sharing them with others. Want to get booked in a different city or country without production credentials? Sorry, it’s probably not happening.
The only people who succeed as producers are the ones who are bringing unique and distinct sounds to the table. You know all those generic-sounding tracks you quickly flip through while surfing Beatport? Don’t contribute to that waste pile. Have a vision for how you want to take your work in a different direction than everyone else. Again, this is similar to all the failed guitar players who wanted to sound like Jimi Hendrix. Your original productions will also need to be polished and have that “wow” factor that instantly makes other producers go “why the hell didn’t I think of that?” Remember that the best producers spawn countless imitators, all of whom get instantly lost in the shuffle.

 

8. You think of DJing as a hobby

 
Nowadays, judging a DJs mixing skills is like judging a hockey player’s ability to ice skate. Everyone who plays hockey can ice skate, much like everyone who DJs can mix. But if you can’t play the game you will end up on the bench, regardless of how well you can skate. That would make you an enthusiast, not a player.
How does a hockey player avoid being an enthusiast? Focus. Determination. The will to give up most of your free time for it. The players at the top of the totem pole don’t view hockey as a hobby, to them it’s a lifestyle. It’s ALL they know. It’s what they hope to make a career out of (well at least until they get injured). They’re in it to win. You need that level of drive in order to be a “player” in DJing, too. Enthusiasts play in their bedroom. Players play in clubs. Other DJs should have to run to keep up with you.
Other competitive fields in the art and entertainment industry, such as photography, are no different. I don’t know a single photographer working full-time as one who does not eat, sleep, breathe, and shit photography, 24-7. Not one. Photography auteurs Ansel Adams and Richard Avedon never took vacation days. Photography was part of their DNA, much like DJing needs to be part of yours if you hope to get paid money doing it.
Now I know what you’re thinking: “I’ve got a full-time job” or “I’ve got a family to support”. Well, this is where you need to do some serious soul-searching. You can do the DJ/Produce/Promote thing, you can work full-time, or you can have quality time to spend with your family. But you can’t have all three. It’s tough enough even managing two. Look at any of producer/DJs from your hometown who have “made it”. Try to count how many of them work 9-to-5’s on top of the whole EDM thing, including those years when they weren’t quite there yet. Go ahead, I’ll wait. There’s NOT many. Every single one I personally knew threw parties, played parties, clocked 60-80 hours a week in the studio, and still had time to support other local events during the early years.
If you decide to leave your day job to focus on DJing, promoting, and producing full time, you’re putting your entire livelihood on the line. But ask anyone who has started their own business what their early years were like, and you’ll realize your situation is not unlike theirs. Make sure you’ve got at least 6-9 months worth of savings tucked away because times will be tough early on. But you’ll learn and grow from these struggles, plus you’ll be more driven to succeed than the people with the safety nets of a full-time desk job beneath them. People may call you crazy, but you have to go out there and prove them wrong. Like the hockey player, you’re here to win. I hope your friends and family will support your decision.
I want to end this with the fact that there’s absolutely nothing wrong with playing it safe by taking a different career path you still enjoy. You can still be an enthusiast DJ. You just need to manage your expectations different as there won’t be nearly as many booking opportunities available to you. Interestingly enough, several of my co-workers play hockey in an adult league every Friday during the winter. They don’t play in front of crowds, but they still love the game, and it sure as hell beats going home and watching the idiot box for a few extra hours. DJing may be expensive and time-consuming, but as with most hobbies, is an awesome way to enhance your life and meet people from it. If those simple pleasures are in line with the goals you hope to achieve with it, more power to you!

