hiedamusic

Apple iPod touch 64 GB 4th Generation (White)

2011-12-17T16:51:00.000-08:00

Apple iPod touch 64 GB 4th Generation (White)
by Apple

The world's most popular portable gaming device is even more fun. Now available in black and white, iPod touch includes iOS 5 with over 200 new features, like iMessage, Notification Center, and Twitter integration. Send free, unlimited text messages over Wi-Fi with iMessage. Record HD video and make FaceTime calls. Visit the App Store to choose from over 500,000 apps. iPod touch also features iCloud, which stores your music, photos, apps, and moreÑand wirelessly pushes them to all your devices.

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Samsung Galaxy 5.0 Android MP3 Player

2011-12-17T16:50:00.000-08:00

Samsung Galaxy 5.0 Android MP3 Player
by Samsung

Surf the Internet, take photos, play games, and carry your music, videos, and other media wherever you go with the Samsung Galaxy Player 5.0. Powered by Android 2.3.5, the player features a 1 GHz processor, a beautiful 5-inch touchscreen, and front- and rear-facing cameras. It also gives you access to over 250,000 apps including games, productivity software, and more.

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iHome iH15 LED Color-Changing Speaker System with Built-In Subwoofer for iPod

2011-12-08T00:20:00.000-08:00

iHome iH15 LED Color-Changing Speaker System with Built-In Subwoofer for iPod
by iHome

A colorful way to enjoy your favorite tunes, the iHome iH15W is a compact, illuminated cube and iPod speaker dock. Set it to one color to match your mood, or cycle through the colors for a little fun.The iH15W is a small 5.5-inch cube with handy carrying handles and internal adjustable lighting. Change the translucent cabinet to match your mood or the current song. Feeling blue Go with blue. Not easy being green Try green. A cowardly yellow Well, you get the idea.

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iHome iA9BZC App-Enhanced Dual Alarm Clock Radio for iPhone/iPod with AM/FM presets (Black)

2011-12-08T00:19:00.000-08:00

iHome iA9BZC App-Enhanced Dual Alarm Clock Radio for iPhone/iPod with AM/FM presets (Black)
by iHome

The iA9 is an innovative clock radio for iPhone and iPod designed to take advantage of our iHome and Sleep and iHome and Radio apps. The iA9 allows you to wake to custom iPod or iPhone playlist at different times on different days with our 7-5-2 feature, and to set custom alarms with the iHome and Sleep app. The iA9 also includes AM or FM presets, international radio band select, EQ controls and 3D sound and Reson8 sound technology for an exceptional audio experience.

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Philips AS351/37 Fidelio Docking Speaker for Android

2011-12-01T04:02:00.000-08:00

Philips AS351/37 Fidelio Docking Speaker for Android
by Philips

This speaker delivers superb sound in great style. Dock your Android phone to play and charge, or charge a second device via USB. The speaker comes with Songbird for easy synchronization of music between your phone and PC. The gaming experience is never complete without great sound effects. Now your iPad, iPhone or iPod Touch games can be made even more thrilling - thanks to this Fidelio docking speaker that puts the boom into the sound. Hear all the sounds loud and clear, and boost your experience to new levels. What's more, you can do this with outstanding convenience, via Bluetooth. Simply make the wireless Bluetooth connection between your portable device and the docking speaker, and play away. The Philips Fidelio app brings a myriad of unique features to Fidelio docking speakers. You can listen to thousands of Internet radio stations worldwide, browse through your music collection and share what you are listening to with friends via Facebook, or photos of the artist on Flickr. The app comes with Songbird music function, so you can discover, play and sync media seamlessly between PC and Android devices. In Clock mode, the app lets you set multiple customized music alarms and gives updated weather reports. Completely free, the app can be downloaded from the Android Market. Songbird is a simple, easy-to-use PC program and Android app. It lets you discover and play all your media, and sync it seamlessly with your PC. Its intuitive and powerful music management features let you discover new artists and music styles directly in the program through music and media stores, services and websites. Play your own library and media from the Internet and seamlessly sync all of it from your PC to your Android devices.

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Philips AS111/37 Fidelio Docking Speaker for Android

2011-12-01T04:01:00.000-08:00

Philips AS111/37 Fidelio Docking Speaker for Android
by Philips

Get great sound as this speaker plays and charges your Android phone, and auto- synchronizes its clock with your device. Songbird comes packaged so you can sync music between your phone and PC, and a free Fidelio app for even more functions. The Philips Fidelio app brings a myriad of unique features to Fidelio docking speakers. You can listen to thousands of Internet radio stations worldwide, browse through your music collection and share what you are listening to with friends via Facebook, or photos of the artist on Flickr. The app comes with Songbird music function, so you can discover, play and sync media seamlessly between PC and Android devices. In Clock mode, the app lets you set multiple customized music alarms and gives updated weather reports. Completely free, the app can be downloaded from the Android Market. Songbird is a simple, easy-to-use PC program and Android app. It lets you discover and play all your media, and sync it seamlessly with your PC. Its intuitive and powerful music management features let you discover new artists and music styles directly in the program through music and media stores, services and websites. Play your own library and media from the Internet and seamlessly sync all of it from your PC to your Android devices.

For more details about this product, please click here.

Philips AS140/37 Fidelio Docking System for Android

2011-12-01T04:00:00.000-08:00

Philips AS140/37 Fidelio Docking System for Android
by Philips

This system plays and charges your Android phone, and even wakes you up with songs from your phone or radio. Download the free Fidelio app that comes with Songbird music function to enjoy great music management and more unique features. The Philips Fidelio app brings a myriad of unique features to Fidelio docking speakers. You can listen to thousands of Internet radio stations worldwide, browse through your music collection and share what you are listening to with friends via Facebook, or photos of the artist on Flickr. The app comes with Songbird music function, so you can discover, play and sync media seamlessly between PC and Android devices. In Clock mode, the app lets you set multiple customized music alarms and gives updated weather reports. Completely free, the app can be downloaded from the Android Market. Songbird is a simple, easy-to-use PC program and Android app. It lets you discover and play all your media, and sync it seamlessly with your PC. Its intuitive and powerful music management features let you discover new artists and music styles directly in the program through music and media stores, services and websites. Play your own library and media from the Internet and seamlessly sync all of it from your PC to your Android devices. Start your day right by waking up gently to a gradually escalating alarm volume. Normal alarm sounds with a preset volume are either too low to wake you up or are so uncomfortably loud that you are rudely jolted awake. Choose to wake up to your favorite music, radio station or buzzer alarm. Gentle wake's alarm volume gradually increases from subtly low to reasonably high in order to gently rouse you.

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Apple iPod touch 64GB (4th Generation) - Black - Current Version

2011-11-12T19:28:00.000-08:00

Apple iPod touch 64GB (4th Generation) - Black - Current Version
by Apple

Apple iPod touch 32 GB 4th Generation (White)

2011-11-12T19:27:00.000-08:00

Apple iPod touch 32 GB 4th Generation (White)
by Apple

Bose® QuietComfort® 15 Acoustic Noise Cancelling® Headphones NEWEST MODEL

2011-11-12T19:26:00.000-08:00

Bose® QuietComfort® 15 Acoustic Noise Cancelling® Headphones NEWEST MODEL
by Bose

QuietComfort 15 headphones feature exclusive Bose advancements in noise reduction technology. You hear less noise and more of your music and movies-with quality sound and a long-lasting comfortable fit. You won't find this combination of benefits in any other headphone.

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Apple 8 GB iPod touch 4G - White (Newest Model)

2011-11-11T03:52:00.000-08:00

Apple 8 GB iPod touch 4G - White (Newest Model)
by Apple

iPod touch has one-year limited warranty.
iPod touch supports for AAC, Protected AAC (iTunes Store) and other audio formats, H.264, MPEG-4, and Motion JPEG video codecs in M4V, MP4, MOV, and AVI formats.
iPod touch plays up to 40 hours of audio playback or 7 hours of video playback on a single charge.
iPod touch has 8 GB capacity for about 2,000 songs, 10,000 photos, or 10 hours of video.
iPod touch has a 3.5-inch (diagonal) widescreen Multi-Touch display with 960-by-640-pixel resolution (326 pixels per inch).

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Apple iPod touch 32GB (4th Generation) - Black - Current Version

2011-11-11T03:50:00.000-08:00

Apple iPod touch 32GB (4th Generation) - Black - Current Version
by Apple

32 GB capacity for about 8,000 songs, 40,000 photos, or 40 hours of video
Up to 40 hours of audio playback or 7 hours of video playback on a single charge
3.5-inch (diagonal) widescreen Multi-Touch display with 960-by-640-pixel resolution (326 pixels per inch)
Support for AAC, Protected AAC (iTunes Store), MP3, MP3 VBR, Audible, Apple Lossless, AIFF, and WAV audio formats; H.264, MPEG-4, and Motion JPEG video codecs in M4V, MP4, MOV, and AVI formats
One-year limited warranty
It has 32 GB capacity for about 8,000 songs, 40,000 photos, or 40 hours of video
It has up to 40 hours of audio playback or 7 hours of video playback on a single charge
It has 3.5-inch (diagonal) widescreen Multi-Touch display with 960-by-640-pixel resolution (326 pixels per inch)
Support for AAC, Protected AAC (iTunes Store), MP3, MP3 VBR, Audible, Apple Lossless, AIFF, and WAV audio formats, H.264, MPEG-4, and Motion JPEG video codecs in M4V, MP4, MOV, and AVI formats
It has one-year limited warranty

For more details about this product, please click here.

Apple iPod touch 8GB (4th Generation) - Black - Current Version

2011-11-11T03:47:00.000-08:00

Apple iPod touch 8GB (4th Generation) - Black - Current Version
by Apple

Transform (scratch)

2010-05-29T01:23:00.001-07:00

A transform is a type of scratch used by turntablists. It is made from a combination of moving the record on the turntable by hand and repeated movement of the crossfader.

Creation

Most famously associated with DJ Jazzy Jeff. The name comes from its similarity to the sound made by the robots in the 80s cartoon, The Transformers.

Technique

This scratch is achieved by moving a sound with your record hand while repeatedly tapping the fader to cut the sound in and out in sequence with your fader hand as the sound plays. A transform scratch should begin with the sound off tapping the fader once you want the effect/sound to start. Imagine the crossfader as a button, and your thumb as the spring (or vice versa if you scratch hamster style). What you would be doing is tapping the button repeatedly as the sound plays giving a stuttering or tremolo type effect.

From Wikipedia, the free encyclopedia

Traktor Scratch

2010-04-25T06:50:00.000-07:00

Traktor Scratch is a computer hardware and software package for hands-on control of digital audio playback. It functions as vinyl emulation software, but is also capable of control through time-coded CDs, or plain software-based audio playback.

Traktor Scratch is produced by Native Instruments, who released it in May 2007. Their Traktor DJ Studio software line was previously the official software for Stanton Magnetics' Final Scratch hardware, but the companies severed their relationship in late 2005. Traktor Scratch is a direct competitor to Serato Scratch Live and Stanton Final Scratch.

From Wikipedia, the free encyclopedia

Texmex Productions

2010-04-22T04:58:00.000-07:00

Texmex Productions was one of the first DJ companies in the Dallas/Fort Worth Metroplex. It was founded by Donny Reed Jr. and Luther Romo in the 1970s.

From Wikipedia, the free encyclopedia

Tear (scratch)

2010-04-17T09:28:00.001-07:00

A tear is a type of scratch used by turntablists. It is made from moving the record on the turntable by hand.

Technique

The tear is much like a baby scratch in that one does not need the fader to perform it, but unlike a baby scratch, when the DJ pulls the record back he or she pauses his or her hand for a split second in the middle of the stroke. The result is one forward sound and two distinct backward sounds. This scratch can also be performed by doing the opposite and placing the pause on the forward stroke instead. A basic tear is usually performed with the crossfader open the entire time, but it can also be combined with other scratches such as flares for example by doing tears with the record hand and cutting the sound in and out with the fader hand.

From Wikipedia, the free encyclopedia

Slip-cueing

2010-04-12T10:09:00.000-07:00

Slip-cueing is a turnable-based DJ technique that consists of holding a record still while the platter rotates underneath the slipmat and releasing it at the right moment. This way the record accelerates to the right speed almost immediately, without waiting for the heavy platter to start up. Slip-cueing was introduced to the disco scene by Francis Grasso.

“ Francis was the first DJ to perfect the current technique for stitching records together in seamless sequences. He invented the trick of "slip-cueing"; Holding the disc with his thumb while the turntable whirled beneath insulated by a felt pad, he would locate with an earphone the best spot to make the splice, then release the next side precisely on the beat. When he got Thorens turntables with speed controls, he supplemented his cuing technique with speed changes that enabled him to match up the records perfectly in tempo ”

~ Goldman 1978

While the technique of slip cueing had originated in the broadcast industry several years before, it was Francis Grasso who changed the style by releasing the next song on beat, creating a continuous flow of music for a nightclub dance floor.

From Wikipedia, the free encyclopedia

Scratching

2010-04-09T19:00:00.000-07:00

Scratching is a DJ or turntablist technique used to produce distinctive sounds by moving a vinyl record back and forth on a turntable while manipulating the crossfader on a DJ mixer. While scratching is most commonly associated with hip hop music, since the 1990s, it has been used in some styles of pop and nu metal. Within hip hop culture, scratching is one of the measures of a DJ's skills, and there are many scratching competitions. In recorded hip-hop songs, scratched hooks often use portions of different rap songs.

History

Scratching was developed by early hip hop DJs from New York such as Grand Wizard Theodore and DJ Grandmaster Flash, who describes scratching as, "nothing but the back-cueing that you hear in your ear before you push it the recorded sound out to the crowd." (Toop, 1991). Jamaican-born DJ Kool Herc also influenced the early development of scratching. Kool Herc developed break-beat DJing, where the breaks of funk songs—being the most danceable part, often featuring percussion—were isolated and repeated for the purpose of all-night dance parties (AMG).

Although previous artists such as William S. Burroughs had experimented with the idea of manipulating a record manually for the sounds produced (such as with his 1950s recording, "Sound Piece"), scratching as an element of hip hop pioneered the idea of making the sound an integral and rhythmic part of music instead of uncontrolled noise.

Grandmaster Flash was the first person to release a song with scratching on it in 1981 on the album The Message on the song 'The Official Adventures of Grandmaster Flash on the Wheels of Steel." Scratching (and sampling) later gained mainstream popularity in the UK and Europe from the 1987 hit "Pump Up The Volume" by M/A/R/R/S.

Christian Marclay was one of the earliest musicians to scratch outside of hip hop. In the mid-1970s, Marclay used gramophone records and turntables as musical instruments to create sound collages. He developed his turntable sounds independently of hip hop DJs. Although he is little-known to mainstream audiences, Marclay has been described as "the most influential turntable figure outside hip hop."and the "unwitting inventor of turntablism."

Basic techniques

Vinyl recordings

Most scratches are produced by moving a vinyl record back and forth with the hand while it is playing on a turntable. This creates a distinctive sound that has come to be one of the most recognizable features of hip hop music. Over time with excessive scratching the needle will cause what is referred to as record burn.

The basic equipment setup for scratching includes two turntables, and a DJ mixer, which is a mixer that has a crossfader and "cue" buttons to allow the DJ to "cue up" new music without the audience hearing. When scratching, this crossfader is utilized in conjunction with the "scratching hand" to cut in and out of the scratched record.

Non-vinyl scratching

* CDJs, devices that allow a DJ to manipulate a CD as if it were a vinyl record, have become widely available.
* Vinyl emulation software allows a DJ to manipulate the playback of digital music files on a computer using the turntables as an interface. This allows DJs to scratch, beatmatch, and perform other turntablist maneuvers that would be impossible with a conventional keyboard-and-mouse. Scratch software includes Traktor Scratch Pro, Final Scratch, Mixxx, Serato Scratch Live, Virtual DJ, M-Audio Torq, and Digital Scratch.
* More rarely, DJs do scratching with magnetic tape by recording music onto magnetic stripes and disassembling a cassette tape recorder to play the magnetic stripes.

Sounds

Sounds that are frequently scratched include but are not limited to drum beats, horn stabs, spoken word samples, and lines from other songs. Any sound recorded to vinyl can be used, and CD players providing a turntable-like interface allow DJs to scratch not only material that was never released on vinyl, but also field recordings and samples from television and movies that have been burned to CD-R. Some DJs and anonymous collectors release 12-inch singles called battle records that include trademark, novel or hard-to-find scratch fodder. The most recognizable samples used for scratching are the "Ahh" and "Fresh" samples, which originate from the song "Change the Beat" by Fab 5 Freddy.

There are many scratching techniques, which differ in how the movements of the record is combined with opening and closing the crossfader (or another fader or switch, where "open" means that the signal is audible, and "closed" means that the signal is inaudible). This terminology is not unique; the following discussion, however, is consistent with the terminology used by DJ Q-Bert on his Do It Yourself Scratching DVD.

Sophisticated techniques

* Baby scratch - The simplest scratch form, it is performed with the scratching hand only, moving the record back and forth in continuous movements while the crossfader is in the open position.
* Forward and backward scratch - The forward scratch, also referred to as "cutting", is a baby scratch where the crossfader is closed during the backwards movement of the record. If the record is let go instead of being pushed forward it is also called "release scratch". Cutting out the forward part of the record movement instead of the backward part gives a "backward scratch".
* Tear Scratch - Tear scratches are scratches where the record is moved in a staggered fashion, dividing the forward and backward movement into two or more movements. This allows creating sounds similar to "flare scratches" without use of the crossfader and it allows for more complex rhythmic patterns. The term can also refer to a simpler, slower version of the chirp.
* Scribble scratch - The scribble scratch is performed without the crossfader, and is performed by tensing the forearm muscles of the scratching hand and rapidly jiggling the record back and forth.
* Chirp scratch - The chirp scratch involves cutting off the reversing sound with the crossfader while performing a baby scratch. When performed quickly, this creates a "chirping" noise. When performed using a recording of drums this allows creating the illusion of doubled scratching speed, due to the attack created by cutting in the crossfader on the backward movement.
* Hydrophonic Scratch - is a baby scratch with a "tear scratch" sound produced by your thumb running the opposite direction as your scratch fingers. This rubbing of the thumb adds a vibrating effect or reverberation to forward movements on the turntable.
* Transformer scratch - with the crossfader closed, the record is moved with the scratching hand while periodically "tapping" the crossfader open and immediately closing it again.
* Flare scratch - it begins with the crossfader open, and then the record is moved while briefly closing the fader one or more times to cut the sound out. This produces a staggering sound which can make a single "flare" sound like a very fast series of "chirps" or "tears." The number of times the fader is closed ("clicks") during the record's movement is usually used as a prefix to distinguish the variations. The flare allows a DJ to scratch continuously with less hand fatigue than transforming. The flare can be combined with the crab for an extremely rapid continuous series of scratches.
* Crab scratch - it consists of moving the record while quickly tapping the crossfader open with each finger of the crossfader hand. In this way, DJs are able to perform transforms or flares much faster than they could by manipulating the crossfader with the whole hand. It produces a fading/increasing transforming sound.
* Twiddle scratch - consists of a two finger Crab Scratch using your index and middle fingers
* Orbit scratch - this term describes any scratch (most commonly flares) that are repeated during the forward and backward movement of the record. Orbit is also used as a shorthand for 2-click flares.
* Tweak scratch - it is performed with the turntable's motor off. The record platter is set in motion manually, then "tweaked" faster and slower to create a songlike scratch. This scratch form is best performed with long, sustained sounds.
* Euro scratch - a variation of the "flare scratch" in which two faders are used simultaneously with one hand to cut the sound much faster. The euro scratch can also be done by using only the up fader and the phono line switch to cut the sound.

Scratching culture

While scratching is becoming more and more popular within pop music, sophisticated scratching is still predominantly an underground style. The Invisibl Skratch Piklz from San Francisco focuses on scratching. In 1994, the group was formed by DJs Q-Bert, Disk & Shortkut and later Mix Master Mike. In July 2000, San Francisco’s Yerba Buena Center for the Arts held Skratchcon2000, the first DJ Skratch forum that provided “the education and development of skratch music literacy”. In 2001, Thud Rumble became an independent company that works with DJ artists to produce and distribute scratch records.

In 2004, Scratch Magazine, one of the first publications about hip-hop DJs and producers, released its debut issue, following in the footsteps of the lesser-known Tablist magazine. Pedestrian is a UK arts organisation that runs Urban Music Mentors workshops for youth in which DJs tell youth how to create beats, use turntables, MC, and perform.

Use outside of hip hop

Scratching has been incorporated into a number of other musical genres, including pop, rock, jazz, heavy metal and classical music performances. For recording use, samplers are often used instead of physically scratching a vinyl record. Rage Against the Machine (and former Audioslave) guitarist Tom Morello performs scratching-inspired guitar solos. In the song "Bulls on Parade", and many other songs in which he solos, he creates scratch-like rhythmic sounds by rubbing the strings over the pick-ups while using the pick-up selector switch as a cross-fader.

Since the 1990s, scratching has begun being used in a variety of popular music genres, such as nu metal acts (like Linkin Park and Limp Bizkit) and in some types of pop music (eg. Nelly Furtado), and in some types of alternative rock or funk metal (eg. Incubus). Some underground and club DJs have derided the use of scratching in these popular genres as mere 'stage-props', to create an appearance or atmosphere on stage. Scratching is also popular in various electronic music styles, most particularly in hard-groove techno.

From Wikipedia, the free encyclopedia

Sampling (music)

2010-04-05T02:27:00.000-07:00

In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a different sound recording of a song. This is typically done with a sampler, which can be a piece of hardware or a computer program on a digital computer. Sampling is also possible with tape loops or with vinyl records on a phonograph. People who sample are commonly referred to as producers or beatmakers. Although beatmaking can be done using various live instruments and synthesizers, sampling is the method most enjoyed by beatmakers.

Often "samples" consist of one part of a song, such as a break, used in another, for instance the use of the drum introduction from Led Zeppelin's "When the Levee Breaks" in songs by the Beastie Boys, Dr. Dre, Eminem, Mike Oldfield, Rob Dougan, Coldcut, Depeche Mode and Erasure, and the guitar riffs from Foreigner's "Hot Blooded" in Tone-Loc's "Funky Cold Medina". "Samples" in this sense occur often in industrial music, often using spoken words from movies and TV shows, as well as electronic music (which developed out of the musique concrète style, based almost entirely on samples and sample-like parts), hip hop, developed from DJs repeating the breaks from songs (Schloss 2004, p. 36), and contemporary R&B, but are becoming more common in other music as well.

Legal issues

Sampling has been an area of contention from a legal perspective. Early sampling artists simply used portions of other artists' recordings, without permission; once rap and other music incorporating samples began to make significant money, the original artists began to take legal action, claiming copyright infringement. Some sampling artists fought back, claiming their samples were fair use (a legal doctrine in the USA that is not universal). International sampling is governed by agreements such as the Berne Convention for the Protection of Literary and Artistic Works and the WIPO Copyright and Performances and Phonograms Treaties Implementation Act.

Early cases

Sampling existing (copyrighted) recordings using manipulation with tape recorders goes back at least as far as 1961, when James Tenney created Collage #1 ("Blue Suede") from samples of Elvis Presley's recording of the song "Blue Suede Shoes." At the time, many artists such as Brion Gysin and William S. Burroughs were experimenting with the new technology that was tape-recording by manipulating existing works such as radio broadcasts. Brion Gysin's work tended to favor his permutation poems as the vehicle for cut-ups with spliced repetition of the same series of words rearranged in every conceivable pattern, frequently utilizing snippets of speeches or news broadcasts. Burroughs preferred a much more frantic and disorganized sound that would later spawn similar disjointed collage material from modern groups such as negativland. Burroughs would record, for instance, a radio broadcast about military action, then dub parts of the broadcast likely at random often stuttering and distorting the original work far beyond comprehension. The Beatles also used the technique on a number of popular recordings in the mid to late '60s, including "Yellow Submarine", "Revolution 9" and "I am the Walrus."

Timothy Leary sampled the Beatles and the Rolling Stones among others on his album You Can Be Anyone This Time Around in 1970.

In the early '70s and early '80s, DJ Kool Herc often looped hard funk break beats at block parties in The Bronx. However, sampling did not truly take off in popular music until the early eighties when pioneering hip hop producers, such as Grandmaster Flash, started to produce Rap records using sampled breaks rather than live studio bands, which had until then been the norm.

Conventional wisdom would hold that the first popular rap single to feature sampling was "Rapper's Delight" by Sugar Hill Gang on their own independent Sugar Hill Label in 1979. However, instead of 'sampling' the existing record "Good Times" by Chic, Sugar Hill employed a house band, called "Positive Force" to record a copy of "Good Times" which was then rapped over. Doug Wimbish and other session musicians were called upon to play live music on many classic Sugar Hill records. Those sounds are not samples but live musicians.

Earliest examples of this practice include Grandmaster Flash's - "The Adventures of Grandmaster Flash on the Wheels of Steel" (1981) (which used the "Apache" break by the Incredible Bongo Bong Band amongst other famous breaks), Brother D and the Collective Effort's "How We Gonna Make The Black Nation Rise" (1984) (which sampled the beat and bass line from Cheryl Lynn's 1978 hit "Got to be Real") and UTFO's "Roxanne Roxanne" (1984). Bill Holt's Dreamies (1974) is often cited as one of the earliest examples of sampling in popular music. Later examples of sampling include Big Audio Dynamite and their 1985 album This Is Big Audio Dynamite and the single E=MC² which Mick Jones (formerly of The Clash) sampled snippets of audio from various films including works by Nicolas Roeg which make up the Roeg homage E=MC². The 1981 album by David Byrne and Brian Eno, My Life in the Bush of Ghosts, used sampling extensively for the songs' vocals.

One of the first major legal cases regarding sampling was with UK dance act M|A|R|R|S "Pump Up the Volume". As the record reached the UK top ten, producers Stock Aitken Waterman obtained an injunction against the record due to the unauthorized use of a sample from their hit single "Roadblock". The dispute was settled out of court, with the injunction being lifted in return for an undertaking that overseas releases would not contain the "Roadblock" sample, and the disc went on to top the UK singles chart. Ironically, the sample in question had been so distorted as to be virtually unrecognizable, and SAW didn't realize their record had been used until they heard co-producer Dave Dorrell mention it in a radio interview.

2 Live Crew, a hip-hop group familiar with controversy, was often in the spotlight for their 'obscene' and sexually explicit lyrics. They sparked many debates about censorship in the music industry. However, it was their 1989 album As Clean as They Wanna Be (a re-tooling of As Nasty As They Wanna Be) that began the prolonged legal debate over sampling. The album contained a track entitled "Pretty Woman," based on the well-known Roy Orbison song of the same name. 2 Live Crew's version sampled the guitar, bass, and drums from the original, without permission. While the opening lines are the same, the two songs split ways immediately following.

For example:

Roy Orbison's version – "Pretty woman, walking down the street/ Pretty woman, the kind I'd like to meet."
2 Live Crew's version – "Big hairy woman, all that hair ain't legit,/ Cause you look like Cousin Itt."

In addition to this, while the music is identifiable as the Orbison song, there were changes implemented by the group. The new version contained interposed scraper notes, overlays of solos in different keys, and an altered drum beat.

The group was sued by the song's copyright owners Acuff-Rose. The company claimed that 2 Live Crew's unauthorized use of the samples devalued the original, and was thus a case of copyright infringement. The group claimed they were protected under the fair use doctrine. The case of Campbell v. Acuff-Rose Music came to the Supreme Court in 1994.

In reviewing the case, the Supreme Court didn't consider previous ruling in which any commercial use (and economic gain) was considered copyright infringement. Instead they re-evaluated the original frame of copyright as set forth in the Constitution. The opinion that resulted from Emerson v. Davies played a major role in the decision.

"In truth, in literature, in science and in art, there are, and can be, few, if any, things, which in an abstract sense, are strictly new and original throughout. Every book in literature, science and art, borrows, and must necessarily borrow, and use much which was well known and used before." Emerson v. Davies,8 F.Cas. 615, 619 (No. 4,436) (CCD Mass. 1845)

Perhaps what played a larger role was the result from the Folsom v. Marsh case:

"look to the nature and objects of the selections made, the quantity and value of the materials used, and the degree in which the use may prejudice the sale, or diminish the profits, or supersede the objects, of the original work." Folsom v. Marsh, 9 F.Cas. 342, 348 (No. 4,901) (CCD Mass. 1841)

The court ruled that any financial gain 2 Live Crew received from their version did not infringe upon Acuff-Rose because the two songs were targeted at very different audiences. 2 Live Crew's use of copyrighted material was protected under the fair use doctrine, as a parody, even though it was released commercially. However, the case was appealed to the United States Supreme Court where the decision was reversed with Justice David Souter writing that the lower court was wrong in its determination that parody alone was a sufficient reason to determine copyright infringement.

1990s

In the early 1990s, Vanilla Ice sampled the bassline of the 1981 song "Under Pressure" by Queen and David Bowie for his 1990 single "Ice Ice Baby". Freddie Mercury and David Bowie did not receive credit or royalties for the sample. In a 1990 interview, Van Winkle said the two melodies were slightly different because he had added an additional note. In later interviews, Van Winkle readily admitted he sampled the song and claimed his 1990 statement was a joke; others, however, suggested he had been serious. Van Winkle later paid Mercury and Bowie, who have since been given songwriting credit for the sample.

More dramatically, Biz Markie's album I Need a Haircut was withdrawn in 1992 following a US federal court ruling, that his use of a sample from Gilbert O'Sullivan's "Alone Again (Naturally)" was willful infringement. This case had a powerful effect on the record industry, with record companies becoming very much concerned with the legalities of sampling, and demanding that artists make full declarations of all samples used in their work. On the other hand, the ruling also made it more attractive to artists and record labels to allow others to sample their work, knowing that they would be paid—often handsomely—for their contribution.

A notable case in the early 1990s involved the dispute between the group Negativland and Casey Kasem over the band's use of un-aired vocal snippets from Kasem's radio program America's Top 40 on the Negativland single "U2".

Another notable case involved British dance music act Shut Up And Dance. Shut Up And Dance were a fairly successful Breakbeat Hardcore and rave scene outfit who like their contemporaries had liberally used samples in the creation of their music - without clearance from the individuals concerned. Although frowned upon the British music industry usually turned a blind eye to this mainly underground scene, however with rave at its commercial peak in the UK, Shut Up And Dance released the single "Raving I'm Raving" an upbeat breakbeat hardcore record which shot to #2 on the UK Singles Chart in May 1992. At the core of "Raving" were significant samples of Marc Cohn's hit single "Walking in Memphis" with some of the lyrical content changed and sung by Peter Bouncer. Shut Up And Dance hadn't sought clearance from Marc Cohn for the samples they used in "Raving" and Marc Cohn took legal action against Shut Up And Dance for breach of copyright. An out of court settlement was eventually reached between Shut Up And Dance and Cohn which saw "Raving" in its current form banned and the proceeds from the single given to charity. Ironically Shut Up and Dance were later commissioned to produce remixes for Cher's 1995 cover version of "Walking In Memphis" and were allowed by Cohn to use parts from the deleted "Raving I'm Raving" for this remix.

The Shut Up And Dance case had major ramifications on the use of samples in the UK and most artists and record labels now seek clearance for samples they use. However there are still cases which involve UK artists using uncleared samples. In October 1996 The Chemical Brothers released the single Setting Sun inspired by The Beatles Tomorrow Never Knows and featuring Oasis' Noel Gallagher on vocals - a long admirer of The Beatles work. Setting Sun hit #1 on the UK Singles Chart on first week of release and the common consensus was The Chemical Brothers had sampled/looped significant parts of Tomorrow Never Knows in the creation of Setting Sun. The three remaining Beatles' took legal action against The Chemical Brothers/Virgin Records for breach of copyright, however a musicologist proved The Chemical Brothers had independently created Setting Sun - albeit in a similar vein to Tomorrow Never Knows.

In 1997 The Verve was forced to pay 100% of their royalties from their hit "Bitter Sweet Symphony" for the use of a licensed sample from an orchestral cover version of The Rolling Stones' hit "The Last Time".[9] The Rolling Stones' catalogue is one of the most litigiously protected in the world of popular music—to some extent the case mirrored the legal difficulties encountered by Carter the Unstoppable Sex Machine when they quoted from the song "Ruby Tuesday" in their song "After the Watershed" some years earlier. In both cases, the issue at stake was not the use of the recording, but the use of the song itself—the section from "The Last Time" used by the Verve was not even part of the original composition, but because it derived from a cover version of it, Mick Jagger and Keith Richards were still entitled to royalties and credit on the derivative work. This illustrates an important legal point: even if a sample is used legally, it may open the artist up to other problems.

2000s

In the summer of 2001, Mariah Carey released her first single from Glitter entitled "Loverboy" which featured a sample of "Firecracker" by Yellow Magic Orchestra. A month later, Jennifer Lopez released "I'm Real" with the same "Firecracker" sample. Carey quickly discarded it and replaced it with "Candy" by Cameo.

In 2001, Armen Boladian and his company Bridgeport Music Inc. filed over 500 copyright infringement suits against 800 artists using samples from George Clinton's catalogue.

Public Enemy recorded a track entitled "Psycho of Greed" (2002) for their album Revolverlution that contained a continuous looping sample from The Beatles' track "Tomorrow Never Knows". However, the clearance fee demanded by Capitol Records and the surviving Beatles was so high that the group decided to pull the track from the album.

Danger Mouse with the release of The Grey Album in 2004, which is a remix of The Beatles' self-titled album and rapper Jay-Z's The Black Album has been embroiled in a similar situation with the record label EMI issuing cease and desist orders over uncleared Beatles samples.

On March 19, 2006, a judge ordered that sales of The Notorious B.I.G.'s album Ready to Die be halted because the title track sampled a 1992 song by the Ohio Players, "Singing in the Morning", without permission.

On November 20, 2008, electronic music pioneers Kraftwerk convinced the German Federal Supreme Court that even the smallest shreds of sounds ("Tonfetzen") are "copyrightable" (e.g. protected), and that sampling a few bars of a drum beat can be an infringement.

Legal issues in practice

The most recent significant copyright case involving sampling held that even sampling three notes could constitute copyright infringement. Bridgeport Music Inc. v. Dimension Films, 410 F.3d 792 (6th Cir. 2005). This case was roundly criticised by many in the music industry, including the RIAA.

There has been a second important US case on music sampling involving the Beastie Boys who sampled the sound recording of a flute track by James Newton in their song "Pass the Mic." The Beastie Boys properly obtained a license to use the sound recording but did not clear the use of the song (the composition on which the recording is based including any music and lyrics). In Newton v. Diamond and Others 349 F.3d 591 (9th Cir. 2003) the US Appeals Court held that the use of the looped sample of a flute did not constitute copyright infringement as the core of the song itself had not been used. It seems that the position in law now is that with use of the sound recording any use without permission will constitute an infringement; however with the composition there must be some substantial use—the 'heart' of the song itself must be at least recognizable. This extends to both the music and the lyrics; a June 2006 case involving Ludacris and Kanye West held that their use of the phrases "like that" and "straight like that" which had been used on an earlier hip-hop track by another artist was not infringing use.

The New Orleans–based company Cash Money Records and former rapper Juvenile were taken to court by local performer DJ Jubilee (signed to Take Fo' Record Label) for using chants from his song titled Back That Ass Up. Both artist had used the same chant in each song, but Juvenile won the case because of the title's name change to Back That Azz Up, which sold 2 million copies. Because of the name change, Jubilee lacked evidence that Juvenile had stolen from him, and Jubilee could not earn Juvenile's income from his song.

Today, most mainstream acts obtain prior authorization to use samples, a process known as "clearing" (gaining permission to use the sample and, usually, paying an up-front fee and/or a cut of the royalties to the original artist). Independent bands, lacking the funds and legal assistance to clear samples, are at a disadvantage - unless they seek the services of a professional sample replay company or producer.

Recently, a movement — started mainly by Lawrence Lessig — of free culture has prompted many audio works to be licensed under a Creative Commons license that allows for legal sampling of the work provided the resulting work(s) are licensed under the same terms.

Types

Once recorded, samples can be edited, played back, or looped (i.e. played back continuously). Types of samples include:

Loops

The drums and percussion parts of many modern recordings are really a variety of short samples of beats strung together. Many libraries of such beats exist and are licensed so that the user incorporating the samples can distribute their recording without paying royalties. Such libraries can be loaded into samplers. Though percussion is a typical application of looping, many kinds of samples can be looped. A piece of music may have an ostinato which is created by sampling a phrase played on any kind of instrument. There is software which specializes in creating loops.

Musical instruments

Whereas loops are usually a phrase played on a musical instrument, this type of sample is usually a single note. Music workstations and samplers use samples of musical instruments as the basis of their own sounds, and are capable of playing a sample back at any pitch. Many modern synthesizers and drum machines also use samples as the basis of their sounds. (See sample-based synthesis for more information.) Most such samples are created in professional recording studios using world-class instruments played by accomplished musicians. These are usually developed by the manufacturer of the instrument or by a subcontractor who specializes in creating such samples. There are businesses and individuals who create libraries of samples of musical instruments. Of course, a sampler allows anyone to create such samples.

Possibly the earliest equipment used to sample recorded instrument sounds are the Chamberlin, which was developed in the 1940s, and its better-known cousin, the Mellotron, marketed in England in the 1960s. Both are tape replay keyboards, in which each key pressed triggers a prerecorded tape loop of a single note.

Musicians can reproduce the same samples of break beats like the "Amen" break which was composed, produced and mastered by the Winston Brothers in 1960s. Producers in the early 90's have used the whole 5.66 second sample; but music workstations like the Korg Electribe Series (EM-1, ES-1; EMX-1 and the ESX-1) have used the "Amen" kick, hi hat and snare in their sound wave libraries for free use. Sampler production companies have managed to use these samples for pitch, attack and decay and DSP effects to each drum sound. These features allow producers to manipulate samples to match other parts of the composition.

Most sample sets consist of multiple samples at different pitches. These are combined into keymaps, that associate each sample with a particular pitch or pitch range. Often, these sample maps may have different layers as well, so that different velocities can trigger a different sample.

Samples used in musical instruments sometimes have a looped component. An instrument with indefinite sustain, such as a pipe organ, does not need to be represented by a very long sample because the sustained portion of the timbre is looped. The sampler (or other sample playback instrument) plays the attack and decay portion of the sample followed by the looped sustain portion for as long as the note is held, then plays the release portion of the sample. A common standard format for generating such sample sets is the soundfont protocol.

Resampled layers of sounds generated by a music workstation

To conserve polyphony, a workstation may allow the user to sample a layer of sounds (piano, strings, and voices, for example) so they can be played together as one sound instead of three. This leaves more of the instruments' resources available to generate additional sounds.

Recordings

There are several genres of music in which it is commonplace for an artist to sample a phrase of a well-known recording and use it as an element in a new composition. Two well-known examples include the sample of Rick James' "Super Freak" in MC Hammer's "U Can't Touch This" and the sample of Queen/David Bowie's "Under Pressure" in Vanilla Ice's "Ice Ice Baby".

Spoken word

Usually taken from movies, television, or other non-musical media, often used to create atmosphere, to set a mood, or even comic effect. The American composer Steve Reich used samples from interviews with Holocaust survivors as a source for the melodies on the 1988 album Different Trains, performed by the Kronos Quartet.

Many genres utilize sampling of spoken word to induce a mood, and Goa trance often employs samples of people speaking about the use of psychoactives, spirituality, or science fiction themes. Industrial is known for samples from horror/sci-fi movies, news broadcasts, propaganda reels, and speeches by political figures. The band Ministry frequently samples George Bush. Paul Hardcastle used recordings of a news reporter, as well as a soldier and ambient noise of a protest, in his single "Nineteen," a song about Vietnam war veterans and Posttraumatic stress disorder. The band Negativland samples from practically every form of popular media, ranging from infomercials to children's records. In the song "Civil War", Guns N' Roses samples from the 1967 film Cool Hand Luke, on the album Use Your Illusion II. Other bands that frequently used samples in their work are noise rockers Steel Pole Bath Tub and death metal band Skinless.

Unconventional sounds

These are not musical in the conventional sense - that is, neither percussive nor melodic - but which are musically useful for their interesting timbres or emotional associations, in the spirit of musique concrete. Some common examples include sirens and klaxons, locomotive whistles, natural sounds such as whale song, and cooing babies. It is common in theatrical sound design to use this type of sampling to store sound effects that can then be triggered from a musical keyboard or other software. This is very useful for high precision or nonlinear requirements.

From Wikipedia, the free encyclopedia

RockAmerica

2010-03-31T09:20:00.001-07:00

RockAmerica is a music video subscription service for professional disc jockeys based in New York City, New York. Founded in 1980 by Ed Steinberg, it was the first company to offer music videos on a subscription basis, and provided a vital channel before the establishment of MTV and other television outlets.

Founded on the heels of successful record pools that would distribute disco and new-wave records to DJs, the company applied the same principle to music video but with important differences. The videos, which were obtained from record labels both major and independent, were gathered into compilations. Clubs could subscribe and receive fresh tapes on a monthly basis. However the tapes had to be returned at the end of two months. Further conditions were dictated by copyright concerns. Clubs were not supposed to play the reels continuously but to mix them into other programming. The clubs were also mandated to provide monthly 'response forms' to RockAmerica from which the company produced a video chart, as well as more detailed analysis that could be purchased by marketers. The first program included videos by artists Madness, XTC, David Bowie, The Flying Lizards, The Ramones and Ian Dury. The company rapidly signed up a number of east coast clubs. The company also produced videos for a number of NYC artists including the Bush Tetras and, notably, the video for Madonna's debut single Everybody. By the summer of 1983 RockAmerica had 300 subscribers.

In its early days Bob Pittman of MTV based his programming on RockAmerica's chart.

The company remained influential in the 1990s playing a crucial role in breaking the boy band phenomenon.

In 2005 RockAmerica was acquired by the Retail Entertainment Design company. It continues to operate with Steinberg recently having been made a Vice President of the parent company.

From Wikipedia, the free encyclopedia

Remix service

2010-03-24T22:41:00.001-07:00

A remix service is a service (company or organization) that provides remixed music to disc jockeys.

History

In the United States, the disco craze of the late 1970s led to the release of extended "disco" versions of songs, most of which were released on 12" vinyl singles. Many of these were not easily beatmixed, so DJs started to laboriously edit songs by splicing reel-to-reel tape copies, making their own, unique versions that were better structured for a dancefloor.