A FEW ADDITIONAL TIPS FOR SUCCESS

  • If you don’t already have them, you need to sign up for Soundcloud and Mixcloud accounts. Today. These are amongst the best resources at your disposal for getting your mixes out there. If you need some pointers on how to promote yourself on Soundcloud, read this article. But remember: don’t just worry about the followers. Build a FANBASE.
  • Gear is irrelevant. Your skills as a DJ come down to your ability to work with what you have, which songs you play, and how to read a crowd. Not whether or not you are using CDs, vinyl, Ableton, Traktor, MIDI controllers, ZIP disks, or whatever. New gear is being released these days at mind-numbing speeds, and it’s easy to fall into the marketing trap of absolutely “having to have” that new controller or software update. Just stick to what you’re most comfortable with. If you have to purchase something, have a clearly justified reason for doing so. You’re probably spending enough money on music as it is.
  • Support others even if they couldn’t give two shits about you. If you think people are preventing you from succeeding, kill them with kindness.
  • Don’t forget to support the talent of other like-minded producers who live in your backyard. As long as their music fits your style, you should be including their tracks in your sets. This is another great way to get support from some of the key influencers in your local scene.
  • Share your mixing with the world by playing online radio shows. While they won’t prove your skill set to promoters the same way a live set will, radio shows are great ways to practice in the comfort of your home while other people are listening.
  • Be patient. VERY patient. Overnight success as a DJ is almost unheard of these days.
Editor’s Note: This article is the full version of a piece that Nick originally published over on his blog, Beantown Boogie Down, covering the Boston-area dance music scene  – check out more of his great writing here

Mais info em 

Thursday, October 1, 2015

4DSOUND! Inovação sonora genial!

Que tal navegar por "paisagens sonoras"?

A idéia do 4DSOUND é transportar seus ouvintes pra outros estados de consciência.

O sistema consiste em uma plataforma com 16 pilares que emitem sons de várias frequências, permitindo que a audiência percorra várias paisagens sonoras.

Dá uma conferida no vídeo abaixo que dá uma idéia de como funciona o sistema:
 

Thursday, September 3, 2015

Panasonic brings back the vinyl with reborn Technics turntable

Saiu na no site da WIRED!

A Panasonic vai relançar o toca disco Technics!
Segue o artigo original (em inglês)
Baita noticia pra nós DJ's!


Vinyl really is back; Panasonic has used its annual IFA press conference in Berlin to announce that it will relaunch and reinvent its iconic Technics turntable series, providing a lifeline to fans of analogue audio.
Panasonic presented a prototype of the new direct-drive turnable at the show, which is made from stark aluminium, and drawn with classic lines and a utilitarian aesthetic reminiscent of the other high-end (and extremely expensive) audio products in the Technics line.

The analog turntable will be completely rebuilt, Panasonic said, with new elements at every level. But it will also be designed to reflect the esteem in which the classic Technics turntables — the legendary SP10 and DJs' favourite SL-1200 turntables — are still held.

It's not a bad time to make the move, either. Recent data collected for the British Phonographic Industry shows that in the UK sales of vinyl are up 56 percent year-on-year, reaching their highest mark since 1994. Is it likely that vinyl will mount a genuine comeback against digital streaming, which could top 25 billion streams in the UK alone this year? No. But neither are audiophiles and purists willing to give up on analogue formats, and especially not those who are prepared to spend upwards of £20,000 on a Technics reference audio speaker setup.



"Turntables are a very iconic product for the Technics brand," Michiko Ogawa, director of Technics and executive officer at Panasonic, tells WIRED. "It is important to show our sincere dedication [to that]. The turntable market is very small but it is a very important brand product."

Technics was once a genuinely important name in analogue audio systems, but years of decline saw it phased out entirely in the early 2000s. Panasonic relaunched the brand in 2014 at IFA with a pair of high-end audio systems, with the (admittedly somewhat vague) promise of helping its customers "re-experience music".
"With this product we can show how seriously we can address the high-end market. For analogue customers we have to bring our concept of music to them," Ogawa told WIRED, through a translator.