1977 saw the creation of the first remix service, Disconet. These companies gathered DJs and producers together to create monthly, promotional-only compilation albums containing re-edits, remixes, or medleys that were geared specifically toward club DJs.

Modern mixes

Over the years, the remixes featured on these compilations have varied from simple edits, adding a mixable intro and outro to a song, or full-fledged digital multi-track remixes that barely resemble the original track. Many remix services have focused on a specific style of music (such as hip-hop or rock) or type of remix (such as house mixes of pop hits).

As of 2006, there have been over 50 official remix services worldwide with at least as many spinoffs, although most of these companies (including Disconet) have long since folded due to financial or legal reasons. All remix services are required to get the original record label or artists' permission to edit and release a track, but many bootleg services exist that do not.

Distribution

Most of these companies required a DJ subscription agreement to buy the records or CDs, and each issue was typically limited in quantity from 100 to several thousand. Many of these compilations have become sought after collectors items as a result. Once in a while a remix service version of a song is released commercially by the artist's record label, but 99% of remix service mixes are sold only to DJs on the compilations.

Notable companies

Some of these companies helped launch the careers of many well-known remixers/producers.

Chris Cox (formerly of Thunderpuss) worked for Hot Tracks (now Select Mix). Armand Van Helden created mixes for Mega-Mixx and X-Mix. Markus Schulz, C. L. McSpadden and Aaron "The Pimp" Scofield made mixes for Powerhouse - after the company folded Scofield and McSpadden offered remixes through Culture Shock, while Schulz releases remixes and original compositions through his own Coldharbour Recordings label. Ben Liebrand released numerous remixes with DMC. A few companies/artists besides Schulz have also developed their own commercial record labels to release new tracks.

It should be noted that the UK-based DMC remix service probably has the most members in the world, with offices in nearly every country, and that they sponsor the yearly World DJ Championships as well as releasing many commercial compilations.

Some of the better known remix services (all US-based unless stated):

* 9 Inch Remix and spinoffs (Str8 Cutz, Party Up, Blue Magic Digital) -- 2007 to present. www.9-inch.com

* Ace DJ -- Australia, 1995 to 1998, closed.
* Art of Mix and spinoffs (Mix Of Art, Ultra Hot Razor, 911, Millennium) -- closed
* Blank and spinoffs (Throwbacks)--2004-current
* Culture Shock and spinoffs (Rock Shock, Retro Shock, 80's Vs. Y2K, 90's Shock, Mash-Ups) -- 1998 to present
* Direct Hit -- 1993 to 1999, closed.
* Disconet -- 1977 to 1990, closed.
* Discotech -- 1991 to 1998, closed.
* Disco Mix Club (DMC) -- UK, 1983 to present DMC

* Eurotracks -- 1995 to 1996, closed.
* Factor 3 and spinoffs (Bullet Proof, Evolution, Eurodisque Underground) -- closed.
* Future Mix -- closed. (www.mixxit.com)
* Hit Mix -- closed.
* Hot Tracks and spinoffs (Street Tracks, NRG for the 90's, Roadkill, Hot Classics, etc) -- 1981 to present. Merged with Select Mix in 2006. Hot Tracks

* M -- closed (www.mixxit.com)
* Mixx-It and spinoffs (Old School Mix, BackTraxx, Classixx Mixx) -- 1985 to present (www.mixxit.com)
* Mix Factor and spinoffs -- 2000 to present
* Method Mix and spinoff (Country Rhythm, Prime Time BlendsMethod Mix Records

-- 2004 to 2009
* Party Bangaz (2008 to current)
* Metro Mix -- closed.
* Monster Mix -- closed (www.mixxit.com)
* Music Factory Mastermix -- UK, 1985 to present
* Pop Mix and spinoffs (Techno Pop, Klass-X, De Underground) -- closed.
* Powerhouse -- closed
* Pro Mix -- closed.
* Pure kutz--closed
* Disc Drive (originally known as Prime Cuts) -- 1986 to 1991, closed.
* Razormaid and many spinoffs -- 1983 to present
* Remixed Records -- Sweden, closed
* Rhythm Stick -- 1989 to 1993, closed.
* Select Mix and spinoffs -- 2003 to present Select Mix

* Turbo Beat -- closed (www.mixxit.com)
* Twitch Remix Service and spinoffs (Loops, Grooves & Samples, Twitch Recordings) -- current Twitch Remix Service

* Ultimix and spinoffs (Funkymix, Looking Back, Rampage) -- 1985 to present Ultimix

* Wicked Mix and spinoffs (N-10-CT, Wicked Classics, X-Wave, Raw Beats, Tha' Breaks) --closed
* X-Mix (originally known as Mega-Mixx) and spinoffs (X-Mix Urban, Club Classics, etc) -- early 90's to present

Megamixes

Many remix services issues also contain megamixes. A megamix contains multiple songs mixed together, sometimes in rapid succession. They can consist of a single artist (just Madonna songs, etc) or multiple artists. Some may follow a theme as well (Christmas, only songs that have "queen" in the title, only David Morales mixes, etc). Often megamixes are also called medleys.

Megamixes are also commonly found on commercial releases, sometimes using the same mix previously released to DJs on a remix service. The earlier Jive Bunny & The Mastermixers series of 50s and 60s megamixes were originally released on the Music Factory Mastermix service.

Among modern services, Ultimix is well-known for producing several megamixes every year based on popular songs of the year ("flashback medleys") as well as some single artist megamixes. Culture Shock has the "Hit "AC" Megamixes" on their main series derived from their now defunct radio show, as well as a satellite series entitled "Use Alternative Routes" which contains Modern Rock megamixes. Similarly, the UK-based DMC and Music Factory Mastermix remix services frequently include megamixes on their issues.

From Wikipedia, the free encyclopedia

Rare groove

2010-03-20T19:24:00.000-07:00

Rare groove is an umbrella term used to describe very rare vintage records. The most common type of rare groove records are 1970s funk recordings. Also covered by the term are old jazz fusion, latin jazz, soul, R&B, northern soul. Records that fall into this category generally have high re-sale prices. Rare groove records have been sought after by not only collectors and lovers of the types of music, but also by hip hop artists and producers. Sampling is one of the biggest aspects of hip hop and rap, and these types of records provide breaks for artists to use in their songs. While more prominent in older recordings, such as Eazy E's "Eazy Duz It" (which samples the The Detroit Emeralds, Bootsy Collins, Funkadelic, Isley Brothers, Sly & the Family Stone, The Temptations and even Richard Pryor), samples can still be found in modern hip hop and drum and bass.

Credit for coining the term rare groove is claimed by British DJ Norman Jay after his "The Original Rare Groove Show" on pirate radio station Kiss 94 FM (the progenitor of Kiss 100 London), although the term had been in common usage many years before this . The show was a collaboration with DJ Judge Jules and featured a mainly urban soundtrack from the 70's and 80's mixed with early house music.

1980s and post-disco

After the collapse of funk influenced disco, many musicians who had made a name for themselves under disco's mainstream success had the spotlight taken away from them. Many of these artists have had their songs remixed and remastered by house music artists. Much of the obscure music "rediscovered" as samples in newer house or hip hop tracks is labeled "rare groove" retroactively.

An example of this appears in the popular 2004 video game Grand Theft Auto: San Andreas. Set in 1992, the game includes a radio station, Master Sounds 98.3, which is described as playing "funk, soul, rare groove" and features a number of tracks which have been sampled in 90s-era hip-hop and house releases, such as "Funky President" by James Brown, which has been used in over 100 hip-hop tracks, and the original Gloria Jones recording of "Tainted Love", which has been sampled or covered by no less than 18 other artists, in a variety of genres.

From Wikipedia, the free encyclopedia

Public address

2010-03-16T09:37:00.000-07:00

A public address or "PA" system is an electronic amplification system with a mixer, amplifier and loudspeakers, used to reinforce a given sound, e.g., a person making a speech, a DJ playing prerecorded music, and distributing the sound throughout a venue or building.

Simple PA systems are often used in small venues such as school auditoriums, churches, and small bars. PA systems with a larger number of speakers are widely used in institutional and commercial buildings, to read announcements or declare states of emergency. Intercom systems, which are often used in schools, also have microphones in each room so that the occupants can reply to the central office.

There is disagreement over when to call these audio systems Sound Reinforcement (SR) systems or PA systems. Some audio engineers distinguish between the two by technology and capability, while others distinguish by intended use, e.g., SR systems are for live music, whereas PA systems are usually for reproduction of speech and recorded music in buildings and institutions). This distinction is important in some regions or markets, while in other regions or markets the terms are interchangeable. In colloquial British English, a PA system installed for public address in a building is sometimes referred to as a "Tannoy" system after the company of that name.

Small systems

The simplest PA systems consist of a microphone, a modestly-powered mixer-amplifier (which incorporates a mixer and an amplifier in a single cabinet) and one or more loudspeakers. Simple PA systems of this type, often providing 50 to 200 watts of power, are often used in small venues such as school auditoriums, churches, and small bars. A sound source such as a CD player or radio may be connected to a PA system so that music can be played through the system.

Public address systems typically consist of input sources, preamplifiers and/or signal routers, amplifiers, control and monitoring equipment, and loudspeakers. Input sources refer to the microphones and CD Players that provide a sound input for the system. These input sources are fed into the preamplifiers and signal routers that determine the zones to which the audio signal is fed. The preamplified signals are then passed into the amplifiers. Depending on a country's regulations these amplifiers will amplify the audio signals to 50V, 70V or 100V speaker line level. Control equipment monitors the amplifiers and speaker lines for faults before it reaches the loudspeakers.

Larger systems

Some PA systems have speakers that cover an entire campus of a college or industrial site, or an entire outdoor complex (e.g., an athletic stadium).

Telephone paging systems

Most modern telephone systems, such as PBX and VOIP, use a paging system that acts as a liaison between the telephone and a PA amplifier. In key telephone systems such as those by Nortel, Toshiba, Avaya or Alcatel-Lucent, paging equipment is usually built into the telephone system itself, and allows announcements to be paged over the phone speakers themselves, through external speakers or through both external and internal telephone speakers.

In PBX and larger VOIP telephone systems such as those by Nortel, Cisco, Avaya, Siemens or Alcatel-Lucent, used for larger enterprise applications, paging equipment is not built into the telephone system. Instead the system provider must provide a separate paging controller connected to a trunk port on the actual telephone system. The paging controller is accessed as either an unused directory number or unused central office line. Access to the paging system is provided through a "trunk access" code or a pre-programmed feature button on the telephone set itself.

Many retailers and offices choose to use the telephone system as the sole access point for the paging system, because the equipment is already "paging system"-ready. Many schools and other larger institutions are no longer using the large, bulky microphone PA systems and have switched to telephone system paging, as it can be accessed from many different points of the school in an emergency. One disadvantage of telephone paging systems compared to microphone paging systems, is that the noise associated with hanging up the telephone can be heard over the speakers.

PA Over IP

"PA Over IP" refers to PA paging and intercom systems that use an ethernet or GSM-R network instead of a centralized analog or DSP amplifier to distribute the paging to all of the locations in a building or company. Distributed network attached amplifiers and intercom units are used to provide the communication function. At the transmission end, a computer with specialized software broadcasts the audio data digitally over the local area network, using audio from the computer's sound card inputs or from stored audio files. At the receiving end, specialized intercom modules receive these network transmissions and reproduce the analog audio signal. These are small specialized network appliances with an IP address just like any other computer on the network.

Such systems are connected using standard networking infrastructure and thus allow more flexible configurations than those possible using traditional analog PA wiring. For example, a user can have multiple remote sites tied together through the local area network (LAN) and through the internet so that one location can be used to send audio signals to any or all of these locations. Use of the internet allows PA systems to span multiple buildings, and allows for long-range PA receivers in satellite locations. It is also possible to provide for multiple or relocatable transmission (control) stations on such a network.

Long Line PA

Long Line Public Address (LLPA) describes any Public Address system in which the architecture is distributed, normally across a wide geographic area. Systems of this type are commonly found in the rail, light rail and metro industries and allow announcements to be triggered from one or several locations to the rest of the network over low bandwidth legacy copper (normally PSTN lines using DSL modems), or IP based media such as optical fiber, or GSM-R. Rail systems typically have an interface with a Passenger information system (PIS) server, at each station linked to train describers which state the location of rolling stock on the network from sensors on trackside signalling equipment . The PIS system invokes a stored message to be played from a local or remote Digital Voice Announcement system, or a series of message fragments to be assembled in the correct order. for example //the//13.29//virgin_trains//sleeper_service//from//London_Paddington//to//Penzance//....//will depart from platform//five//this train is formed of //12_carriages//. Messages are routed via the IP network and are played on local amplification equipment. Taken together, the PA, routing, DVA, passenger displays and PIS interface are commonly referred to as the Customer Information System or CIS, a term which itself is often used interchangeably with Passenger Information System (PIS)

PA on Tour

As the number of album and singles sales falls each year, artist are relying more and more upon the income from live performances and tours. Touring bands will source a large line-array PA system from an audio equipment hire company with reliable service to take from venue to venue along with various other equipment such as lighting and projection. PA hire companies typically will provide "sound solutions" for a myriad of purposes. Local companies may specialise in small systems tailored to clubs, pubs and small outdoor events whereas larger companies will cater for concert halls.

Large venue systems

For popular music concerts, a more powerful and more complicated PA System is used to provide live sound reproduction. In a concert setting, there are typically two complete PA systems: the "main" system and the "monitor" system. Each system consists of microphones, a mixing board, sound processing equipment, amplifiers, and speakers.

* The "main" system (also known as "Front of House", commonly abbreviated FOH), which provides the amplified sound for the audience, will typically use a number of powerful amplifiers driving a range of large, heavy-duty loudspeakers including low-frequency speaker cabinets called subwoofers, full-range speaker cabinets, and high-range horns. A large club may use amplifiers to provide 3000 to 5000 watts of power to the "main" speakers; an outdoor concert may use 10,000 or more watts.
* The "monitor" system reproduces the sounds of the performance and directs them towards the onstage performers (typically using wedge-shaped monitor speaker cabinets), to help them to hear the instruments and vocals. In British English, the monitor system is referred to as the "foldback". The monitor system in a large club may provide 500 to 1000 watts of power to several foldback speakers; at an outdoor concert, there may be several thousand watts of power going to the monitor system.

At a concert in which live sound reproduction is being used, sound engineers and technicians control the mixing boards for the "main" and "monitor" systems, adjusting the tone, levels, and overall volume of the performance.

Acoustic feedback

All PA systems have a potential for audio feedback, which occurs when sound from the speakers returns to the microphone and is then re-amplified and sent through the speakers again. Sound engineers take several steps to prevent feedback, including ensuring that directional microphones are not pointed towards speakers, keeping the onstage volume levels down, and lowering gain levels at frequencies where the feedback is occurring, using a graphic equalizer, a parametric equalizer, or a notch filter.

Recent developments

In recent years, a number of technological advances have been made to PA systems.

Digital signal processors

Small PA systems for venues such as bars and clubs are now available with features that were formerly only available on professional-level equipment, such as digital reverb effects, graphic equalizers, and, in some models, feedback prevention circuits which electronically sense and prevent feedback "howls" before they become a problem. Digital effects units may offer multiple pre-set and variable reverb, echo and related effects. Digital loudspeaker management systems offer sound engineers digital delay, limiting, crossover functions, EQ filters, compression an other functions in a single rack-mountable unit. In previous decades, sound engineers typically had to transport a substantial number of rack-mounted analog devices to accomplish these tasks.

Amplifiers

A number of PA companies are now making lightweight, portable speaker systems for small venues that route the low-frequency parts of the music (electric bass, bass drum, etc.) to a powered subwoofer. Routing the low-frequency energy to a separate amplifier and subwoofer can substantially improve the bass-response of the system. Also, clarity may be enhanced, because low-frequency sounds take a great deal of power to amplify; with only a single amplifier for the entire sound spectrum, the power-hungry low-frequency sounds can take a disproportionate amount of the sound system's power.

Power amplifiers have also become lighter, smaller, more powerful and more efficient due to increasing use of switching power supplies and Class D amplifiers, which offer significant weight and space savings as well as increased efficiency. In the 1970s and 1980s, most PA amplifiers were heavy Class AB amplifiers. In the late 1990's these lightweight technologies spread into PA applications. Installations in railroad stations, stadia and airports, their high efficiency allow them to run with minimal additional cooling and with higher rack densities compared to older amplifiers.

Other meanings

The term "Public Address" also may refer to any IP address that is not in RFC 1918

"Private networking" scheme and is routable on the Internet.

From Wikipedia, the free encyclopedia

Promo Only

2010-03-12T17:36:00.001-08:00

Promo Only is a music and music video subscription service for professional disc jockeys. It was the first monthly music service available to music professionals on CD.

Promo Only began in 1992 when DJ Jim Robinson met up with another DJ Pete Werner on the pursuit of Janet Jackson's "Miss You Much (The Mama Mix)" re-mix. Werner was able to help out Robinson due to his connection with record labels. Robinson offered to digitally clean up 12-inch vinyl releases Werner received each month onto one DAT. After joking that they could even press the DAT into a CD, they realized that there was a need for putting these mixes onto CD for the emerging CD DJ, and the company was born.

The Original Promo Only subscription (renamed one year later ‘Promo Only Club’) officially began in June 1992, offering the latest 12” Dance mixes and hard to find releases. Werner and Robinson soon expanded into pop releases, with Promo Only Radio, combining the best of Top 40 pop, dance, urban, and rock, after the encouragement by Columbia Records head of pop promotions, Jerry McKenna who said there was a need for it in the Radio Market.

The following years saw the appearances of more series: Urban Radio (August 1994), Country Radio (June 1995) and Modern Rock Radio (November 1995), Rhythm Radio (1997) and Promo Only started growing popular among DJs all over the US. Around 1997, Promo Only began separating their CD series' into Club and Radio. 1997 also saw the creation of Promo Only Canada based in Calgary, and Promo Only UK, based in London.

In 1998, Promo Only promotions was formed, based in New York, to Promote and A&R Dance music to Radio. They also issued public domain rights for all promotional music until 2010.

Werner and Robinson next ventured into the field of music videos buying out retiring friend Wolf Zimmerman's Milwaukee based company, Wolfram Video in 1999. Music videos were released on DVDs, and now includes eight monthly series – Hot Video, Dance Mix Video, Pop Mix Video, Club Video, Country Video, Latin Video, Modern Rock Video, Urban Video, and several specialty compilations. In October 2004 Promo Only introduced Express Video, a weekly release of the newest videos, to their DVD series.

Later that same year, with the purchase of National Video Service from Launch (then owned by Sony), Promo Only Business Music Division based in Anaheim was formed. Promo Only BMD

offers background music video services to clients such as Hard Rock Cafe, Planet Hollywood, Dave & Busters, Royal Caribbean Cruise Lines, and many more. In 2007, Promo Only BMD was re-branded as Promo Only Networks for their introduction of a new product called MUSE.

From Wikipedia, the free encyclopedia

Pitch cue

2010-03-02T04:36:00.001-08:00

Pitch cueing is the process a DJ does to seamlessly beat lock two different tracks. It is similar to the process of changing sample rate in the digital domain or time (rotation speed) in the analog domain.

A direct implementation of rotation speed modulation in the digital domain is possible using simple array resampling and anti-aliasing.

A different implementation may yield a more intuitive interface.

From Wikipedia, the free encyclopedia

Pitch control

2010-02-23T16:01:00.000-08:00

A variable speed pitch control (or vari-speed) is a control on an audio device such as a turntable, tape recorder, or CD player that allows the operator to deviate from a standard speed (such as 33⅓, 45 or even 78 rpm on a turntable). The latter term "vari-speed" is more commonly used for tape decks, particularly in the UK. Analog pitch controls vary the voltage being used by the playback device; digital controls use digital signal processing to change the playback speed or pitch. A typical DJ deck allows the pitch to be increased or reduced by up to 8%, which is achieved by increasing or reducing the speed at which the platter rotates.

Turntable or CD playing speed may be changed for beatmatching and other DJ techniques, while pitch shift using a pitch control has myriad uses in sound recording.

From Wikipedia, the free encyclopedia

Phrasing (DJ)

2010-02-11T17:49:00.000-08:00

In DJing, phrasing, also called stage matching, refers to alignment of phrases of two tracks in a mix. This allows the transition between the tracks to be done without breaking the musical structure.

Phrasing is an aspect of beatmixing, not a separate technique. Because most electronic dance music tracks have 4/4 time signature and a simple structure of 16-bar phrases, to align the phrases of two tracks it is often enough to start the track to be mixed in at a phrase boundary in the track currently playing. Careful phrasing can produce a seamless mix by making the breaks in two tracks coincide, or aligning the break in one track with the start of the beat in the other.

From Wikipedia, the free encyclopedia

Orbit (scratch)

2010-02-07T15:39:00.000-08:00

An orbit is a type of scratch used by turntablists. It is generally any scratch that incorporates both a forward and backward movement, or vice versa, of the record in sequence.

Creation

The orbit was developed by DJ Disk who incorporated the flare after being shown by DJ Q-Bert.

Technique

Usually when someone is referring to an orbit, they are most likely talking about flare orbits. For example, A 1 click forward flare and a 1 click backward flare in quick succession (altogether creating 4 very quick distinct sounds) would be a 1 click orbit. A 2 click forward flare and a 2 click backward flare in quick succession (altogether creating 6 very distinct sounds) would be a 2 click orbit, etc. Orbits can be performed once as a single orbit move, or sequenced to produce a cyclical never ending type of orbit sound. Pioneered by DJ Speedfinger Jones and Yogafrog in the late 1990s, this technique of scratching can be furthered by incorporating the orbit and the Crab scratch together, creating the revolutionary UK scratch.