Panasonic

There are however no details on exactly what form the new vinyl player will take, or when it will be available. Ogawa did indicate it will be coming to the UK, though, and also announced several new Technics products:
  • SU-G30 Grand Class Network Audio Amp: a high-end HiFi network amp designed to deliver "uncompromising audio quality" (pictured above)
  • SC-C500 Premium Class All-in-one Hi-Fi: an all-in-one for the audiophile in your life, with 270-degree speakers and the handcrafted quality of Technics' 2014 systems
  • EAH-T700 Premium Stereo Headphones: the first headphones in the 'new' Technics brand, including some interesting features like a side-adjusting headband and 100Hz-capable sound quality.
Technics' new turntable will hardly be alone in the marketplace. While sales of mid-range 'classic' record players have shrunk, brands like Crosley on the low end have seen booming sales by placing their players in Urban Outfitters rather than Currys, and giving them a deliberately retro 'suitcase' look.
Meanwhile WIRED recently featured the beautiful Merlin 1 in its annual Gear special, which allows you to play vinyl with excellent reproduction via the high-quality "friction free" turntable and stream high quality audio via Bluetooth aptX -- all for £1,300.

Still, in an era where music is defined increasingly by streaming services, 'curation' and bright plastic headphones, using an IFA press conference to announce a vinyl record player is both slightly old fashioned and admirable. In a show otherwise dominated by talk of 'smart' everything, from kitchens to cookers and intelligent mirrors, the announcement of a new turnable was a refreshing distraction and acknowledgement that not everything has to be digital.

Elsewhere in its show Panasonic announced 'Nubo', a 4G camera and security system for indoor and outdoor use, and its first commercial 4K OLED TV, the CZ950, which it said was tuned by Hollywood colourist Mike Sowa.

Mais info no site da WIRED

Tuesday, September 1, 2015

Scratching On Controllers: 7 Myths Busted (by Digital DJ Tips)

Excelente matéria publicada pelo site DIGITAL DJ TIPS !
Reproduzo o texto na íntegra (em inglês), na qual vários mitos sobre fazer Scratch em controladore MDI são desmistificados.
Vale a leitura!

So have you ever believed those who say it's not possible to scratch well on DJ controllers, or DJ controller scratching will never be taken seriously? Read on, you may just be surprised...


As many of you will unfortunately be only too aware, there’s a whole army of haters out there, continually bashing digital DJs and controllerists because they don’t use vinyl or didn’t “come from” vinyl. And nowhere is this more true than among a certain section of scratch DJs. The standard line is that we shouldn't care what they think, blah blah, but actually I do, and I'll tell you why: Because as a scratch tutor, I know first-hand that the "hate talk" puts people off trying - and that cant be left unchallenged.
As I learned to scratch in the late 1980s, on the one hand this talk doesn't affect me as much as most, but on the other, it surprises me more than most! Sure, I earned my stripes in the vinyl days, and yeah it was cool - but you want to know something? It wasn’t cool because we used vinyl, it was cool in spite of the fact we had to use vinyl! We had no choice other than to deal with ridiculous prices, warping, jumping, hissy sound, the weight, the size, the excess luggage costs, the risk of damage or loss. If it could have been as simple as digital “back in the day”, would we have wanted it? I would have - in a heartbeat.
House music legend MK laid into "DJs who've been playing 20 years who look down on anything else but vinyl", in a promo video for Native Instruments. It's what we at DDJT have always believed: that far from holding you back as a DJ, digital can make it all more exciting, interesting, creative and fun for you.
But what about scratching? You have to learn to scratch with vinyl, surely? Wrong... as someone who's taught thousands of DJs to scratch in our Scratching For Controller DJs course (which is coming back soon, by the way), I know this to be untrue, and this is what I want to tackle today. Too many DJs feel restricted from getting started learning to scratch on DJ controllers because they think "you have to learn on vinyl first”. So, let's deal with the most common misconceptions about scratching using DJ controllers.
(By the way, if you saw this post last year, I've added some new ones and updated the existing five, to bring it bang up to date...)