From Wikipedia, the free encyclopedia

Needle drop (DJing)

2010-02-04T11:33:00.001-08:00

The needle drop is a technique used in hip hop deejaying. The DJ sets a record spinning, then drops the stylus on the turntable at the exact point where he wants playback to begin without previously cuing up the record. Since there is no time wasted in cuing, the needle drop allows faster movements by the DJ. The needle drop method was developed in the 1970s by Grand Wizard Theodore at around the same time that he and Grandmaster Flash were pioneering scratching.

The Sticker Method of locating the sample or Break:

A DJ often uses colored "dot" labels to mark the sample to be used. Marking a record involves several steps... The first step is to locate the desired sample, the second step is much more critical. The sample is located, then the record is brought about an inch or two backwards from the beginning of the sample. A "dot" label is carefully placed up against the stylus (needle) and a feather touch is applied to keep the label in place. Too hard of an application may lead to the needle being misplaced on the record, slipping to the next several grooves, an undesired result. After the needle is removed from the label, the label can be pressed into place more permanently. If the DJ ever wishes to remove the label, residue can be removed from the record with widely available record cleaner solutions.

From Wikipedia, the free encyclopedia

Music pool

2010-01-22T03:54:00.000-08:00

A music pool or DJ pool is a regionalized and centralized method of music distribution that allows DJs to receive promotional music to play in nightclubs. The music industry sends its newest releases to the pool of DJs; in exchange, the pool provides feedback on each release as well as exposure in their clubs. The person who runs the pool is usually called the "pool director". Music pools originated as vinyl record pools in 1975 New York City, evolved into CD distribution networks, and later online music distribution between DJs (digital pools). A music pool may have a "brick and mortar" office or may be entirely virtualized.

History

The concept of the record pool was started by David Mancuso, Steve D'Aquisto and Vince Aletti in 1975 in New York City as a grassroots effort to design an efficient pipeline for swapping information between the music industry and working DJs. Largely used in the United States, the promotional pool system has never really been established outside of that country.

The broad term "music pool" eventually arose, reflecting the advancing state of music distribution technology and the shrinking number of vinyl promotional releases, shifts that have caused pools to undergo major transformations in membership and in nature. The modern music pool may distribute music in any high-fidelity form, either physical (e.g. vinyl or CD) or virtual (MP3 and other digital formats).

From Wikipedia, the free encyclopedia

Music loop

2010-01-17T15:53:00.000-08:00

In electronic music, a loop is a sample which is repeated. Loops may be repeated through the use of tape loops, delay effects, cutting between two record players, sampling, a sampler or with the aid of Computer Based Looping Software.

Definitions

"Loops are short sections of tracks (probably between one and four bars in length), which you believe might work being repeated." A loop is not "any sample, but...specifically a small section of sound that's repeated continuously." Contrast with a one-shot sample. (Duffell 2005, p.14)

"A loop is a sample of a performance that has been edited to repeat seamlessly when the audio file is played end to end." (Hawkins 2004, p. 10)

Origins

While repetition is used in the musics of all cultures the first musicians to use loops were electronic pioneers Pierre Henry, Edgard Varèse and Karlheinz Stockhausen. Stockhausen's music in turn influenced the Beatles to experiment with tape loops, and their use of loops in early psychedelic works (most notably 1966's "Tomorrow Never Knows" and 1968's avant-garde "Revolution 9") brought the technique into the mainstream. Later, inspired by Terry Riley's use of one tape on two tape machines, Brian Eno and Robert Fripp created the technical basis for their (No Pussyfooting) album - this technological concept was later dubbed Frippertronics.

Another approach was the use of pre-recorded loops, exemplified by Grandmaster Flash and his turntablism. The Beatles also used the approach of pre-recorded tape loops on "Tomorrow Never Knows". Major producers like Timbaland, and underground producers like Jimmy Spice Curry, as well as the group Sir Mask, and others often create their own sound loops then incorporate them into songs.

Use of pre-recorded loops made its way into many styles of popular music, including hip hop, trip hop, techno, drum and bass, and contemporary dub, as well as into mood music on soundtracks.

Modern looping

Today many musicians use digital hardware and software devices to create and modify loops, often in conjunction with various electronic musical effects.

In the early 1990s dedicated digital devices were invented specifically for use in live looping i.e. loops that are recorded in front of a live audience. Live looping is not exclusive to electronic music and is found in the singer/songwriter genre, achieving new popularity in the employ of popular artists such as Imogen Heap, Ani DiFranco, Andrew Bird, and KT Tunstall.

Computer programs to create music using loops range in features, user friendliness, and price. Some of the most widely used are, Digidesign's Pro Tools, Sony's ACID and Sound Forge, Cakewalk Sonar, ReCycle, GarageBand, FL Studio (formerly Fruity Loops), Propellerhead's Reason and Ableton Live.

Many hardware loopers exist in rack unit, effect pedal, or other forms. Early examples of rack and pedal loopers are the Gibson Echoplex and the Electro-Harmonix 16 Second Delay.

In 2004 there were 20 live looping festivals in 12 countries in this burgeoning international movement. These include Loopstock established in 2002 in San Luis Obispo, California, and the Y2K? series, established in 2000 in Santa Cruz, California. The Y2K4 International Live Looping Festival in October 2004 in San Francisco and Santa Cruz drew 50 loopers from 5 different countries over four days.

The musical loop is one of the most important features of video game music. It is also the guiding principle behind devices like the Buddha machine, an ambient-music generating device.

From Wikipedia, the free encyclopedia

Harmonic mixing

2010-01-13T06:25:00.000-08:00

Harmonic mixing or key mixing is a DJ's continuous mix between two pre-recorded tracks that are most often either in the same key, or their keys are relative or in a subdominant or dominant relationship with one another.

The primary goal of harmonic mixing is to create a smooth transition between songs. Songs in the same key do not generate a dissonant tone when mixed together. This technique enables DJs to create a harmonious and consonant mashup with any music genre.

Traditional methods

A commonly-known method of using harmonic mixing is to detect the root key of every music file in the DJ collection by using a piano. The root key that fits the track perfectly may be used to create harmonic mash-ups with other tracks in the same key. The root key is also considered compatible with the subdominant, dominant and relative major/minor keys.

A more advanced harmonic mixing theory has been proposed which accounts for the various modes as well (aeolian, ionian, lydian, mixolydian, dorian and phrygian). It is shown that these alternate modes can be seen as variations of the traditional major and minor keys, and that they can be translated to traditional keys via the Circle of Fifths.

Recent developments

In 2006 and 2007, harmonic mixing has attracted substantial media attention. Pioneer Pro DJ, the manufacturer of DJ products have released DJM-800, an audio mixing console capable of correcting the key of the track while it is being played. Allen & Heath has teamed up with Mixed In Key to release music software that analyzes MP3 and WAV files and determines the musical key of every file. MixShare frequently updates a freeware utility called Rapid Evolution which can also detect the musical key, in addition to the BPM, of audio files. MixMeister has continued to offer "harmonic mixing" features in their DJ software. Traktor DJ Studio software from Native Instruments and Torq from M-Audio display "Key" columns in their interfaces to allow for easy sorting of songs by key as does Virtual DJ from Atomix as of version 5.0.

There have been only been two software key detection accuracy comparisons to date, one initiated by Camelot, another by DJTechTools.com.

DJing for Dummies book, published in the US on January 29th, 2007, and in the UK on December 1st, 2006, includes a chapter dedicated to harmonic mixing called "Building a Foolproof Set."

2008 - 9 Inch Remix Service has developed it's own variation to the cycle of fifths system named the Cycle of Fifths Harmonic Mixing Block. Initially derived from the 16th century notation used by musicians, DJ SARGE X is credited with its adaptation to suit a new age DJ needs.

Support from professional DJs

Paul Van Dyk, Paul Oakenfold, Armin Van Buuren, Ben Liebrand, Sasha, Deep Dish, and Pete Tong from BBC Radio 1 are known to use harmonic mixing in their DJ sets. Some notable examples are Northern Exposure CD series by Sasha and Digweed, the series of Grandmixes and weekly "In The Mix" radio show by Ben Liebrand, and the A State of Trance weekly radio show by Armin Van Buuren.

From Wikipedia, the free encyclopedia

Hamster style

2010-01-05T08:02:00.001-08:00

Hamster style is a method used by turntablists whereby the configuration of the crossfader is reversed, so that the right turntable is on the left end of the crossfader and vice versa.

Creation

DJ Quest coined the term “Hamster Style”, which refers to the reverse set up. When Quest bought his first mixer, a Pyramid 4700, he accidentally hooked up the turntables in reverse and learned to DJ this way.

While performing on the popular local hip hop show Home Turf in 1992 he demonstrated his skills. When DJ Kevy Kev attempted to use Quest's set up and could not understand it, Quest blurted out that it was "Hamster Style". This is the actual origin of the term and the switch that is included in almost every scratch mixer sold today. The modifications have been made on board by the manufacturers of DJ mixers (particularly Vestax) and many mixers today have hamster switches built in. Today the term remains popular and is recognized by DJs worldwide, and ultimately led to companies like Rane and Vestax including him in their DJ roster and list of endorsees. This technique was named after the Bullet Proof Scratch Hamsters since Quest was a member of this group.

Advantages

Many DJs find it more comfortable to scratch hamster style since, to do many moves, it is easier to bounce the fader off of the side of the fader slot using index and middle fingers rather than thumbs.

From Wikipedia, the free encyclopedia

Flare (scratch)

2009-12-30T14:58:00.000-08:00

Flare is a type of scratch used by turntablists. It is made from a combination of moving the record on the turntable by hand and quick movement of the crossfader. The flare was invented by its namesake, DJ Flare, in 1991, but was further developed by DJ Q-Bert.

Technique

This scratch technique is much like the transform in some ways, only instead of starting with the sound that you are cutting up off, you start with the sound on and concentrate on cutting the sound into pieces by bouncing the fader off the cut out side of the fader slot to make the sound cut out and then back in a split second. Each time the DJ bounces the fader off the side of the fader slot it makes a distinct clicking noise. For this reason, flares are named according to clicks. A simple one click forward flare would be a forward scratch starting with the sound on as you bounce/click the fader against the side once extremely quickly in the middle of the forward stroke creating two distinct sounds in one stroke of your record hand and ending with the fader open. In the same manner, 2 clicks, 3 clicks, and even more clicks (if you're fast enough) can be performed to do different types of flares. The discovery and development of the flare scratch was instrumental in elevating this art form to the level of speed and technical scratching that we are so used to seeing today.

From Wikipedia, the free encyclopedia

Final Scratch

2009-12-24T15:58:00.000-08:00

Final Scratch is a DJ tool created by the Dutch company N2IT with input from Richie Hawtin (aka Plastikman) and John Acquaviva that allows manipulation and playback of digital audio sources using traditional vinyl and turntables. It seeks to cross the divide between the versatility of digital audio and the tactile control of vinyl turntablism.

Concept

Special vinyl records pressed with a digital timecode are played on normal turntables. The timecode signal is interpreted by a computer, connected to the turntables through an interface called the ScratchAmp. The signal represents where the stylus is on the record, in which direction it is traveling, and at what speed. This information is interpreted by the computer and used to play back a digital audio file which has been 'mapped' to the turntable.

In practical terms, this means that any audio file can be manipulated as though it were pressed on vinyl. This has a great many advantages for DJs, not least that a laptop computer can often hold tens of thousands of audio files, whilst a record box has a decidedly smaller capacity and is much heavier.

Advantages/Disadvantages

This system has various advantages over using normal records, without too many serious disadvantages.

Advantages:

* Portability of thousands of audio tracks, (laptop or external HDD as opposed to record box) with quick access and organization
* Ability to play audio tracks unavailable on vinyl eg. pre-arranged loops, unreleased music or rare tracks
* The use of CD deck features (software permitting) such as keylock, pitch shift, looping, instant cue locating and visual indicators of audio features such as loud or quiet parts
* The ability to prevent needle skips on the vinyl being reflected in the playback of the audio track being played/controlled (software permitting)
* Digital audio files will not degrade every time they are played, plus they can easily be backed up so if anyone should steal or accidentally damage your music collection, you may only have to replace easily obtainable hardware such as a laptop or hard drive instead of irreplaceable vinyl

Disadvantages:

* Reliability; depending on the hardware/software configuration used, vinyl emulation systems may use more system resources than some laptops or PCs offer, making them unsuitable for this use.

History

Final Scratch has passed through multiple stages of development. These stages are marked by involvement with different vendors, hardware configurations, software developers and operating systems.

Pre-release

Final Scratch was originally developed for BeOS, and premiered at the Be Developer Conference in 1998.

Versions 1.0-1.5

All versions of Final Scratch 1 use the same Scratchamp, a USB and RCA device in a round plastic shell. The technical specifications of this device have been closely guarded by Stanton as an anti-piracy measure, though some users, unsatisfied with the latency and instability of the system, have alleged the use of faulty Philips sound chips which had already been withdrawn from the market. However, the same chipset was being used in several other USB audio devices manufactured by companies like Griffin and Roland at that time.

FS 1.0 was released for PC only, on a specially modified distribution of Debian Linux. It was relatively primitive but some users found that, if configured correctly, it outperformed all subsequent versions of Final Scratch 1.x.

With version 1.1, Stanton Magnetics began working with Native Instruments on the software side of the product, which became Traktor Final Scratch. As the name suggests, this bore a resemblance to the interface of Traktor, a Native Instruments software DJing product. This version was once again available on Linux, but was also ported to Mac OS X.

The next major revision was version 1.5, which added a Windows XP version, but dropped Linux support. This version also added the ability to keep the pitch of the record constant whilst shifting the tempo. The interface changed very little, but some users initially had issues with the Windows Scratchamp drivers.

Support for the original Scratchamp has all but since disappeared and current owners, disappointed by the lack of support by Stanton, have had to rely on old versions of Traktor FS or Digiscratch.

Version 2

Version 2 marks the introduction of both a new Scratchamp hardware device and different software compatibility.

This new Scratchamp made 24-bit/96 kHz digital quality playback and record possible. Stanton added an ASIO driver, and MIDI capabilities. They also replaced the USB interface with Firewire which was intended to reduce playback latency. The new Scratchamp was developed by Alan Flum, Len Bryan, Mark DeMouy and Jim Mazur.

The version 2 Scratchamp is compatible with Native Instruments Traktor DJ Studio versions 2.6 and through 3.2.0.80. NI has dropped support of SA2 in favor of their own vinyl system Traktor Scratch.

Final Scratch Open

In late 2005, Stanton and Native Instruments ended their working relationship. Stanton still markets the ScratchAmp hardware as part of Final Scratch Open, introduced in early 2007. Stanton claims that the ScratchAmp can now interact with any audio software through ASIO or WDM on Windows, and CoreAudio in Mac OS X. Although all Windows and Mac audio software is ostensibly compatible with Final Scratch Open, there is no dedicated software program for deejaying with the ScratchAmp hardware.

Internal workings

The internal workings of Final Scratch are quite simple to understand. Multiple open source software libraries have been created to decode the Final Scratch time code. The information here comes from those libraries.

A basic Final Scratch setup consists of five pieces of equipment.

1. A computer running a compatible software, usually Native Instrument's Traktor
2. The ScratchAmp
3. Two turntables or two CD decks made for DJing
4. Two time coded vinyl records or time coded CDs
5. An audio DJ mixer.

ScratchAmp

The ScratchAmp is a firewire (FS 2, FS Open) or USB (FS 1) audio device. It has two phono/line stereo level inputs to read the timecode from the record or the CD, and two line level stereo outputs to feed into the audio DJ mixer line channels. It also has two phono stereo outputs for pass-through of the actual phono audio signal. This is useful for DJs who wish to play both digital audio tracks AND traditional vinyl; allowing them to switch between the two sources without disconnecting or re-connecting audio jacks in the middle of a DJ set.

The ScratchAmp does not store any audio on its own, it is simply a purpose built external Soundcard. It communicates with a PC—usually a laptop—over the firewire or USB connection. The laptop uses Final Scratch compatible software (typically Traktor DJ Studio) to interpret the timecode signal from the supplied special vinyl/CD, then play back a digital audio file based on that signal, allowing traditional DJ vinyl control of MP3, WAV and Apple AAC audio files. The Laptop software then sends audio data back, over the same firewire/USB connection to the scratch amp, which then sends an audio signal out through the line level output, for playing through a DJ Mixer or Amp.

Audio/data routing

A step by step series of events detailing how Final Scratch operates;

1. Timecoded audio signal pressed onto vinyl/CD picked up by vinyl/CD turntable
2. Signal routed into ScratchAmp via phono connection, then into the PC via USB or Firewire
3. DJ software decodes timecode signal and determines position, speed and direction the Vinyl/CD is being played or manipulated
4. DJ software plays the selected "mapped" digital audio file synchronous to the vinyl/CD playback
5. Digital audio file audio signal is sent to the Scratchamp phono connectors for connection to a DJ mixer or amp

Vinyl/CD time code

The most complex piece of the Final Scratch setup is the code pressed onto the vinyl. A 1200 hertz amplitude modulated sine wave is pressed into the left and right channels with a phase difference of 90 degrees. Each channel holds one of the two bit streams required for the time code. In one cycle of either wave form, two bits are stored: one on the positive voltage peak and one on the negative voltage valley. The relative amplitudes of these peaks represent either a binary one or zero. A relatively high amplitude on either peak represents a one, a relatively low amplitude represents a zero. In each channel is a separate bitstream, the left channel is not identical to the right (disregarding the phase difference).

Finding position

The time codes themselves consist of 40 individual bits, or 20 cycles on each channel's waveform. On the right channel the bit sequence of 0, 0, 0, 1 represents the start sequence for a single time code. Those four bits along with the four corresponding bits on the left channel and the next 16 bits on each channel can be decoded as an integer position value which represents where the needle is on the record.

Finding speed

The speed at which the record is spinning can be found by comparing the frequency of the waveform being read from the record to the true frequency of the wave form on the record at normal speed. This difference represents the change from the normal speed at which the record turns.

Finding direction

The direction which the record is spinning at any given time can be found using the phase difference between the waves on the two channels. This procedure is the same as that used to determine the direction in which a ball mouse is moving.

Issues regarding time code errors

Because a single time code is made up of 40 consecutive bits, read errors can cause a timecode to be unreadable even if a single bit is misread. A bit that has become unreadable due to a scratch can make an entire 40 bit long time code permanently unreadable. Dust can have a similar effect on the time code. The time code implements very little error checking, an attribute strong in a number of other vinyl control systems.

From Wikipedia, the free encyclopedia

Eclectic-method

2009-12-23T16:53:00.001-08:00

Eclectic Method is the name of an audio-visual act from London, formed in 2002 by Geoff Gamlen, Ian Edgar (aka Cutswift) and Jonny Wilson (aka B.R.K.).

Eclectic Method released their first audio-visual mixtape - the result of mixing, sampling and rhythmically re-editing video from music video, TV and film entitled “Bootleg Video Mix” in March 2002. After seeing this CD-ROM, MTV commissioned Eclectic Method to work on the MTV Mash video mix show on MTV Europe (2003-2004). They followed this up by releasing the We're Not VJs DVD, possibly the world's first a/v mashup mix DVD in 2005.

They quickly developed their audio-visual style into a live performance featuring video turntables (Pioneer DVJ-1000) - mixing the visuals and audio live. As a live act, they have travelled around the world playing hundreds of gigs in Asia, North & South America, Europe and the Middle East.

After their early period, creating what were considered “bootleg” and “unofficial" video remixes, Eclectic Method were called upon by artists like Fatboy Slim & U2 and by film, video, and television companies such as New Line Cinema and Palm Pictures to create custom a/v remixes.

Videography

* Bootleg Video Mix CD-ROM (2002)
* MTV MASH (MTV Europe) (2003-2004)
* Santa Claus Conquers The Martians (Mixmasters ITV) (2003)
* Snake Worship Island (Audiovisualize DVD) (2004)
* We're Not Vjs DVD (2005)
* XL Recordings Video Megamix (2005)
* Fatboy Slim Video Megamix (2006)
* Take The Lead Remix (New Line Cinema) (2006)
* Freestyle Vs Scratch Movie Mashup Mix (Palm Pictures) (2006)
* U2 Remix (Vertigo & ZooTV) (2007)
* Faithless - I Won't Stop AV Remix (2007)
* The Tarantino Mixtape (2009)
* Eclectic Method Goes Phish (2009)

Band Members

* Geoff Gamlen
* Ian Edgar
* Jonny Wilson

Greg Deocampo (AfterEffects, EBN, IFILM, Mediatronica) began working with the trio in 2006 on advanced research and development initiatives involving live, online, and blimp-based video.

From Wikipedia, the free encyclopedia

DVJ

2009-12-22T05:07:00.000-08:00

DVJ, derived from the term "DJ" and its sister "VJ", is a term used to describe a combination of the two—in other words, a DJ who performs live using an audio-visual music player instead of an audio-only setup consisting of CD turntable players or vinyl-record turntables. This is not to be confused with a VJ, which usually refers to a host of a music video TV channel, or a visual-only performer separate from the DJ in a live environment. As the term DJ usually also applies to composers of music played by DJs (whether they themselves are performing DJs or not), DVJ has a similar meaning with composers in the audio-visual format. Although we may say "DVJ" to describe a "video jockey" artist, the term comes from the industry-standard Pioneer DVD-turntable, called the DVJ. A more common name is simply DVDJ (DVD jockey) or VJ (video jockey); however, the latter, as mentioned previously, is sometimes confused with TV music video channel hosts.

History

Visuals in one form or another have always been a part of live DJ performances, but until the advent of this form of performance, the visual aspect was largely limited to computerized strobes and spotlights, laser projectors, and/or pyrotechnics. With the advent of DVD technology (especially once it became cheap enough for the average individual to create his or her own discs), a push was made for a device that would give a performer the same flexibility in accessing the music and video on the disc as the turntable-style CD players commonly available for DJs. Pioneer Corporation became the first (and as of this writing, still the only) manufacturer of DJ equipment to produce such a device, the Pioneer DVJ-X1, first released in 2004. That design has been refined into the DVJ1000, released in 2006, generally regarded as the "gold standard" DVJ turntable today.

Operation

DVJ discs, as noted above, are DVDs containing one or more music videos the performer wishes to play. The music and video contained on the disc can be anything the performer desires, but as with standard DJs, the most popular genres are the various forms of electronica. In addition to the audio, which is sent to a sound system like other player systems, the video component is output to a video projector or other visual display. The audio and video for the disc are then always in synch regardless of any scratching, mixing, and other transformations the performer does on the media. This was a huge improvement over any previously possible method of performing with audio and video together, as the performance often had to be very meticulously planned so that the video being displayed matched the audio. This sometimes required a second performer to handle video playback, leaving little room for improvisation by the DJ.

In addition to the DVJ turntable players (virtually all DJs have two players for their "native" media of vinyl, CD, or DVD; some have additional players to accommodate other media, or they mix multiple sources at once), "DVJing" requires the use of an audio-visual mixing console, which allows the DVJ to select sources for audio and video and to blend or mix them. Many mixers also give the DVJ the ability to perform simple transformations on the video. Just as an audio mixing console allows for changes in equalizer levels, dynamics, and balance, an A/V mixer allows variations in hue, color saturation, brightness, sharpness, and other "TV-type" settings. They also allow for various types of transitions between video clips, such as fades, blends, and wipes. A/V mixers are nothing new to the recording and performance industry, but they are more often found in production rooms of television stations or editing suites of movie studios and are a new feature of live turntablist performances.

The relative simplicity of the performance using the DVJ turntable, along with the added dimension of video for the DVJ artist to expand into while composing, has resulted in a move up to these media by some former DJs and recording artists, where they are in high demand by nightclubs and rave party organizers. However, because the technology is still very new and the players and projectors very expensive, "DVJing" is, as of this writing, still only a small part of the DJ and nightclub scene as a whole and largely restricted to professional DVJs. Of course, as the technology becomes more widely accepted and established, the price of the central piece of equipment (the DVJ turntable) will become cheaper and should eventually be within the reach of amateur performers. Future advances in video processing may allow the DVJ to perform real-time advanced transformations on the video, such as polarization, color negative, digital color grading, and other digital filters.

Hardware

The most common setup for a DVJ includes two DVD turntables, an audio mixer, and a video mixer. The "gold standard" DVD turntable is the aforementioned Pioneer DVJ-1000; it is, at its core, a DVD player with a much higher read speed than the average home theater player, and a memory buffer that allows for quick jumps or backtracks in playback. This is coupled with a controller that emulates a vinyl-record turntable. By rotating a control wheel, the performer can quickly search through a video; slow or speed up playback to match the playing track; and, with a "scrubbing" motion, quickly stutter forward and backward, producing the well-known "scratching" effect. Other controls that take advantage of the digital media include A-B looping, freeze frame, slow motion, and instantaneous pause/play (a traditional vinyl-record turntable requires a small amount of "spinup" time).

Common brands for commercial video mixers are Edirol and Videonics. These pieces of hardware simply accept multiple video sources and combine them in various ways such as fades, wipes, and a number of other transitions. Another common piece of equipment in the DVJ arsenal is called a switcher. Most digital turntables, whether CD or DVD, have a fader-start capability, in which the cross-fader of the audio or video mixer can tell a player to pause or play. By using these types of switchers (the Pioneer A/V switcher is a very common example), scratching video effects can show the typical back-and-forth motion heard on audio. More-advanced video mixers also have a chroma-key capability, known by most as "green screen" compositing. Currently, Videonics makes a number of mixers that will allow for this effect. VJ artists may play DVD tracks with a certain color that is set as the chroma-key color on the mixer. The mixer will then locate this color on the track and replace it with whatever the VJ has chosen. Many times, he or she will use a camera and camera operator to take live video feeds of the dancing crowd and superimpose them on a video of something else to give a novel effect. The elite option in mixers is the Pioneer SVM-1000. This mixer consists of preview screens, switchers, video FX, and audio FX, in a four-channel mixer. The Pioneer DJM-800, the industry standard, sets the table for any video jock, with a VSW-1 Switch and a three-screen monitor.

These various components are used by professional DJs and venues to provide a rich audio-visual experience for patrons. However, an up-and-coming alternative to component-based DVD players and mixers is gaining popularity among newer and less-wealthy performers. Although considered to be less professional by many DVJ pros, computer solutions such as OtisAV DJ, PCDJ, VirtualDJ, and Serato Scratch Live all deliver (or plan to deliver) video capabilities as well as audio. In this way, video mixing is done within the computer, which can then be plugged into a projector or TV, eliminating the need for an external mixer in many cases. The software, in fact, uses the computer as an all-in-one unit: player, A/V mixer, and monitor. Some software suites allow the use of external controllers that emulate turntables, allowing a similar look and feel to component systems without the added cost of the electronics of the player. To take advantage of this solution, many DVJs are simply ripping their DVD tracks to external hard drives, thus lightening their load when carrying equipment to gigs. This solution is not only more compact, it's less expensive; the software and related external turntable controls can be purchased for a few hundred U.S. dollars and used on any laptop with sufficient computing power and memory, while the Pioneer DVJ players retail for around US$2500. Even a basic component-based setup can cost far more than a top-of-the-line laptop, software, and storage—especially if a sufficient computer already exists and thus doesn't have to be bought new. The major sacrifice of becoming a computer video DJ is the lack of quality. In comparison to a DVJ vs. Serato Video, the quality of the video and the sound output of Serato does not come close to the actual DVD being played through a DVJ-1000. It's a cheap shortcut that many DVJs are taking, but as a consequence, they're falling short of being real DVD DJs.

However, it is important to note that these systems are often far less reliable, as huge DVD files on older, less-powerful computers can lead to skips, lagging, and even crashes—all potentially fatal to the performance. Very powerful systems are needed to run these types of video shows. A computer can also be limiting in the number of outputs available; an audio DJ traditionally has a pair of headphones through which the DJ can hear the unmixed output of the turntables, one in each ear. A DVJ needs similar capabilities with video, which requires multiple screens. This is relatively simple with component-based systems; a small flat-panel monitor or TV can be set up for each player and given the raw video feed of the player through a Y-splitter cable. A computer, on the other hand, must have the ability to produce at least two separate video outputs: one to be shown to the DVJ containing the raw images (in miniature) and any graphical software controls; the other containing the mixed video to be sent to the house (and generally also shown to the performer). This ability is uncommon, but becoming less so. The ability to view raw video in full-screen most often requires up to three outputs for the DJ, plus the house feed; up to four video outputs in all, which is an exceedingly rare feature especially on laptops. On top of that, the extra processing capability required to render multiple video outputs can tax slower computers. Again, a very powerful computer is required for a software-based solution.

From Wikipedia, the free encyclopedia

Drop (music)

2009-12-20T15:48:00.000-08:00

The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and break.

In hip hop and electronica, the proceeding reintroduction of the full bass line and drums is known as the drop.

Double drop

In drum and bass, skilled DJs sometimes perform what is called the "double drop": beatmatching two tracks in a way that the drop, and hence the respective climaxes, occur at the same time.

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DMC World DJ Championships

2009-12-19T07:18:00.000-08:00

DMC World DJ Championships is an annual DJ competition hosted by Disco Mix Club (DMC) which began in 1986.

DJ Champions

World DJ Champions

* 1985 - Roger Johnson (UK)
* 1986 - DJ Cheese (USA) - Brought scratching into the battle
* 1987 - Chad Jackson (UK)
* 1988 - DJ Cash Money (USA) - Helped invent the transformer scratch
* 1989 - Cutmaster Swift (UK)
* 1990 - DJ Greek Mc (Australia)
* 1991 - DJ David (Germany)
* 1992 - Rocksteady DJs (Mix Master Mike, DJ Q-Bert, and DJ Apollo) (USA)
* 1993 - Dreamteam (Mix Master Mike and DJ Q-Bert) (USA)
* 1994 - Dreamteam (Mix Master Mike and DJ Q-Bert) (USA)
* 1995 - Roc Raida (USA) - X-Ecutioners
* 1996 - DJ Noize (Denmark)
* 1997 - DJ A-Trak (Canada) - youngest ever world champion aged 15, Kanye West's tour DJ
* 1998 - DJ Craze (USA)
* 1999 - DJ Craze (USA)
* 2000 - DJ Craze (USA)
* 2001 - Plus One (UK) - Scratch Perverts
* 2002 - DJ Kentaro (Japan)
* 2003 - Dopey (Canada)
* 2004 - ie.Merg (USA)
* 2005 - ie.Merg (USA)
* 2006 - Netik (France)
* 2007 - Rafik (Germany) - Holds record number of 6 world DJ titles
* 2008 - DJ Fly (France)
* 2009 - DJ Shiftee (USA)

UK DJ Champions

(and world rankings)

* 1986 - Chad Jackson (2nd)
* 1987 - Chad Jackson (1st)
* 1988 - Cutmaster Swift - En4cers
* 1989 - Cutmaster Swift (1st)
* 1996 - Cutmaster Swift
* 1997 - DJ Pogo (3rd) - En4cers
* 1998 - Prime Cuts - Scratch Perverts
* 1999 - Tony Vegas (2nd) - Scratch Perverts
* 2000 - Mr Thing (3rd) - Former Scratch Pervert
* 2001 - Plus One (1st) - Scratch Pervert
* 2002 - Skully (2nd) - Former DJ to Klashnekoff
* 2003 - Quest (3rd)
* 2004 - DJ Blakey - Working on the upcoming video game, DJ Hero
* 2005 - Muzzell - Releases "Donkey Work" battle breaks (www.myspace.com/muzzell)
* 2006 - Asian Hawk - Disablists
* 2007 - JFB - DJ for Beardyman, co-runs freestyle jam night "Battlejam"
* 2008 - Skully
* 2009 - Jeppa

Battle for World Supremacy Champions

* 2000 - Kodh (France)
* 2001 - Netik (France)
* 2002 - Netik (France)
* 2003 - Tigerstyle (UK) - Also won Allies Beatdown and ITF Advancement titles in the same year
* 2004 - Akakabe (Japan)
* 2005 - Pro Zeiko (Germany) - Won 2 ITF titles later in the year
* 2006 - Coma (Japan)
* 2007 - DJ Shiftee (USA)
* 2008 - DJ Switch (UK)
* 2009 - DJ Switch (UK)

Battle For Supremacy (UK) Champions

(and world rankings)

* 2000 - Skully (2nd)
* 2001 - Madcut
* 2002 - Richie Ruftone
* 2003 - Tigerstyle (1st)
* 2004 - Silk Kuts (2nd)
* 2005 - Matman
* 2006 - DJ Switch - youngest UK champion of any category aged 17
* 2007 - DJ Switch
* 2008 - DJ Switch (1st)
* 2009 - DJ Rasp

Battle For Supremacy (US) Champions

* 2000 - Supa Dave
* 2001 - Snayk Eyz
* 2002 - Kico
* 2003 - ie.Merg
* 2004 - ie.Merg
* 2005 - I-Dee
* 2006 - Etronik
* 2007 - Shiftee
* 2008 - SPS
* 2009 - Supreme

World Team Champions

* 1999 - Scratch Perverts (UK) - Prime Cuts, Tony Vegas, Mr Thing, First Rate
* 2000 - The Allies (USA/Canada) - Craze, A Trak
* 2001 - Perverted Allies (USA/Canada/UK) - Prime Cuts, Tony Vegas, Craze, Infamous
* 2002 - Birdy Nam Nam (France) - Crazy B, Need, Lil Mike, Pone - Now releasing album material past their self-titled debut
* 2003 - C2C (France) - Pfel, Atom, Greem, 20Syl
* 2004 - C2C (France)
* 2005 - C2C (France)
* 2006 - C2C (France)
* 2007 - Kireek (Japan) - Hi-C, Yasa
* 2008 - Kireek (Japan)
* 2009 - Kireek (Japan)

UK Team Champions

(and world rankings)

* 1999 - The En4cers/Scratch Perverts (1st)
* 2000 - The Mixologists (3rd)
* 2001 - The Mixologists (2nd)
* 2002 - Flaredycats
* 2003 - Truesicians
* 2004 - The Disablists
* 2005 - The Disablists (3rd)
* 2006 - The Disablists (2nd)
* 2007 - The Disablists
* 2008 - Bionic Stylus
* 2009 - Bionic Stylus (3rd)

US Team Champions

* 1999 - The Allies
* 2000 - The Allies
* 2001 - Superfriends
* 2002 - Evolution DJs
* 2003 - Evolution DJs
* 2004 - Evolution DJs
* 2005 - Battle-Star
* 2006 - Animal Crackers
* 2007 - ?
* 2008 - Angry EXs
* 2009 - Battle-Star

From Wikipedia, the free encyclopedia

djay (software)

2009-12-17T23:11:00.001-08:00

djay is a digital music mixing software program for Mac OS X created by the German company algoriddim. It allows playback and mixing of digital audio files with a user interface that tries to simulate the concept of "two turntables and a microphone" on a computer. Before the commercial release in November 2007, djay had initially been released as freeware in June 2006.

Compared to professional DJ software like Traktor Scratch and Serato Scratch Live, the software aims to be easier to use and to have a look and feel more akin to other Mac software.Its interface consists of two turntables, a mixer and a music library showing songs and playlists from iTunes.

From Wikipedia, the free encyclopedia

DJ Awards

2009-12-16T09:06:00.001-08:00

The DJ Awards are held annually in Pacha Ibiza, around the end of the summer season. It is known internationally as the 'Grammy's of the DJ's' and is the only such event that has full attendance from all the top international DJs. The DJ Awards was founded by Mr. Papy and Lenny Ibizarre 1998.

The 10th Anniversary of the DJ Awards took place on Thursday 27 September 2007. The event was hosted by Pete Tong (BBC Radio 1) and Gabriella Paina (Fashion TV). The DJ Awards marked a decade of honoring the world’s most popular DJs with live performances from vocalist Rebecca Brown and also Max. C the voice behind the “Track Of The Season” winner Axwell with his hit summer hit “I Found U”.

The 2007 winners:

* House - Roger Sanchez;
* Tech House/Progressive - Sander Kleinenberg;
* Techno - Cristian Varela;
* Urban DJ - MuchoMuchacho;
* Trance - Ferry Corsten;
* Newcomer - Axwell;
* Ibiza DJ - Sebastián Gamboa;
* Ibiza - Bar Mambo;
* Ibiza Night - F**K Me I´m Famous;
* Outstanding Contribution - Made In Italy;
* Technology - Ableton Live;
* Track of the Season - “I Found You” from Axwell;
* International DJ - David Guetta;
* Media - DEEJAY;
* Electro - Trentemøller;
* Breakthrough - Fedde Le Grand;
* Set of the Season - Steve Aoki at Ibiza Rocks;
* Lifetime Achievement - Dr Motte/Love Parade;
* International Festival - Monegros (Spain)

From Wikipedia, the free encyclopedia

Disc jockey

2009-12-15T09:28:00.001-08:00

A disc jockey (also known as DJ or deejay) is a person who selects and plays recorded music for an audience. Originally, disk referred to phonograph records, while disc referred to the Compact Disc, and has become the more common spelling. Today, the term includes all forms of music playback, no matter the source.

There are several types of disc jockeys. Radio DJs introduce and play music that is broadcast on AM, FM, shortwave, digital, or internet radio stations. Club DJs select and play music in bars, nightclubs, discothèques, at raves, or even in a stadium. Hip hop disc jockeys select and play music using multiple turntables, often to back up one or more MCs, and they may also do turntable scratching to create percussive sounds. In reggae, the disc jockey (deejay) is a vocalist who raps, "toasts", or chats over pre-recorded rhythm tracks while the individual choosing and playing them is referred to as a selector. Mobile disc jockeys travel with portable sound systems and play recorded music at a variety of events.

From Wikipedia, the free encyclopedia

Digital DJ licensing

2009-12-12T07:09:00.000-08:00

A digital DJ license is required in some countries, including the United Kingdom and Finland, to publicly play digital copies of copyrighted music. The license allows a DJ to copy music from original cds, vinyls or other media, to a computer's hard drive, an mp3 player or other digital audio players, for example to be used with a vinyl emulation software program, or in some cases to other digital media, such as cd-r or MiniDisc. In the countries where digital DJ licensing is used, the license is also required for playing music originally bought & downloaded directly on to a computer, usually in mp3 or similar format, unless the license of the online music store explicitly allows the public performance of the downloaded tracks.

Reasons for licensing

The license usually has two separate functions: To allow a DJ to copy and digitalize music from other sources to a computer's hard drive, and to allow playing of music bought from an online music store. In the first case, a license is needed because a copy of the original recording is used, and in the second, because the copyright collecting agencies of the countries which require licensing hold, that music bought from online music stores such as iTunes or Beatport requires additional licensing before it can be played publicly, thus making downloaded music not comparable to cds and vinyls, which do not require an additional license on the DJ's part to played, as the venue where the music is played usually pays for a music license which allows recorded music to be played. The reasoning for this is that music from online music stores is usually licensed solely for private use.

The licensing systems are emerging since DJs have started to transfer their music collections on to laptops for use with vinyl emulation software or other DJing tools for various reasons, including reducing the amount of baggage, ease of searching, and the ability to have a much larger collection available than what would be practical if the music was stored on a larger physical media; and because the copyright laws in some countries do not permit the professional and/or public use of copies, even if copied from legitimate sources.

Licensing by country

The need for a license, the details of it, and the costs vary from country to country. The license is usually issued by the national organizations which protect the intellectual properties of composers, lyricists, arrangers and performers; or by other organizations which are licensed to sell such licenses on their behalf. Sometimes the license takes the form of leasing, and needs to be renewed yearly, and the tracks used under the license may not be used after the license expires, unless a new license is acquired. For example, in the UK the DJ is allowed to continue using the tracks copied under a previous license even after the license expires, while in Finland the tracks copied under license must be deleted after the license expires. Usually, the songs used do not have to be defined in advance. The songs used must be copied from legitimate sources, and it is not possible to legally play songs illegally downloaded, even if the dj has a license. It is not however always required for the dj to own the original recording, and for example copying music from a cd borrowed from a library may be allowed, but this varies between countries, being for example allowed in Finland but prohibited in the UK. Another common element of the licenses is that they are personal and non-transferrable, and thus the copies may only be used by the person who originally acquired the license, and can not be borrowed or rented to a third-party.

Licensing in the UK

In the UK, a license must be obtained from the Phonographic Performance Limited (PPL), or one of its dubbing operators, and from the Mechanical-Copyright Protection Society (MCPS). In 2006, The PPL created a license that allowed a DJ to use up to 20,000 songs and keep backup copies of these on a separate hard drive. The license did not allow the recording of live DJ mixes, or burning music on to a cd. Furthermore, editing or altering of the original recording was not permitted. The PPL license had to be renewed yearly, and cost £200 plus value added tax (VAT) per year. PPL did not announce how the use of the digital DJ licensing was going to be enforced or supervised, other than by advertising the need for the license and discouraging venues from hiring unlicensed DJs, under threat of "trouble with the law". In addition to this, the DJ also needed to acquire a separate license from the MCPS.

In 2008, PPL and MCPS created a joined license, named ProDub license, which covers the licensing for both organizations. The new licensing scheme is tiered, tier 1 costing £250 including VAT, and allowing the copying of up to 5,000 songs, up to tier 4 which costs £400 including VAT and allows the copying of up to 20,000 songs. This licensing system differs from the previous one in that it's not a form of leasing, and the songs copied under this license may be kept indefinitely. Furthermore, if the whole quota is not used, the remaining amount may be transferred to the next year, provided the license is renewed. This license also allows a backup to be kept, but does not permit the copying of music on to a cd-r, only allowing copies to hard drives of computers or other digital audio players. Also, it is required for the DJ to own the original media, and copies made from cds borrowed from a library or another source are not allowed. The licensors keep a database searchable by surname to allow venues and other organizers to verify that their performers comply with the appropriate copyright laws. It should however be noted that DJs playing original cds and vinyls are legally allowed to do so without any licenses on their part, and are not listed in the database. MCPS does not require the licensees to report the songs used, but they are required to keep some form of a record of the copies made, that may be requested by the MCPS to be sent to them and/or allow them to verify the records. This form of licensing is similar to the previous model in the sense that it does not allow live DJ mixes to be recorded.