7 scratch myths busted

1. Scratching on a controller doesn't sound the same as on vinyl

Actually, that’s correct to a certain extent, but not for the reasons the purists believe. When you scratch on a controller the sound doesn’t jump and, assuming your track sounds clean to begin with, there are no hisses or crackles. The sound you are scratching will not degrade in quality the more you scratch with it, and you don’t get any bass rumble or feedback through the system (all these issues are common with vinyl).
So yes, it’s true, digital scratching doesn’t sound the same as vinyl - for all the right reasons. So what do the naysayers mean when they say this? They’re referring to the “warm” vinyl sound as opposed to digital, about how the digital processing takes the analogue identity out of the sound. Well, if using digital source material is good enough for Qbert, Craze, DJ Angelo, Shiftee and Jazzy Jeff, then this myth is most definitely busted. Check out scratch legend D-Styles using a Vestax Spin and Djay4 in a head-to-head battle with a vinyl DJ:


2. Latency means you can't do really fast scratching

Digital latency can be an issue when you are using a controller that was not designed to be integrated with a particular software application, but if you’re using a controller / software combination that was designed to play nicely together, chances are this simply won’t be an issue for you.
For example the Traktor S4 or S2 paired with Traktor Pro 2 software has incredibly tight integration for super-fast scratches and cuts, same with the Reloop Terminal Mix series and Serato DJ - you get the idea. Put bluntly if your scratches don’t sound right, it’s because you’ve either got the settings wrong or you need to practise! Check out these scratch DJs from San Diego putting the S4 through its paces and ask yourself if you still believe this myth. As DJ Happee says himself: “I guess live shows will never be the same again...”

Also, check out this dude on the DDJ-SX:

3. You can't scratch on cheap gear and/or small jogwheels

This myth applies to DJing overall, that you won’t be a “good DJ” if you only have entry-level gear. The manufacturers are clearly not going to do anything to talk you out of this mindset, hoping you will continually upgrade in the quest to be taken more seriously. I have found some of the best controllers for scratching to be some of the least expensive, the Mixtrack Pro 3 comes to mind as does the Denon DJ MC2000 with its small jogwheels.

As we saw when we busted myth #2, small jogs, like those on the S2 and S4, are no barrier to being able to scratch like a demon. If you’ve got a controller with jogwheels, you can scratch with it - period. Check out this guy scratching, cutting and chirping away on a Mixtrack Pro: You can pick these up for US$50 on ebay and the Mixtrack Pro 3 is also fantastically capable at around $200:

4. You can't "beatjuggle" without spinning visual cues

Beatjuggling is tricky, whether it’s on vinyl or not, it takes incredible coordination, rhythm and practice. When DJs beat juggle on vinyl, they use marks on the record labels to be able to give themselves a visual cue of the position of the record. And those records are constantly spinning. In general this is not available to controller DJs, it’s replicated on some DJ controllers, like the LED lights on some Reloop and Pioneer models, and the spinning platters on the Numark NS7III, but is not the norm, and is mostly only available on more expensive units.
So can beatjuggling, and the more advanced techniques like “chasing” be done on a normal controller? You guessed it, absolutely yes, and DJ Wreckdown is going to bust this myth for us in the following video, with his awesome routine on the Denon MC3000 and Traktor (also proving that some non-Native controllers work great with Traktor too!):

5. Scratching on a controller is not like “performing” on turntables

The extent to which you are “performing” depends entirely on you... it doesn’t matter what set-up you’re using. One of the best party-rocking performance DJs out there is DJ Angelo, and as part of his sometime role of brand ambassador for Reloop he has put together mind-blowing routines using controllers that showcase not only his own abilities, but the capability of the gear too.
This landmark demo he did for Reloop at Musikmesse in 2013 is an absolute masterclass in music programming, scratching, beatjuggling, controllerism and DJ performance, not limited in any way by using a controller, or indeed limited in his mindset. His enthusiasm (even in the sterile environment of an exhibition hall during the day) is as infectious as his skills are impressive:

6. You can't scratch with house or trance music

There's no denying that scratching came from, and is still most widely used in, hip hop, but there seems to be an assumption that if you DJ with any other genre, then there's no place for scratching. Well there are plenty of DJs who don't agree.
James Zabiela has always pushed the boundaries of performance in his DJing, and scratching has always been a big part of it, and a massive contributory factor to his rise to fame. He understood very early on that you need to show that you're in control at the decks. He says: "It’s important to give your audience something to look at as well. I always really enjoy looking at those DMC tapes where the DJs are like scratching with snooker cues. That’s totally out of my league but it’s great to watch. I think somewhere in between that and the sort of smooth Sasha mixing is somewhere where I’m heading. Somewhere in between."
James is a true multi-genre DJ but plays mostly house / techno tempo, and uses scratching, combined with loops and FX to devastating effect in his sets, check out what he describes as a "mess about" here using Pioneer CDJs and the RMX1000:
Another house DJ who leverages the power of scratching is legend of the genre Terrence Parker. Inspired by Grandmaster Flash when he was young, he decided that scratching would always be a part of his DJ performances: "When I first stared DJing, and actually developing my style, it was very important for me to show people that I'm actually working."
Here he is cutting, scratching and juggling his own house tunes in his "masterclass" video that truly busts this myth:

7. You'll never be respected scratching on digital gear

As we said right at the start, there will always be haters, but the tide is turning. More and more "proper" scratch DJs are acknowledging that it doesn't matter what gear you use, it's the skills you display that count. Even the DMC World DJ championship is now getting respected entires from DJs using controllers - check out The Abbot from New Zealand rocking his Pioneer DDJ-SZ for his round six entry for this year's competition, even goading viewers in the comments under his own video saying: "Waiting for the controller haters..." :)
Busting the last of our myths is the incredible "Saturday Super Session" videos - put together by Dutch DJ TLM, where 56 DJs from over 30 countries all submitted a scratch session using the same beat and whatever gear they wanted... iPads, cheap controllers, expensive controllers, CDJs, turntables, DVS - the whole lot!
This acceptance of DJs into the scratch community no matter what gear they're using is growing day by day, as DJ TLM says: "In this video everyone's using they're own thing to get the job done, and to me it's pretty cool to see how everyone uses their equipment. I didn't want this just to be a session with the top guys doing all kinds of intricate cuts and scratches on vinyl only. There's DJs in there doing really basic scratches, but they're doing them in a neat fashion and that's all that counts."
Check out the session here:

A word on DVS...

So what about DVS (digital vinyl systems)? This is vinyl, right? Well yes, but with some significant differences that only digital can bring. Most of the top-flight scratch DJs use this system by default now, and why? Because they only need carry maximum of four records (one timecode vinyl for each deck, and maybe two spares), and if the records get scratched, warped, broken or stolen, they are easily replaced while the music collection is not compromised in any way (always back up your music!) DVS even deals with jumping needles - the needle can be jumping all over the place but the audio stays solidly locked in the groove, opening the artform up to faster and faster techniques.
Another reason DVS is so widely used is it means the DJ can continue to use the medium he or she learned on. Think about it, if you drive an automatic car all your life, you can’t just jump into a stick shift manual car and expect to nail it straight away. DVS is "digital in the comfort zone" for scratch DJs, but as DJ Angelo (who also uses DVS) proved earlier, the skills are totally transferrable to controllers.
Check out Qbert & Revolution’s mastery of DVS here:

Finally...

For those DJs who want to be vinyl-only, who love vinyl and all its history… If it feels more “real” to you, that’s cool, follow your heart and spread a positive message about the thing you’re passionate about. If people concentrated more on loving what they do, and less on hating what others do, then a common respect among DJs would exist that’s sadly sometimes lacking.
And if you want to learn to scratch, but can only get your hands on a $50 controller and some type of "intro" software, get started today... you have no excuse not to, especially now you know there’s nothing stopping you other that your own fears and the attitudes of a small number of "vinyl snobs" who will probably always be there. Why let such things hold you back?