By itself the new licensing model does not allow the copying of karaoke tracks that include on-screen lyrics, but for an additional fee the coverage is extendable to include such tracks. The license also only allows music to be copied in the UK, and if the music is copied in any other country, the DJ needs to acquire permission from the copyright holders, or acquire a similar license from that country's copyright organization(s). Music copied in the UK can however be played in any country within the European Economic Area without the need for additional licenses or permissions.

Licensing in Finland

In Finland, a license must be obtained from both Teosto and Gramex, the Finnish organizations which protect the intellectual properties of composers and performers, respectively. The costs vary based on the amount of digital copies desired. The total cost of both licenses combined ranges from approximately 280€ for 1-300 songs to 600€ for up to 3,000 songs, prices including VAT. The licenses from both Teosto and Gramex are valid for a year. The Finnish licensing system does not permit backup copies of any kind, and having two copies of any particular song is considered the same as having two different songs; thus, both are deducted from the amount allowed by the license. The license does not discern between different target mediums, and music may be copied to any format. Usage of the license is enforced by random inspections by Teosto's inspectors. Punishments for lacking a license range from warnings to fines and reimbursements to copyright holders. DJs in Finland using the license are also required by Teosto to submit a yearly report of all the songs used during the year, including the name, composers, duration and publisher for each song. Gramex does not require such reports for licenses for less than 3,000 songs.

An alternative to a yearly leasing license in Finland is to pay a one-time "re-mechanization" fee per track, which allows tracks to be copied to cd-r or other such media, and used for as long as the media exists. Backups are not allowed, and should the disc be damaged the fee will have to be paid again if the licensee wishes to use the same tracks again. While this type of licensing is cheaper in the long run for acquiring a large song library, it does not have the flexibility of the leasing system.

Criticism

The licensing system has been criticized by DJs as being unfair and overly expensive. The major points of criticism are the double charges for copying music from an original cd to a hard drive (first buying the cd and then paying for the license to make a copy), and the unintuitive differentiating between downloaded music and music bought on a physical medium, since the reasoning for allowing the latter to be played, but not the former is that digital downloads are only licensed for private use, but this is also the case for most cds. Why the venue's license to play music covers the physical mediums but not digital ones is unclear.

From Wikipedia, the free encyclopedia

DJO (music)

2009-12-09T15:53:00.000-08:00

The DJO is an annual multi-genre DJ competition founded in 1997, and based in Halifax, Nova Scotia, Canada.

The genres judged are House music, Techno, Trance music, Breaks, Drum & Bass and Hip hop. Though the competition was originally intended for DJs only, the DJO has expanded and now includes Emcee, Beatbox, and Breakdance categories.

From Wikipedia, the free encyclopedia

DJM

2009-12-08T09:02:00.000-08:00

DJM is a range of DJ mixers made by Pioneer Electronics.

Mixers in the DJM series include the DJM-300,DJM-400, DJM-500, DJM-600, DJM-700, DJM-707, DJM-800, DJM-909, and the DJM-1000. They also have many cueing facilities and effects that can be applied to any channel, in conjunction with the CDJ range of CD players made by Pioneer, with the control wire plugged in between mixer and CDJ-type CD player, so that either can be started/stopped remotely by the other (Relay Play) or with the so called 'Fader Start' of the mixer.

Key feature for Pioneer is the BPM tempo synchronised sound effects section (world first) and VU meter for each channel. The DJM-909 was the world's first mixer with a LCD Touch sensitive control.

The mixers of the latest digital generation all have 32-bit DSPs so they have a much better sound quality. Bad boy mixer series.

Analogue processing models : DJM-300, DJM-500, DJM-600 Digital processing models : DJM-400, DJM-700, DJM-707, DJM-800, DJM-909 and DJM-1000

From Wikipedia, the free encyclopedia

Cut (music)

2009-12-04T16:27:00.000-08:00

In African American music a cut "overtly insists on the repetitive nature of the music, by abruptly skipping it back to another beginning which we have already heard. Moreover, the greater the insistence on the pure beauty and value of repetition, the greater the awareness must also be that repetition takes place not on the level of musical development or progression, but on the purest tonal and timbric level" (Snead 1984, p.69, drawing on Chernoff 1979).

David Brackett (2000, p.118) describes the cut, repetition on the level of the beat, ostinato, and the harmonic sequence, as what makes improvisation possible. In a cut repetition is not considered accumulation. "Progress in the sense of 'avoidance of repetition' would at once sabotage such an effort" (Snead 1984, p.68).

Brackett (ibid) finds the cut in all African American folk and popular music "from ring to rap" and lists the blues (AAB), "Rhythm" changes in jazz, the AABA form of bebop, the ostinato vamps at the end of gospel songs allowing improvisation and a rise in energy, short ostinatos of funk which spread that intensity throughout the song, samples in rap, the last of which cuts on two levels, the repetition of the sample itself and its intertexual repetition.

The cuts of African American music are not to be confused with those of traditional Irish music, especially on the instrument of the tin whistle, or to give it its true title, an feadóg stáin. "Cuts and rolls" are used as a form of ornamentation in Irish traditional, and sometimes Scottish tunes.

From Wikipedia, the free encyclopedia

Crab (scratch)

2009-12-02T07:01:00.001-08:00

A crab is a type of scratch used by turntablists. It is made from a combination of moving the record on the turntable by hand and quick movement of the crossfader.

Creation

The crab scratch was invented by DJ Qbert as a variation on DJ Excel's "twiddle." It seems that the two met up in Japan for the Vestax DJ competition in 1995 and Excel was asking Qbert how to flare. When he showed Qbert how he thought the flare was done he was actually doing the twiddle instead by using his thumb as a spring and "twiddling" the fader with 2 fingers. After this meeting, Qbert took the idea back to San Francisco with him and after showing the scratch to DJ Disk, he ended up creating a move that utilized all 3 to 4 fingers and thus the crab was born. Later in 1995, while the DMC USA finals were being held in San Francisco, a group of DJs and judges which included The Beat Junkies, The X-Men (now called the X-ecutioners), and the rest of ISP among others got together for what would later be know as the "Famous Warehouse Session" at Yoga Frog's old mobile DJ warehouse. It was at this session that Qbert shared the new scratch.

While the name "crab" seems self explanatory since it makes your hand look like a crab when you curl all of your fingers to perform it, according to Qbert the name originated elsewhere. Apparently, he and Mixmaster Mike had just returned from Beirut, Lebanon around the same time that he invented it where they were served crepes one night after a show. He said that when the people over there pronounced crepes, it sounded more like "cccccreb" and since he thought it was funny, he used it to name the "cccccreb" scratch which everyone now pronounces as the crab.

Technique

To do a crab scratch the DJ quickly rubs/taps the fader knob with 3 or 4 different fingers in sequence starting with the pinkie or ring finger while using the thumb as a spring to cut the fader back out after each tap (or in if scratching hamster style). The result is much like a 3 or 4 tap transform (or a 3 or 4 click flare if you scratch hamster style) only much quicker than you could probably do with one finger. Many DJs find this move easier or more comfortable to perform hamster style by bouncing the fader off the side of the fader slot, but the move can be performed both normal and hamster. As with orbits, crabs can be performed once as a single distinct move, or sequenced to produce a cyclical never ending type of crab sound.

From Wikipedia, the free encyclopedia

Covered

2009-11-29T06:48:00.001-08:00

Covered is used in reference to a musical recording presented under the guise of a false title and artist.

This activity is primarily used by a DJ especially those associated with the "rare Soul" or "Northern soul" genre of music in 45 record format.

Unknown tracks rediscovered are played under the alias or cover name and its popularity on the dance floor is tied directly to the DJ.

Subsequently an accumulated stock of the track can be sold by the DJ with defaced label and reference stamps at a substantially higher price than the actual records real rarity based value.

From Wikipedia, the free encyclopedia

Cover charge

2009-11-27T02:35:00.000-08:00

At bars and nightclubs, or restaurants with live entertainment, a cover charge is a flat fee for entry to defray the cost of entertainment such as live musicians, singers or a DJ, or for the use of a dance floor, pool tables, or services such as dancing lessons. In some countries, restaurants without entertainment may have a cover charge or ("couvert") for bread, butter, olives, and other accompaniments.

Business models

Cover charges

Bars and clubs that use cover charges use the cover charges for several reasons. In some cases, popular bars and clubs have a substantial excess demand; patrons are lined up outside the club waiting to get in. In this case, the club can gain additional revenue from customers by requiring an entrance charge. Other bars and clubs use cover charges only on nights when there is live entertainment or a DJ, to help defray the cost of paying the band, comedian, or DJ.

Cover charges are usually much lower for local, semi-professional bands or entertainers than for better-known touring bands from other regions. In North America, the cover charge for a performance by a local teenage band may be as low as a few dollars; a show by a nationally-known band with a recording contract may have a $10 to $15 cover. Some prestigious jazz clubs and comedy clubs have both a cover charge and a minimum drink requirement.

Price discrimination

In economics, the term "price discrimination" refers to charging different prices to different customers, based on the anticipated elasticity of demand of different customers. Bars often offer student discounts because university or college students will have a different willingness to pay than an average consumer, due to their budget constraints. Thus, the bar sets a lower price for entry for university and college students because students have a more elastic price elasticity of demand.

Bars often have a “no cover for women” policy, to attract female drinkers. A variant of the “no cover for women” policy is promotions in which women patrons get a “reverse cover charge”, often in promotional coupons, for coming to the club before a certain time, or for the first 50 women to come to the club. In the United Kingdom, this option is illegal under the Sex Discrimination Act 1975.

In some bars, there are also different cover charges for legal drinking age customers and for minors (e.g., a $5.00 cover charge for those over 21 and over $8.00 cover for minors). Presumably the higher charge for minors is to make up for their lack of alcohol purchasing. Some bars have lower cover for some categories, such as college or university students with student identification. As well, some bars have lower cover charges for members of the club or of nightclub organizations or associations. Cover is also waived at some clubs for early arrivals (people arriving before 11 p.m. or midnight); for people who order food; or, if the club is in a hotel, for hotel guests.

Revenue-sharing with performers

The bar usually allows the band or performers to provide a list of guests who will be admitted without paying the cover charge ("the guest list"). The bouncer may waive the cover charge for some customers, such as regular customers who usually purchase a large number of drinks. As well, bouncers sometimes waive the cover charge for their friends, in what could be described as a "perk" of the job.

Bars and clubs have different policies for how the cover charge is shared, if at all, with the performers. Different revenue-sharing agreements are often negotiated by different performers. The range of revenue-sharing arrangements range from the band or performers retaining all of the money collected for the cover charge, to a split between the bar and the band, to arrangements where the bar retains all of the cover charge. A variant of these revenue-sharing arrangements occurs in cases where the bar also gives the band a share of the bar's alcohol sales receipts. Some bars may also agree to a guarantee, in which the bar promises to pay the band a certain amount even if this is less than the amount collected at the door.

Luxury cover charges

Luxury clubs with unusual architecture and interior design and a lush, high-end atmosphere sometimes have cover charges even when there is no live entertainment or DJs. The cover charge for these clubs pays for the massive renovations and the opulent, plush atmosphere which includes leather couches, candles, and attention to detail throughout. For example, Mike Viscuso’s On Broadway, a glam-disco dining palace, has a cover charge of $15. James Brennan’s Stingaree, a glam restaurant and club/lounge, has a cover charge of $20.

Some high-end and luxury bars and nightclubs have yearly membership fees which can be interpreted as annual cover charges. For example, Frederick's has a $1,200 a year membership, the Keating Lounge has a $2,500 annual membership fee, and The Core Club has a $60,000 membership fee. A variant of these annual fees are "table charges" at some elite nightclubs, in which a customer agrees to spend a minimum amount in order to reserve a table in the club (e.g., $1000 in the evening).

No cover charge

Some bars and clubs do not charge an entrance fee, which is indicated in signs stating "no cover" or "no cover charge". These bars use the live entertainers to draw and retain customers in the establishment, so that the customers will buy alcohol. To attract more female customers, bars often have a “no cover for women” policy, sometimes on a ladies' night. In some cases these policies have been challenged in lawsuits as discriminatory, and are illegal in some jurisdictions in the United States. Some comedy clubs and strip bars may allow patrons to enter without paying a fee, with the implicit or explicit expectation that the customers will buy alcoholic beverages while inside. Some bars with "no cover charge" policies may have higher prices for their snacks and beer to make up for the lack of a cover charge. Many nightclubs oriented towards electronic dance music have a cover charge, in some cases because many of their patrons are not drinking alcohol due to use of other drugs such as MDMA. Bottles of water are also often priced at up to $10 to offset the loss of revenue from reduced sales of alcohol.

Legal restrictions

According to Massachusetts law, with an up to fifty dollars penalty, no cafe, restaurant, bar can require a cover charge unless a sign is conspicuously posted with at least one inch-high letters, stating that a minimum charge or cover charge shall be charged and indicating the amount and even then could require it only to a person at least thirteen years old. This law was put in place to resolve the problem of “secret” cover charges, which are indicated only in tiny text on the menu. Clubgoers would then find this cover charge added to their first drink order. In Illinois, bars cannot impose a cover charge unless the fee goes towards the cost of off-setting entertainment costs such as a live band. In 1995, the Italian regional government in Lazio (which includes Rome) began requiring restaurants in the region to remove the cover charge for "Pane e coperto" (bread ad cover) from their bills. In 1998, the European Union ruled that the regional law was invalid, but the region is continuing to try to abolish the practice

Restaurant cover charges

The Lion's Court restaurant, near the Prague Castle, charges a “couvert” or cover charge of 40 CZK (around $2 USD) for each dish except desserts. The cover charge pays for accompaniments such as garlic butter, extra virgin olive oil, olives, and home-made bread. Restaurants in other parts of Europe, such as Italy and Germany also sometimes charge a cover charge for bread and butter.

A variant term for a cover charge in a restaurant is a "table charge" or "minimum charge" of several dollars.

History and etymology

The couvert or cover charge originated in the 1920s illegal bars called speakeasies, during the Prohibition-era ban on alcohol. Manhattan saloonkeeper Tex Guinan, was an early example of a bar requiring a cover charge from patrons.

The etymology of the term “cover charge” is disputed. The term may refer to the tablecloth and table settings, the things that cover the table, which have to be renewed for each group of people in a bar or restaurant that uses a table. The term may also be derived from the French word "couvert", which means "all you use to cover the table (...) tablecloth, china, glasses...". This charge appears at the top of your bill, even in cheap restaurants, as an additional charge over what you eat and drink. Alternatively, some clubs have signs stating "No Minimum or Covert Charges," which suggests that “cover” may be a corruption of “covert.“ Although, it is uncertain if this may simply be a coincidental alternate wording for a “hidden“ charge.

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Controllerism

2009-11-20T06:55:00.001-08:00

Controllerism is the art and practice of using musical software controllers (e.g. MIDI, OSC, Joystick, etc) to build upon, mix, scratch, remix, effect, modify, or otherwise create music, usually by a Digital DJ or "Controllerist". Controllerism developed at the peak of USB midi controller market during the turn of the century. Often on the side of Virtuoso performance art, Controllerism is also a knod to traditional musicianship and instrumental-ism paired with modern computer sequencing software such as Ableton Live and Native Instruments Reaktor. However a working knowledge of Scale and Chords is not necessarily required as the performers typically focus their efforts more on sequencing events, software effect and instrument manipulations using buttons, knobs, faders, keys, foot switches and pedals than on instrumental notes played in real time. The term was coined by Moldover in 2007 and popularized by Ean Golden to describe the process while paying homage to and giving respect to the art of turntablism.

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Chopping

2009-11-16T09:26:00.001-08:00

In hip hop music sampling, chopping is the "altering [of] a sampled phrase [or break] by dividing it into smaller segments and reconfiguring them in a different order." (Schloss 2004, p.106)

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Chopped and screwed

2009-11-12T17:35:00.000-08:00

Chopped and screwed (sometimes called screwed and chopped or slowed and throwed) refers to a technique of remixing hip hop music which developed in the Houston hip hop scene in the 1990s. This is accomplished by slowing the tempo down to between 60 - 70 quarter-note beats per minute and applying techniques such as skipping beats, record scratching, stop-time, and affecting portions of the music to make a "chopped-up" version of the original.

History

Preceding the early 1990s, most Southern Hip Hop was upbeat and fast, like Miami bass and Crunk. In Houston, a different approach of slowing music down rather than speeding it up developed. Many feel that the slow and mellow feel of Chopped & Screwed music is a symbol of how people lived in Houston. It is unknown when DJ Screw officially made what is known as "Chopped & Screwed" music. Although people around Screw have indicated any time between 1984 to 1991, Screw says he started slowing music down in 1990. There is no debate, however, that DJ Screw did invent the music style. It is thought that Screw came up with the music one day when messing around with his turntables. Screw discovered that dramatically reducing the pitch of a record gave a mellow, heavy sound that emphasized lyrics to the point of almost storytelling. After messing around with the sound for a while Screw started making full length 'Screw Tapes'. At first the music was only referred to as "Screw music," was limited to South Houston, and was seen as laid-back driving music. As Screw's tapes started to gain popularity he started selling his tapes for around $10. Screw was known to feature some of Houston's most renowned rappers from the South Side. This eventually led to the formation of the Screwed Up Click.

Between 1991 and 1992, there was a large increase in use of syrup in Houston. Syrup has been considered to be a major influence in the making of and listening to Chopped & Screwed music due to its effects of slowing the brain down. This gave slow, mellow music its appeal. DJ Screw, however, denounced the claim that you have to use syrup to enjoy Chopped & Screwed music a number of times. Screw, a known user of syrup, said he came up with Chopped & Screwed music when high on marijuana.

In the mid-1990s, Chopped & Screwed music started to move to North Houston and to such people as DJ Michael "5000" Watts. It wasn't long until a rivalry between north and south Houston started over who were the "originators" and who were the "adopters". Michael "5000" Watts always gave credit to DJ Screw as the originator of Chopped & Screwed music. It is also believed that Michael "5000" Watts came up with the term "chopped and screwed". As time passed and a younger generation got into Chopped & Screwed music, there became less worry over who was a originator and who was adopter. In the late 1990s, with the help of P2P groups such as Napster, Chopped & Screwed music spread to a much wider group of people.

In 1999, PSK-13, an associate of DJ Screw and the Screwed Up Click (and was also a member of the South Park Coalition), released a screwed version of his album Pay Like You Weigh 5000 which was one of the earliest examples of a full length album being given the treatment.

On November 16, 2000 DJ Screw died leaving a legacy that has lasted to this day. The medical examiner who performed his autopsy concluded that Screw died from a lethal combination of codeine and alcohol. This hurt chopped and screwed music badly since no one since DJ Screw has met the level of popularity he had. Shortly after the passing of Screw, Chopped & Screwed music spread all over the Southern United States. Later in 2000, the Memphis based group Three 6 Mafia came out with their song "Sippin' on Some Syrup". The song at first was just a minor hit but later became one of Three 6 Mafia's most popular songs.

In 2001, 8Ball & MJG released a screwed version of their album Space Age 4 Eva (2000). The mixing was handled by Michael "5000" Watts of the famed Swishahouse, being the first Chopped & Screwed release on a major label.

In 2003, David Banner released a Screwed version of his album Mississippi: The Album, being a first by an artist from Mississippi.

In 2005, the first Chopped & Screwed albums were added to the I-Tunes shop catalog.

Today it is still common to see Chopped & Screwed versions of mixtapes and albums released along side the regular speed versions, sometimes in a double disc format with one disc screwed and the other regular speed.

Subculture

Chopped and screwed music was created by DJ Screw in the early 1990s. Part of the chopped & screwed music scene is a beverage known as purple drank (the active ingredients being codeine and promethazine); the color purple, which is usually present as a haze in the "drank," has also become a symbolic color or motif to identify chopped and screwed versions of songs or whole albums. The 2007 documentary film Screwed In Houston produced by VBS/Vice Magazine details the history of the Houston rap scene and the influence of the Chopped and Screwed sub-culture on Houston hip-hop.

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Chirp (scratch)

2009-11-09T02:37:00.001-08:00

A chirp is scratch, a term used by turntablists. It involves the use of record hand movement and the cross-fader.

Technique

The scratch is somewhat difficult to perform because it takes a good amount of coordination. The scratch starts out with the cross-fader open. The DJ then moves the record forward while simultaneously closing the previously opened channel ending the first sound. Then, in a reverse fashion, the DJ opens the channel while moving the record backwards creating a more controlled sounding "baby scratch". Done in quick cession it sounds as though a chirp sound is being produced.

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CMX-3000

2009-11-04T15:01:00.001-08:00

The CMX-3000 was Pioneer's second attempt to enter the market of rack-mountable dual deck CD-players. Released in the wake of CDJ-1000, the player was - and still is - often mistakenly advertised as a 19" inch rack mountable equivalent of dual CDJ-1000's even though the intended target audiences for the products, as well as their comparative pricing, were entirely in different leagues. The misconception is possibly caused by the fact that while Pioneer's earlier dual deck CD-player, the CMX-5000, only had a jog wheel comparable to earlier single deck CD-players for doing pitch bending, the CMX-3000 also allowed distinct jog mode that enabled the user to use the jog wheel for scratching, a feature that thus far was only available on the top-of-the line CDJ-1000. The jog wheel however relies upon the movement of the wheel itself and is not touch sensitive as it is on the CDJ-1000, CDJ-800 and CDJ-400. Therefore the scratch is intended as an effect or for cueing a track, and is not appropriate for stopping the track by touch as it is on the other CDJ models.