Mais informaçoes e cursos de Scratch AQUI

Thursday, August 27, 2015

Pioneer’s XDJ-RX: End Of The DJ Controller Era? (By DJ Tech Tools)

Excelente matéria publicada pelo site DJ TechTools, que reproduzo integralmente aqui.
Fala sobre o possível futuro da tecnologia MIDI, cujos sinais da indústria parecem mostrar o que a prática já dizia: menos é mais (no que tange a gadgets pra se colocar numa cabine de dj exígua).
Segue o texto (em inglês) na íntegra: 

Pioneer’s XDJ-RX: End Of The DJ Controller Era?

Earlier this month, we wrote about Pioneer’s upcoming Rekordbox DJ software – but the truth is, we’ve already seen what DJ software from Pioneer will look like. The XDJ-RX has a complete DJ software right inside of its 8″ high-resolution screen, allowing browsing, cues, loops, rolls, FX, and more. In this article we break down how the XDJ-RX is poised to become the digital DJ hardware of the future – and what obstacles Pioneer still faces.
Pioneer has built an incredible unit with this “standalone DJ system”, which easily wins the prize of best non-controller for all-in-one DJ products yet. The DJ world has seen a number of half-baked attempts at complete digital DJ systems – from the Stanton’s SCS.4DJ, to the Pacemaker hardware, to even Pioneer’s own XDJ-R1 in 2013. The truth is none of them succeeded at changing the game because they were usable but not well-polished.

xdj-r1-pacemaker-scs4dj
The “also-ran” products of the standalone digital DJ world

But Pioneer has been building a best-in-class digital DJ workflow on the CDJ-2000Nexus and XDJ-1000 units. It’s simple and intuitive for anyone from any DJ background – so when they decided to build new standalone all-in-one, adopting that exact workflow made sense.
So will the XDJ-RX replace traditional DJ controllers like the Kontrol S4 or Mixtrack Pro? Here’s what Pioneer is doing right on this unit that makes it such a powerful competitor:

XDJ-RX Is A Club DJ Setup For Bedroom DJs

Immediately clear just from looking at the XDJ-RX is how much it mirrors the layout of two CDJs and a two-channel version of a DJM-900. This standardized layout means that there’s a “cross-compatibility” of sorts when it comes to DJ skills:
  • beginners learning on the XDJ-RX will be able to quickly adapt to a club setup
  • experienced club DJs will be able to quickly use most of their same skills and techniques on an RX unit
We’re pretty sure Pioneer very carefully thought about this concept (skills that translate from bedroom to club) a lot when making this piece of gear – because the truth is that bedroom DJs are where most sales of DJ controllers come from. By and large, professional DJs (a much smaller market) are either using a modular setup or some kind of CDJ/mixer combo.

Solid Setup For Mobile DJs

At a mobile gig - the less stuff to connect (while still looking pro) - the better!
At a mobile gig – the less stuff to connect (while still looking pro) – the better! (photo via DJ)

The second big market for DJ controllers? Mobile DJs. Tons of gear is sold every year to DJs that are playing mobile gigs for decent cash – weddings, birthdays, corporate parties, etc. These DJs are constantly looking for their ultimate piece of gear which usually entails:
  • quick + minimal setup required
  • microphone input
  • limited cords
  • looks professional
The RX hits each of these solidly, and has the added bonus of removing the laptop from the equation. There’s one less thing to worry about – and no chance you’ll have anyone wondering why you’re not a “real DJ” or that you “look like you’re checking your email.
The big drawback here for mobile DJs is portability – the RX isn’t quite as thin as traditional controllers, and weighs in at 8 pounds – a bit heavier than most. You also have no backup systems besides the unit itself, but if for some reason your USB sticks aren’t loading correctly, the unit can run as a standalone DJ mixer.

Get Advanced: Pioneer Color / Beat FX

best-of-fx-xdj-rx
It feels like Pioneer played “Survivor” with their FX and only let the best ones stay on the RX island.

Even though the XDJ-RX is great for beginners, it also has enough advanced features that you can practice more challenging techniques. The FX are especially nice – it feels like Pioneer has slimmed down the Beat and Color FX to the most useful options on any of the DJM mixers.
Want to try your hand at the Spiral effect, or play with Noise for a wash? No problem. Pioneer has even moved all the Beat FX rate displays to the main screen for super easy reference – this means less looking around to see how your FX settings are set before activating one.

Adoption of Best Industry Features

Record a set directly to your USB drive
Record a set directly to your USB drive

Here’s the case for why Pioneer’s XDJ-RX is not just a good product, but a sign of the direction of the future of DJ gear: they are stealing great ideas from other DJ gear. So many companies in the DJ industry seem afraid/hesitant to incorporate great ideas that they didn’t come up with. In the RX, Pioneer has added:
  • Parallel waveforms: even the other DJ gear that has screens on them seems to be keeping the waveforms separated (we’re looking at you, Kontrol S8) – and Pioneer has never really had two waveforms side-by-side except for in the Rekordbox software. Virtual DJ and Serato DJ owners often rave about their waveform layouts that allow quick visual mixing if they need it, so it’s no surprise that Pioneer added this.
  • Recording on the USB stick: this might be an industry first, but having dual USB ports and the ability to record your set on the one in the second port (yes, you can load tracks from it at the same time) is a major win. We want to see this on other Pioneer DJ gear ASAP, please.
The familiar bottom-of-deck controls from the DDJ line...
The familiar bottom-of-deck controls from the DDJ line…
  • DDJ-SX style buttons at the bottom of each deck: Pioneer has put a lot of work into building a memorable set of controls at the bottom of each controller. They’re at home on the RX, and we suspect it might be a sign that we’ll soon see a new CDJ/XDJ controller that has those same buttons on it below the platter..

What Still Needs Work On The RX

Despite being conceptually a DJ product that could take out all-in-one style controllers, there’s a few areas where the XDJ-RX needs a lot of work to make it able to compete:
  • Jog wheels aren’t platinum status: One of the biggest sells for the high-end CDJ-900/2000/XDJ-1000 lines are the quality of the jogwheels. They’re pleasantly hefty mixing tools that feel great. The XDJ-RX’s jogs are about what you get on the DDJ-SR/SX, not especially heavy but “good enough”. It’s particularly hard to do a long backspin on these with just a flick of the hand; they seem to have a limited range just from a single touch. Minor quibble, but enough to notice and consider going for a higher end product instead.

Cue/slice buttons should feel great - not ok.
Cue/slice buttons should feel great – not ok.
  • Plastic cue/loop/slice buttons: We’re not very big fans of plastic buttons – and while the buttons at the bottom of each deck on this gear are responsive, they’re not really fun to use or easy to juggle with. Many all-in-one controllers do a lot better.
  • Beatmatching: Lining up tracks on the RX is different from all Pioneer gear – it’s way more “elastic” feeling. My experience was that unless you had Sync enabled, using the waveforms to mix was difficult as two beatmatched tracks only seemed lined up at the playhead – not ahead or behind it. As always, trust your ears before anything else – but this still felt weird.
XDJ-RX to scale
XDJ-RX to scale next to CDJ-900Nexus, PLX-1000 turntable
  • Portability / Club-Readiness: This gear is really ideal for house parties, home studios, and maybe a mobile gig – but there’s no way you’re going to be able to clear almost 2.5 feet of width in most DJ booths for your gear. This is why small modular DJ gear will always win in a club setting – you can fit your gear in the booth!

Who’s Next?