Mainly due to the product's comparative pricing (for the price of two CDJ-1000's you could get almost three CMX-3000 units with two players each) the CMX-3000's have found their way to the setups of many mobile DJ as well as into the booths of many world's best nightclubs as a backup player in case the industry standard CDJ-1000's fail for some reason during a night.

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CDJ-900

2009-10-30T21:38:00.001-07:00

The CDJ-900 is the latest addition to Pioneer Electronics's CDJ-range of digital turntables targeted for professional DJs announced simultaneously with CDJ-2000 on September 17th 2009. The player will be available from the end of December 2009.

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CDJ

2009-10-24T15:31:00.000-07:00

CDJ is a term used to describe a CD player made by Pioneer Electronics, that operates similarly to a vinyl turntable for the purposes of DJing. Originally, the term referred to the CDJ-500 by Pioneer Electronics, but now includes the whole line of Pioneer CD-turntables.

The Pioneer CDJ-400, CDJ-800, CDJ-1000 (including the Mark 2 and Mark 3) have vinyl mode and a virtual platter that allows the operator to manually manipulate music on a CD as if it were on a turntable, while other models (CDJ-100S, CDJ-200) do not feature vinyl and scratching capabilities, and are essentially CD players. While still having the options to manipulate the CD, they do not feature the vinyl modes of the other models.

The CDJ-1000 was the main model to find mass usage in both clubs and amongst domestic users, especially from the second version of the model, the CDJ-1000MK2.

The latest model is the CDJ-400 which incorporates the main new feature of having a USB input and control abilities on the player. However it is not as functional as the CDJ-1000MK3, hence the number 400 being assigned to the machine.

Additionally, Pioneer make mixers such as the DJM series (including the DJM-500, DJM-600, DJM-800, and the DJM-1000) which have an increasing amount of cueing facilities and effects that can be applied to any channel, often in association with the control wire plugged in between mixer and CDJ-type CD player, so that either can be controlled remotely by the other.

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Music pool

2009-10-18T20:39:00.001-07:00

A music pool commonly refers to a regionalized and centralized method of music distribution that allows a DJ to receive promotional music to play in nightclubs. The music industry sends its newest releases to the pool, and in exchange, the pool provides feedback on each release as well as exposure in the nightclubs. Formerly known as a record pool, the term music pool reflects the current state of technology where the group may distribute music in any form, either physical (vinyl, CDs. etc.) or virtual (MP3s.) Music pools may have a brick and mortar office or may be virtual as in the case of online music pools. The person who runs the pool is usually called the music pool director.

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Break (music)

2009-10-10T19:50:00.000-07:00

In popular music, a break is an instrumental or percussion section or interlude during a song derived from or related to stop-time – being a "break" from the main parts of the song or piece.

A solo break in jazz occurs when the rhythm section stops playing behind a soloist for a brief period, usually two or four bars leading into the soloist's first chorus. A notable recorded example is Charlie Parker's solo break at the beginning of his solo on A Night in Tunisia.

In DJ parlance, a break is where all elements of a song (e.g., pads, basslines, vocals), except for percussion, disappear for a time. This is distinguished from a breakdown, a section where the composition is deliberately deconstructed to minimal elements (usually the percussion or rhythm section with the vocal re-introduced over the minimal backing), all other parts having been gradually or suddenly cut out. (Brewster and Broughton 2003, p. 79)

The distinction between breaks and breakdowns may be described as, "Breaks are for the drummer; breakdowns are for hands in the air" (ibid).

In hip hop and electronica, a short break is also known as the cut and the proceeding reintroduction of the full bass line and drums is known as "the drop", and is sometimes accented by cutting off everything, even the percussion.

Break

A break may be described as when the song takes a "breather, drops down to some exciting percussion, and then comes storming back again" and compared to a fake ending. Breaks usually occur two-thirds to three-quarters of the way through a song (Brewster and Broughton 2003, p. 79).

According to Peter van der Merwe (1989, p. 283) a break "occurs when the voice stops at the end of a phrase and is answered by a snatch of accompaniment," and originated from the bass runs of marches of the "Sousa school". In this case it would be a "break" from the vocal part.

According to David Toop (1991), "the word break or breaking is a music and dance term (as well as a proverb) that goes back a long way. Some tunes, like 'Buck Dancer's Lament' from early in the nineteenth century, featured a two-bar silence in every eight bars for the break—a quick showcase of improvised dance steps. Others used the same device for a solo instrumental break: one of the most fetishized fragments of recorded music is a famous four-bar break taken by Charlie Parker in Dizzy Gillespie's tune 'Night in Tunisia'."

However, in Hip Hop, "today the term break refers to any segment of music (usually four measures or less) that could be sampled and repeated....A break is any expanse of music that is thought of as a break by a producer." In the words of DJ Jazzy Jay (Leland and Stein 1987: 26, cited in Schloss 2004), "Maybe those records whose breaks are sampled were ahead of their time. Maybe they were made specifically for the rap era; these people didn't know what they were making at that time. They thought, 'Oh, we want to make a jazz record'". (Schloss 2004, p. 36-37)

Break beat

A break beat is the sampling of breaks as drum loops (beats), originally from soul tracks, and using them as the rhythmic basis for hip hop and rap songs. It was invented by DJ Kool Herc, a Jamaican, the first to buy two copies of one record so as to be able to mix between the same break or, as Bronx DJ Afrika Bambaataa describes, "that certain part of the record that everybody waits for--they just let their inner self go and get wild," extending its length through repetition (Toop, 1991). The dance the boys and girls ended up doing to break beats was called the Break, break dancing. Breaking was abandoned in favor of doing the Freak in 1978 until it was revived and enhanced by Crazy Legs, Frosty Freeze, and the Rock Steady Crew. More recently electronic artists have created "break beats" from other electronic music. Compare with "breakbeat" below.

Although DJ Kool Herc is usually credited with being the first to cut between two copies of a record, it is likely that there were a number of like-minded DJ's developing the technique at the same time. For example, Walter Gibbons was noted in first-hand accounts by his peers for cutting two copies of the same record in his discothèque gigs of the mid 1970s.

Hip hop break beat compilations include Hardcore Break Beats and Break Beats, and Drum Drops (Toop, 1991).

Breakbeat

Breakbeat as a genre did not appear in any commercial sense until well after the advent of inexpensive digital sampling equipment. The genre itself (outside of a hip-hop usage for this style) can be traced commercially to the group Coldcut neutrality disputed original research? in Great Britain, who started by looping very small sections of analogue tape to form such records as "Beats and Pieces" and "That Greedy Beat". They were inspired by a number of New York hip-hop DJ's, but did not release their recordings in a broader context of Rap music. Coldcut's efforts were equally aligned with house music and dub reggae, as well as being self-standing compositions "sans MC". Aside from the remix of Eric B. and Rakim's "Paid in Full", Coldcut would not align with a rapper until U.S. label Tommy Boy foisted Queen Latifah on the group's "Smoke This One" (originally released as an instrumental composition).

Breakdown

Disco mixer and remixer Tom Moulton invented the "disco break" or breakdown section in the early 1970s. Moulton had been remixing a dance record and found that the performance had "immaculated" (gone up in pitch as live performances are prone to doing), and this fact would be noticed unless he separated two sections of the recording with non-tonal information. He edited in a section of drums, and the aesthetic effect was immediately found to be pleasing to dancers. The placement was also useful for club DJ's, providing a rhythm-only section of the recording over which to begin mixing in the next record to be played. Mr. Moulton has maintained that his innovation was an accident (ibid). The placement followed the patterning of a traditional pop recording: it replaced the bridge typically found in such a record after the second chorus. A clear example is the breakdown in "My Lovin' (Never Gonna' Get It)" by En Vogue: a sampled male voice can be heard introducing this part of the record with the sentence "and now it's time for a breakdown". Longer tracks often have two, three or more breakdowns.

Initially the transition to the breakdown was an abrupt absence of most of the arrangement in a disco record as described above. HiNRG records would typically use a pronounced percussive element, such as a drum fill, to cover the transition, and later genres reach the breakdown section by a gradual reduction of elements. In all genres the stripping away of other instruments and vocals ("breaking-down" the arrangement) helps create intense contrast, with breakdowns usually preceding or following heightened musical climaxes. In many dance records, the breakdown often consists of a stripping away of the pitched elements (most instruments) - and often the percussion is cut too - but an adding of an unpitched noise sound effect. This is often treated with a lot of reverb and rises in tone to create an exciting climax. This noise then cuts to a beat of silence before returning to the musical part of the record.

Metal and punk

Breakdowns are sometimes found in songs of these genres as they can be used to eschew traditional verse-chorus-verse songwriting. When played live, breakdowns are usually responded to by the audience moshing or hardcore dancing. Vocalists also tend to throw in a single, repeated statement throughout the breakdown, giving those who are not dancing or moshing an opportunity to sing along. Many metalcore bands rely on having memorable breakdowns rather than memorable choruses as a breakdown can be used as a replacement to the chorus for a climactic riff.

The drums are usually simple with several cymbals and snare on the third beat. The cymbals are usually a china or fast crash with quarter notes or more common, eighth notes. Also common is the use of crash cymbals with quarter notes, or even half notes, to give the music a very heavy, slow feel. The drummer usually follows the rhythm of the guitar on the kick drum. In metal, the guitars play a set of rhythmically oriented riffs, usually on open strings so as to achieve the lowest and heaviest sound for which the guitars are tuned, so the dancers in the audience can respond effectively. Sometimes, these are contrasted with either dissonant chords, such as minor 2nd intervals, or pinch harmonics. These riffs are often accented by the drummer with double kick bass drums that follow the pattern of the guitars. This kind of breakdown can be traced back to the Los Angeles thrash metal band Dark Angel, whose drummer Gene Hoglan first played this kind of rhythmic double bass drums-guitar oriented breakdown on the title track of Dark Angel's second album, Darkness Descends. Gene Hoglan has used this technique, which he calls 'kick triplets', in various bands in which he played since then, and it had become commonly used in Thrash Metal and especially Death Metal, although not always in the same way it is used in Metalcore. However, this standard formula for breakdowns is not always followed. Many current bands now tend to distort the line between breakdowns and other parts of songs. Some bands that don't fall under the banner of metalcore, such as A Day to Remember and Four Year Strong, also use breakdowns.

In punk rock, breakdowns tend to be more upbeat, using the floor toms and snares to create a faster, 'rolling' rhythm. This provides audience members with an opportunity to skank, mosh, or circle pit.

The Bluegrass Breakdown

In bluegrass music, a break is a short instrumental solo played between sections of a song and is conventionally a variation on the song's melody. A breakdown is an instrumental form that features a series of breaks, each played by a different instrument. Examples of the form are "Bluegrass Breakdown" by Bill Monroe as well as "Earl's Breakdown" and "Foggy Mountain Breakdown", both of which were written by Earl Scruggs.

Notable breaks/breakdowns

* "You Might Think" by The Cars

Stilleto by Symphony in Peril (most recognized hXc breakdowns)

* "Fencewalk" by Mandrill, used by DJ Kool Herc
* The Amen Break from "Amen, Brother" (1969) by The Winstons
* "Synthetic Substitution" by Melvin Bliss, used by Ultramagnetic MC's
* "Funky Drummer" by James Brown
* The Meters
* "You Keep Me Hangin' On" by Kim Wilde
* Creative Source
* The JBs
* The Blackbyrds
* Last Poets
* "Scratchin'" by Magic Disco Machine
* "Scorpio" by Dennis Coffey
* "Careless Whisper" by George Michael
* "Super Sperm" by Captain Sky
* "Mardi Gras" by Bob James, cover of Paul Simon's "Take Me to The Mardi Gras". Used by The Crash Crew on "Breaking Bells (Take Me To the Mardi Gras".
* "Soul Makossa" by Manu Dibango
* "Angel Of Death" By Slayer
* "In The Bottle" by Gil Scott-Heron
* "Spider in the Shower" by Gil Scott-Heron
* "One" by Metallica
* "Geek U.S.A" by The Smashing Pumpkins
* "Apache" by the Incredible Bongo Band. Used by DJ Kool Herc, The Sugarhill Gang in "Apache", West Street Mob in "Break Dancin' - Electric Boogie".

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Beatmixing

2009-10-08T07:12:00.000-07:00

Beatmixing is a disk jockey technique of mixing two tracks so that the beats of one occur at the same time as the other.

History

Beatmixing was invented in the late 1960s by Francis Grasso, who tried to keep people from leaving the dance floor between the songs. Initially he was looking for records with the same tempo, counting the tempo with a metronome. When the tempos didn't match, he was adjusting the pitch control on the turntable to bring the beats in sync. Rosie, a mixer built for him by Alex Rosner, let him listen to any channel in the headphones independently of what was playing on the speakers, allowing him to beatmatch the records by ear; this became the defining feature of DJ mixers.

These days beatmatching and beatmixing are considered basic techniques among DJs in electronic dance music genres, and it's standard practice in clubs to keep the constant beat through the night, even if DJs change in the middle.

Radio Imaging

Beatmix or beatmixing however should not be confused with another term used in radio imaging. Radio imaging refers to any produced audio material sung or voice over used to identify a radio station. A radio imaging company in Seattle, Washington called ReelWorld used the term "beatmix" to refer to a type of imaging material in which a jingle, a voice over liner and audio clips are produced to blend on a song intro. The concept is still the same with DJ beatmixing.

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Beatmatching

2009-09-11T08:14:00.000-07:00

Beatmatching is a disc jockey technique of pitch shifting or timestretching a track to match its tempo to that of the currently playing track i.e. the kicks and snares in two house records hit at the same time when both records are played simultaneously. Beatmatching is a component of Mixing which employs beatmatching combined with equalization, attention to phrasing and track selection in an attempt to make a single mix that flows together and has a good structure.

The technique was developed to keep the people from leaving the dancefloor at the end of the song. These days it is considered basic among DJs in electronic dance music genres, and it is standard practice in clubs to keep the constant beat through the night, even if DJs change in the middle.

Beatmatching is no longer considered as a novelty, and new digital mixers have made the technique much easier to master.

Technique

The beatmatching technique consists of the following steps:

1. While a record is playing, beatmatch a new record to it, using headphones for monitoring. Use gain (or trim) control on the mixer to match the levels of the two records.
2. Restart and slip-cue the new record at the right time. Pay attention to track structures; careful phrasing can make the mix seamless.
3. Before fading in the new track, check that the beats of two tracks match by listening to both channels together in the headphones, as the sound from the speakers can reach you with a delay.
4. Gradually, fade in parts of the new track while fading out the old track. While in the mix, ensure that the tracks are still synchronized, adjusting the records if needed.

Pitch and tempo

The pitch and tempo of a track are normally linked together: spin a disc 5% faster and both pitch and tempo will be 5% higher. However, some modern DJ software can change pitch and tempo independently using time-stretching and pitch-shifting, allowing harmonic mixing. This technique is referred to as beatmatching.

History

Beatmatching was invented by Francis Grasso in the late 1960s and early 1970s. Initially he was counting the tempo with a metronome and looking for records with the same tempo. Later a mixer was built for him by Alex Rosner which let him listen to any channel in the headphones independently of what was playing on the speakers; this became the defining feature of DJ mixers. That and turntables with pitch control enabled him to mix tracks with different tempo by changing the pitch of the cued (redirected to headphones) track to match its tempo with the track being played by ear. Essentially, the technique he originated hasn't changed since.

These days beatmatching is considered central to DJing, and features making it possible are a requirement for DJ-oriented players. In 1978, the Technics SL-1200MK2 turntable was released, whose comfortable and precise sliding pitch control and high torque direct drive motor made beatmatching easier and it became the standard among DJs. With the advent of the compact disc, DJ-oriented Compact Disc players with pitch control and other features enabling beatmatching (and sometimes scratching), dubbed CDJs, were introduced by various companies. More recently, software with similar capabilities has been developed to allow manipulation of digital audio files stored on computers using turntables with special vinyl records (e.g. Final Scratch, M-Audio Torq, Serato Scratch Live) or computer interface (e.g. Traktor DJ Studio, Mixxx, Virtual Dj). Other software including algorithmic beatmatching is Ableton Live, which allows for realtime music manipulation and deconstruction, or Mixmeister, a DJ Mixset creation tool. Freeware software such as Rapid Evolution can detect the beats per minute and determine the percent BPM difference between songs.

The change from pure hardware to software is on the rise, and big DJs are introducing new equipment to their kits such as the laptop, and dropping the difficulty of carrying hundreds of CDs with them. The creation of the mp3-player allowed DJs to have an alternative tool for DJIng. Limitations with mp3-player DJing equipment has meant that only second generation equipment such as the IDJ2 or the Cortex Dmix-300 have the pitch control that alters tempo and allows for beatmatching on a digital music player. However, recent additions to the Pioneer CDJ family, such as the CDJ-400, allow mp3-player and other digital storage devices (such as external hard drives and USB memory sticks) to be connected to the CDJ device via USB. This allows the DJ to make use of the beatmatching capabilities of the CDJ unit whilst playing digital music files from the mp3-player or other storage device.

From Wikipedia, the free encyclopedia

Beat juggling

2009-09-09T01:58:00.001-07:00

Beat juggling is the act of manipulating two or more samples (e.g. drum beats, or vocal phrases), in order to create a unique composition, using multiple turntables and one or more mixers. This can involve pauses, scratching, backspins and delays. It could be seen as fingertip sampling, and the turntable and mixer combination could be seen as an instrument from which sounds are made, from the sounds of other instruments (samples).

History

Beat Juggling has its roots in cutting, in which a small section of a beat is looped using two copies of the same record. This was first done by Kool DJ Herc, and later refined by DJs such as Grandmaster Flash in the early 80s. Two other fundamentals of modern beat juggling technique include "tapping" or "walking," where the DJ taps the record in between percussion sounds, stopping it momentarily to slow down the beat, or pushing it faster to speed it up, and "shuffling" or "strobing," where the DJ loops the two records at different points in the beat, literally remixing the record live by playing new combinations of the sounds on the records.

The term is an invention of the media, and not the actual title given by the creators. Juggling the beat merely describes what is being done. The inventor of the technique, DJ Steve Dee from Harlem, NYC, referred to it simply as bringing "The Funk" out of a record. He effectively made his own beats from reconstructing different parts of songs. The technique was refined by the DJ group The X-Men, whom DJ Steve Dee founded, they later were to become The X-Ecutioners.

Techniques

Looping
Strobing
Body Moves
Carousel

From Wikipedia, the free encyclopedia

Battle records

2009-09-06T19:39:00.000-07:00

Battle records are vinyl records made up of brief samples from songs, film dialogue, sound effects, and drum loops for use by a DJ. The samples and drum loops are used for scratching and performances by turntablists.

Battle records are often released by DJs banking on their celebrity or looking to capitalize on rare items in their collections. Creative, novel, or bizarre inclusions are especially prized. Often, the samples featured on these records do not have the blessing of the original copyright holders. Because of this, the use of pseudonyms and anonymous releases are common.

From Wikipedia, the free encyclopedia

Back spinning

2009-09-05T05:39:00.001-07:00

Back spinning describes the act of manually manipulating a vinyl record (currently playing on a turntable), using enough force to cause the record to spin backward (despite the rotation of the platter beneath it). It is often used in DJing; many DJs use specialty slipmats so that friction will be reduced between the record and the platter. Back spinning is used to "rewind" the sound on a record to a previous point in the audio, to slip cue or cut music mixed live by a DJ, or in beat juggling (see: turntablism).

Usually, the sound of a backspin is a shrill, reversed version of the audio being bypassed. Since the sound easily stands out against other forms of music or ambient noise due to its uniqueness, it is usually muted by creative use of a DJ mixer. However, the sound is sometimes used as a sound effect, especially in its attachment to DJs and surrounding cultures such as hip hop.

From Wikipedia, the free encyclopedia

DJ mix

2009-09-02T07:16:00.000-07:00

A DJ mix or DJ mixset is a sequence of musical tracks typically mixed together to appear as one continuous track. DJ mixes are usually performed using a DJ mixer and multiple sounds sources, such as turntables, CD players, digital audio players or computer sound cards, sometimes with the addition of samplers and effects units, although it's possible to create one using sound editing software.

History

Technique

A DJ set is usually performed live in front of an audience or recorded in a studio and may also be referred to as a liveset (with "DJ mix" referring more to a studio mix not performed live). In live situations the progression of the DJ set is a reactionary process. The DJ chooses tracks partly in response to the activity on the dance floor. If the dance floor becomes less active, the DJ will make a judgement as to what track will increase dance floor activity. This may involve shifting the tempo or changing the general mood of the set. Track choices are also due, in part, to where the DJ wishes to take his or her audience. In this way the resulting mixset is brought about through a symbiotic relationship between audience and DJ. Studio DJs have the luxury of spending more time on their mix, which often leads to productions that could never be realized in real-time.

Distribution

DJs often distribute their recorded mixes on CD-Rs or as digital audio files via websites or podcasts for promotional purposes. Many popular DJs release their mixes commercially on a compact disc. When DJ sets are distributed directly via the Internet, they are generally presented as a single unbroken audio file; cue sheets may be provided by the DJ or fans to allow the set to be burned to a CD, or listened to, as a series of separate tracks in the way it would be produced as a commercial mix.