Looking toward the future, we suspect that both NI and Serato must have their eyes on their own brands of standalone DJ gear:
Thinking of buying an XDJ-RX? Please support DJTT and purchase it in our store


Leia mais sobre tecnologia DJ no site DJ TECHTOOLS

Wednesday, August 12, 2015

Novo software Rekordbox revelado!

E o site Digital DJ Tips conseguiu uma foto do software para djs Rekordbox
que a Pioneer está preparando.
Parecido com o Serato, na minha opinião.
Certo que testarei...aguardando ansiosamente!

Mais info AQUI

Tuesday, August 4, 2015

Novidade da Pionner chegando!

O que será que a Pioneer está preparando?

Thursday, July 30, 2015

E a Pionner vai revolucionar! Rekordbox Performace vem aí!

E o Rekordbox da Pioneer vai virar software independente como Traktor, Serato, etc...
Vai se chamar REKORDBOX PERFORMANCE!
Movimento genial da Pionner!
Tá no ar um teaser pra dar água na boca...
Aguardemos!


Mais info (em inglês) AQUI

Tuesday, June 30, 2015

STEMS! Será que vem uma revolução por aí?

E tá previsto para o verão europeu o lançamento pra valer da nova ferramenta para djs da já consagrada Native Instruments.
Confesso que estou curioso pra ver este novo formato na prática...
Acredito que pode vir a ser uma revolução neste já hiper super concorrido DJ Business e pode ser uma ótima ferramenta pra dar aquele brilho a mais nos sets!
O vídeo abaixo é bem interessante, um webcast que foi ao ar no dia 17/06 com o cara da Native, Chad Carrier, direto de Berlin.
No video ele mostra como funciona e responde perguntas (in english of course)
Dá um conferes ae:



Mais informação específica sobre o formato no site STEMS

Monday, April 13, 2015

Crystall Ball!

E mais um MIDI controller bacana pro dj/músico que quer ampliar os horizontes de performance.
Interessante o design e fácil configuração.
Bem legal!

Saturday, April 6, 2013

Tuesday, October 18, 2011

PICratchBOX - controllerism and turntablism in one box

Basically, it's a small mixer style controller. No audio interface, but all hand built to ensure quality. This also includes Infinium faders throughout. But it's under the hood where the tech magic happens. As well as supporting MIDI, it also runs with OSC - a MIDI-like protocol that apparently offers far more flexibility.




More info : http://www.skratchworx.com/newspage.php4?fn_mode=comments&fn_id=1821

Monday, January 31, 2011

One toy to play with Traktor


True two-in-one control


Otus RAW is a 2-in-1 DJ controller with tough, battle-hardened design. The integrated multichannel audio interface which enables the artist to play two virtual decks, sturdy pitch sliders, high resolution 7.5" scratch wheel and other fully configurable innovative controls make Otus RAW a robust tool for the dirty work.

Designed to Rock the House


All the controls are designed for extreme robustness and quality. As with our Otus Dualdeck, the layout of the controls is optimized both for usability and show factor. The controls are backlit with bright LED's for easy utilization in poorly illuminated situations. Extra physical controls and selectors are provided for tactile response.

Otus RAW is also designed to fit on top of a standard vinyl turntable. This makes it easy to quickly plug in into an existing setup. Otus RAW weights 2kg, so it's firm and sturdy but still retains its portable nature.

Compared to Otus Dualdeck


In designing the Otus RAW we decided to trade in some of the Dualdeck's futuristic control flexibility for extra hands-on feel with two heavy-duty, physical pitch sliders, enlarged custom buttons and velocity-sensitive rubber pads for banging the beat. The RAW is the tool for exercising both your muscles and muscle memory - playing it live and RAW.

More info: http://eks.fi

Friday, November 26, 2010

Review - Kontrol X1

Very intesting toy...



Credits: http://skratchworx.com

Thursday, November 25, 2010

F**ckin cool!