Commercial mix albums

* Back to Mine series
* Café del Mar series
* Choice - A Collection Of Classics
* Distinct'ive Records Y4K series
* DJ-Kicks series
* Fabric and Fabric Live
* Global Underground series
* In Search of Sunrise (series)
* Late Night Tales
* Renaissance: Masters Series
* A State of Trance
* Solid Steel
* Tranceport series

From Wikipedia, the free encyclopedia

xwax

2009-09-02T07:15:00.001-07:00

xwax is open source vinyl emulation software. It was initially developed in 2006 as proprietary software. In May 2007 xwax was licensed under the GNU General Public License, making it the first open source software of this kind.

Unlike the software supplied with some proprietary packages for vinyl emulation, xwax is hardware independent. Notably, it can be used with the audio device and timecode recordings supplied with Scratch Live and Traktor Scratch packages, and the audio interface supplied with the original Final Scratch.

The xwax source code is used to decode timecodes for vinyl control in Mixxx.

From Wikipedia, the free encyclopedia

Vinyl emulation software

2009-08-31T17:27:00.002-07:00

Vinyl emulation software allows the user to physically manipulate the playback of digital audio files on a computer using the turntables as an interface, thus preserving the hands-on 'feel' of deejaying with vinyl while allowing playback of audio recordings not available in phonograph form. This allows DJs to scratch, beatmatch, and perform other turntablism that would be impossible with a conventional keyboard-and-mouse computer interface.

Overview

Vinyl emulation normally uses vinyl records which are played on conventional turntables. The turntables' audio output - the timecode recording - is routed into an analog-to-digital converter, or ADC. This ADC may be a multi-channel ASIO soundcard or a dedicated external USB or firewire audio interface box (usually distributed with the software). The ADC sends digital time code information to the software, which then translates the signal into corresponding changes in the playback speed and position of a digital audio file. The manipulated audio output of the program is then sent back through the ADC or the computer's sound card, and into an audio mixer where it can be mixed like any other analog audio signal.

The result is digital audio playback that feels like it can be manipulated like a vinyl record. However, there is always a short delay between the needle's reading of the time code and the software's playback of the audio. This delay is usually between 8 and 30 milliseconds. The delay is treated as a figure of merit for vinyl emulation products. A shorter delay allows the DJ to have better response and control of the music.

In some countries, including the United Kingdom and Finland, a digital DJ license is required to legally play copyrighted music with vinyl emulation software.

Software packages

Final Scratch was the first vinyl emulation software sold publicly. Since its release in 2001, many similar software and hardware packages have been developed and marketed.

The following applications are licensed under the terms of the GNU General Public License:

* xwax
* Mixxx

Proprietary software applications include:

* Final Scratch
* Traktor Scratch
* Serato Scratch Live
* Deckadance
* VirtualDJ
* Numark CUE
* MixVibes DVS
* MS Pinky
* Torq
* Touch DVS

From Wikipedia, the free encyclopedia

Two turntables and a microphone

2009-08-31T17:27:00.001-07:00

"Two turntables and a microphone" is the basic concept of a DJ's equipment.

This phrase describes turntables (phonographs) and a microphone connected to a mixer. The DJ uses the mixer's crossfader to fade between two songs playing on the turntables. Fading often includes beatmatching. Live hip hop music also often has an MC rapping into the microphone. In nightclubs the microphone is usually used only for announcements.

The set up was first used by Jimmy Savile in 1946. This phrase is used in the chorus of the song "Needle to the Groove" by Mantronix and "Where It's At" on Beck's album Odelay.

This phrase is also referenced in season 5 of the hit Canadian TV show Trailer Park Boys when Ricky steals J-Roc's DJ equipment. It is unclear whether or not this is an intentional reference to any of the songs in which this line appears.

From Wikipedia, the free encyclopedia

Technics SL-1200

2009-08-29T14:41:00.000-07:00

The Technics SL-1200 is a series of turntables manufactured since October 1972 by Matsushita under the brand name of Technics. Originally released as a high fidelity consumer record player, it quickly became adopted among radio and club disc jockeys. Since its release in 1978, SL-1200MK2 and its successors have been the most common turntable for DJing and scratching. The MK2 presented several improvements, including to the motor and casing. Since 1972, more than 3 million units have been sold. It is widely regarded as one of the most durable and reliable turntables ever produced. Many of the models manufactured in the '70s are still in heavy use. Rappers have referred to the turntable as "1200", "Tee 12's", "Technics", "Tec 12", "wheels of steel" and "ones and twos".

Features

The features that set the SL-1200 apart are:

* A magnetic (no wear), direct drive (low slip) mechanism
* High torque (1.5 kgf·cm or 0.15 N·m), which means the platter will spin at the desired speed almost immediately (0.7 s to reach 33 ¹⁄₃ RPM from standstill)
* Very low wow and flutter (0.01%), which means that the platter will stay within 1/100 of 1% of the desired speed
* Heavy base (12.5 kg), dramatically reducing the likelihood of feedback or stylus jumping
* Variable pitch control, allowing the rotational speed to be adjusted from -8% to +8% (for the purpose of beatmatching)
* High reliability: many examples of SL-1200's lasting well over 15 years of heavy use and withstanding physical shock without functional impairment

Models

* The original SL-1200, released in 1972, was marketed as a hi-fi turntable.
* The SL-1200MK2, released in 1978, has a silver finish. This was a continuing trend, as later 1200 models would be silver and matte black. Technics improved the motor and shock resistance, added a ground wire, and changed the rotary pitch control to a slider style. This is now the base model and is the oldest still in production. The older version of this model which was sold in the 70's and 80's has a large 4 inch diameter plate where the RCA and ground wires enter the unit. The newer version has a smaller 2 inch diameter hole in the rubber where the RCA and ground enter.
* The SL-1200MK2PK is a USA-only piano-black (glossy) model.
* The SL-1210MK2 is the matte black version of SL-1200MK2. It used to be unavailable from official Panasonic dealers in the United States, until Technics released SL-1200MK2PK.
* The SL-1200MK3, released in 1989, has a matte-black finish like the 1210, gold RCA plugs, and a small gold-foil technics label on the back. It was destined only for the Asian market.
* The SL-1200M3D (1997) adds a quartz lock button which resets pitch to 0 immediately. The purpose of this button was to remove the detent/"click" at the 0 point of the fader to improve the accuracy of the pitch fader.
* The SL-1210M3D is the same as the SL-1200M3D except with a black finish.
* The SL-1200MK4 (1997) is only available for sale in Japan. This model is aimed at the hi-end audiophile market rather than for DJ's. This is the last model made with the detent in the middle of the pitch adjustment slider. It has a third button added for 78 RPM located to the right of the 33 RPM and 45 RPM buttons. It is also designed to be used with regular removable RCA cables (along with a removable ground/earth cable) rather than having hard wired RCA cables like all the other 1200 models.
* The SL-1200MK5 increases the range of anti-skate settings from 0–3 grams-force (0–30 mN) to 0–6 grams-force (0–60 mN). Also has a white LED target light (previous versions only had a globe and burnt out over time).
* The SL-1210MK5 is the black version of the SL-1200MK5.
* The SL-1210M5G was launched in Japan on 1 November 2002 (together with the MK5) and is a special 30th-anniversary edition of the SL-1200. The difference from the MK5 model is the ability to switch between ±8% and ±16% ranges for pitch adjustment. It also featured blue target lights and blue pitch-number illumination. The pitch control in this model is all digital.
* There were limited edition 24kt gold plated versions, the SL-1200LTD (1998) and SL-1200GLD (2004) models, the latter also having a blue instead of the usual white target light. The SL-1200LTD is based on the MK3D and the SL-1200GLD is based on the M5G.
* The SL-1200MK6 and SL-1200MK6K1 (black) released in 2007 have some minor improvements including: Improved tonearm mounting and oxygen-free copper wire being used for the signal, improved vibration damping in the body, improvements to the pitch control accuracy and better LEDs.

Determining the age of an SL-1200

It is possible to tell the year (and the month) when the SL-1200 was manufactured from the serial number on the back or bottom of the turntable. SL-1200 serial numbers are in two different formats, depending on the date of manufacture. It isn't exactly possible to determine the decade in which the SL-1200 in question was manufactured, as the serial number contains only the last digit of the year. If the year digit is 8, the turntable may have been manufactured in 1978, 1988, 1998 or 2008. If the year digit is 0, the turntable may have been manufactured in 1980, 1990 or 2000. One rule of thumb is that old-format serial numbers belong to SL-1200s manufactured during the 1970s and 1980s, while new-format serial numbers belong to SL-1200s manufactured during the 1990s and beyond.

Old-format serial number: NHOJF20765 (SL-1200 manufactured 1982)
The first digit shows the year when the SL-1200 was manufactured. These serial numbers contain no indication of the month of manufacture. It should be noted that serial numbers in this format contain no letters following digits.

New-format serial number: GE4FB001154 (SL-1200 manufactured June 2004)
The first digit shows the year when the SL-1200 was manufactured, while the month of manufacture is indicated by the letter following it. Months are coded as letters between A and L inclusive; A indicates January, B indicates February, and so on.

In addition to the above, all the SL-1200MK2s from the 70's and early 80's have a 4 inch diameter plate where the RCA and ground wires enter the chassis in the rubber base of the unit. The later models have a smaller hole through which the wires enter the unit.

The SL-1200 design strengths

The SL-1200 series was developed as a special project by Technics parent company Matsushita in an attempt to solve many of the problems related to the difficult task of turntable design. The task included minimizing acoustic feedback, unwanted resonances, wow & flutter and speed errors.

This was achieved by designing a remarkably heavy plinth made of a non-resonant composite sandwiched between a cast alloy top plate and a solid rubber base. In addition, the adjustable rubber damped feet ensure that the Technics SL-1200 series are well insulated against acoustic feedback, which can be a serious problem when operating a turntable in close proximity to PA loudspeakers (a common situation for DJ's).

The drive system designed by Matsushita is of the direct-drive variety rather than the more commonly found belt-drive type. This design was developed in order to virtually eliminate the problems of wow and flutter and produces a very quiet turntable which, for a direct drive turntable, has minimal motor and bearing noise, (although the bearing rumble does tend to become characteristic in well used turntables). The SL-1200 utilizes a Frequency Generator Servo Control Quartz Lock system that is claimed to produce the most accurate and consistent speed possible. The system is immune to static and dynamic stylus drag which would otherwise cause unwanted speed variances that change the pitch and tempo of the music. Due to these strengths the SL-1200 lends itself to both Hi-Fi reproduction and demanding DJ usage.

From Wikipedia, the free encyclopedia

Slipmat

2009-08-29T14:40:00.001-07:00

A slipmat is a circular piece of slippery cloth or synthetic materials disk jockeys place on the turntable platter instead of the traditional rubber mat.

Unlike the rubber mat which is made to keep hold the record firmly in sync with the rotating platter, slipmats are designed to slip on the platter, allowing the DJ to manipulate a record on a turntable while the platter continues to rotate underneath. This is useful for holding a record still for slip-cueing, making minute adjustments during beatmatching and mixing and pulling the record back and forth for scratching.

From Wikipedia, the free encyclopedia

Scratch Live

2009-08-27T19:19:00.000-07:00

Scratch Live is a vinyl emulation software application created by New Zealand based Serato Audio Research, distributed by and licensed exclusively to Rane Corporation. Serato was first known for its popular Pro Tools plug-in Pitch N Time which was sold predominantly to the film industry However since its debut in May 2004, Scratch Live has become Serato's main product focus, and as such, Scratch Live is often (incorrectly) referred to simply as "Serato" within the DJ and music scene.

Scratch Live allows manipulation and playback of digital audio files (mp3, wav, aiff, ogg and non-DRM aac) using traditional vinyl turntables or CD players via special timecode vinyl records or CDs. It seeks to cross the divide between the versatility of digital audio and the tactile control of vinyl turntablism and has become the industry's dominant digital DJ'ing tool.

Scratch Live is used by all types of DJs including DJ Jazzy Jeff, DJ Premier, DJ AM, Fatboy Slim, A-Trak, Mark Ronson, Diplo, Klute, Questlove, Mr Smith, Mix Master Mike, DMT, Mr. Hahn, Mike Relm, DJ Macca, DJ BAM, and Craig Gonzalez,Cleavan Djweeksey Weekes

Software

Scratch Live was first released in May 2004. Since then eight major point updates to the software have been released, with minor releases in between. Serato makes the updates freely available for anyone to download from their website. The software, however, cannot be used to its full extent without one of the Scratch Live specific hardware interfaces connected, which act as a dongle.

When no interface is connected, the program loads but only a limited playback interface is available (versions 1.8.0 and above only). Users can listen to their songs, which play through the computer's default soundcard, add cue points, loop points, set auto bpm, and build overviews of songs in their library in this mode. However this "off-line" player is limited to one deck only and no pitch control, so there is no possibility to "mix" two songs.

For the first time in DMC World DJ Championship history, Rane and Scratch Live were represented during the 2008 team competition. DJ's were allowed to use Rane mixers to compliment the ever-present Technics turntables and some even used a Scratch Live-based routine.

Scratch Live software has an array of unique tools and performance features:

* Beat extraction
* Realtime tempo metering
* Unique color waveforms for easy identification of sound.
* Multiple cue and loop points per track
* Record directly from a microphone
* Record and archive your music collection
* Fast Access to your music library and iTunes library integration
* Exclusive access to promotional music with Whitelabel.net
* No Charge Upgrades.

The minimum operating system requirements for Serato Scratch Live are:

Mac

* 1 GHz G4
* 1 GB RAM
* 1024 x 768 minimum screen resolution
* OSX 10.3.9 or higher
* Intel Macs require Scratch Live version 1.5 or higher

Windows

* 1.5 GHz PC
* 1 GB RAM
* 1024 x 768 minimum screen resolution
* Windows XP with Service Pack 2 or higher
* Windows Vista requires Versions 1.7.2 or higher
* Windows Vista 64-bit requires Versions 1.8.2 or higher

Video SL

In 2008, Serato released the first major plugin for Scratch Live, Video-SL. It allowed the playback of video files in similar fashion audio files. Users can apply effects in real time and mix between video independently of audio. It requires the use of Rane's TTM-57SL mixer, however, the upcoming 1.1 version will open video support to SL1 and MP4 users.

A demo copy can be installed and used but a watermark is displayed on the main output screen. Activation is done via a serial number.

ITCH

In 2008, Serato announced the development of Itch, an integrated software and hardware system similar to Scratch Live but tied to hardware controllers and with a more simplified interface. Compatible hardware include the Vestax VCI-300 and the Numark NS7. The controllers connect via USB and use the MIDI Protocol to communicate with Itch.

Custom hardware

Scratch Live currently works in conjunction with three application specific audio devices designed and manufactured for the system by Mukilteo, Washington-based Rane Corporation.

SL3

ADVANCED 24-BIT USB 2.0 INTERFACE FOR PROFESSIONAL DJS USB 2.0 high speed audio interface with improved dynamic range (104 dB)

SL1

The SL1 is a multi-channel, USB 1.1 external soundcard,. The unit has inputs for two stereo turntables or CD players and one unbalanced microphone. There are two stereo line level outputs and two 'thru' outputs which provide a copy of the input signal to enable playback of regular vinyl records or CDs. ASIO drivers are available for the unit to allow it to be used by other Windows applications as a multi channel sound interface. There are no Core Audio drivers for Macintosh based computers.

MP4

A 19" rack mount DJ mixer based on the MP2, incorporating the sound card functions of the SL1. The MP4 allows you to record your set digitally within the Scratch Live software over the USB interface. The mixer is recognized by Windows as a 4x output 2x input soundcard so it can be used with any windows application. Also provided are ASIO and Core Audio drivers for use in audio applications on both Windows XP and Mac OS X.

TTM 57SL

A DJ mixer combining the functionality of the SL1 with an application specific control surface based on the popular TTM56 scratch mixer. It also contains added effects not available with the TTM56 or bare SL1 set-ups.

TTM 57SL Specifications

* Four main stereo inputs all of which can accept both line and phono level signals. Two of these inputs can be used at any one time for controlling Scratch Live or playback of a phono or line level source. The inputs use RCA jacks.
* Two input buses can output any four inputs and both analog and digital signals.
* Non-contact magnetic faders on both channel faders and crossfader and slope on all faders is completely adjustable.
* One stereo line input without EQ for playback of other sources on RCA jacks.
* Input gain with left/right pan with 3-band, full cut EQ with kill switches
* Internal effects including default LFO filter and echo with six possible insert points to pre- or post-channel faders for Program 1 and Program 2, main mix, and aux input bus.
* A balanced microphone input with two band EQ on a 1/4" TRS jack.
* A stereo effects loop with 1/4" Jack connectors.
* Three main stereo outputs providing balanced outputs on XLR and TRS Jack connectors and unbalanced output on RCA jacks.
* Two record channels can record pre- or post-channel faders for Program 1 or Program 2, main mix, or aux input bux
* Two headphone connections providing both 3.5 mm and 1.4" jack connections
* 1/4" TRS Jack for connection of a three button momentary action footswitch.
* Programmable switches and joysticks for software control of cue and loop points.
* An IEC 320 EN 60320 C14 power connector (kettle lead) - the mixer has a universal power supply that can accept any AC voltage 100-240V making it possible to use the same mixer anywhere in the world without changing a setting or the use of a transformer.
* USB firmware updates possible directly through Scratch Live program.

Supported third party accessories

Serato have begun working in supporting third party players/controllers with the Scratch Live software. These controllers are "natively" supported and do no require the use of the timecode CDs, all playback and control information is sent over USB. The following are the currently supported native controllers:

* Denon HC 4500
* Denon HD 2500
* Numark DMC2
* Numark iCDX
* Pioneer CDJ-400
* Pioneer MEP-7000 (versions 1.9 and above)

From Wikipedia, the free encyclopedia

Q2 Dual DJ

2009-08-27T19:18:00.001-07:00

Description

The Q2 DUAL DJ is a Headphone Monitoring Device that allows mulitple DJ acts to simultaneously cue independent sources. Developed by UK born DJ / Producer, Lee Jones in 2004, it is the first type of this product ever invented.

It features a headphone socket and independent channel on/off and volume controls to allow separate music sources such as CD Players, Turntables and Laptops to be listened to without affecting a DJ using a standard mixer. It eliminates the common problem of mulitple DJ acts not being able to listen to separate music sources at the same.

The Q2 DUAL DJ is used by multiple DJ acts worldwide to allow better performances. It is also used as a tutoring aid to let DJ tutors listen exactly how students are performing when cueing and mixing tracks.

History

In 2007, James Zabiela joined forces with Nic Fanciulli to form the one+one collaboration. Using the Q2 Dual DJ to allow them to independently cue tracks & beats simultaneously, the pair performed a series of gigs across the US, Europe & Australia.

Additionally Q2 DUAL DJ is also a recognized brand for the DJ live act of Lee Jones and James Boov.

From Wikipedia, the free encyclopedia

Pitch control

2009-08-23T21:39:00.000-07:00

Phono input

2009-08-21T23:12:00.001-07:00

The phono input is a set of RCA input jacks, usually behind a stereo receiver to which a phonograph or turntable is attached. Modern phonograph needles(styli) and phono cartridges output a very low level signal, which is input to the receiver then amplified and equalized.

Phonograph recordings are made with high frequencies boosted. This reduces background noise, including clicks or pops, and also conserves the amount of physical space needed for each groove, by reducing the size of the larger low-frequency undulations. During playback the high frequencies are rescaled to their original level. This is accomplished in the amplifier with a "PHONO" input that incorporates standardized RIAA equalization circuitry.

While in the 1980s even some larger boombox radios had phono inputs, by 2006, mostly only very sophisticated and expensive stereo receivers retained the PHONO input since most users were expected to use digital music formats such as CD or satellite radio. Some newer low cost turntables include built-in amplifiers to produce line-level outputs, devices are available from internet sources that perform this conversion for use with computers, and used amplifiers and receivers are often inexpensive. All DJ mixers have phono inputs as well. One of the few midline priced receivers currently available of note that has the phono input is the Sherwood RX-4109.

From Wikipedia, the free encyclopedia

Mixing console

2009-08-16T03:27:00.000-07:00

In professional audio, a mixing console, or audio mixer, also called a sound board or soundboard, is an electronic device for combining (also called "mixing"), routing, and changing the level, timbre and/or dynamics of audio signals. A mixer can mix analog or digital signals, depending on the type of mixer. The modified signals (voltages or digital samples) are summed to produce the combined output signals.

Mixing consoles are used in many applications, including recording studios, public address systems, sound reinforcement systems, broadcasting, television, and film post-production. An example of a simple application would be to enable the signals that originated from two separate microphones (each being used by vocalists singing a duet, perhaps) to be heard through one set of speakers simultaneously. When used for live performances, the signal produced by the mixer will usually be sent directly to an amplifier, unless that particular mixer is “powered” or it is being connected to powered speakers.

Structure

A typical analog mixing board has three sections:

* Channel inputs
* Master controls
* Audio level metering

The channel inputs are replicated monaural or stereo input channels with pre-amp controls, channel fader and pan, sub-group assignment, equalization and auxiliary mixing bus level controls. The master control section has sub-group faders, master faders, master auxiliary mixing bus level controls and auxiliary return level controls. In addition it may have solo monitoring controls, a stage talk-back microphone control, muting controls and an output matrix mixer. On smaller mixers the inputs are on the left of the mixing board and the master controls are on the right. In larger mixers, the master controls are in the center with inputs on both sides. The audio level meters may be above the input and master sections or they may be integrated into the input and master sections themselves.

Channel input strip

The input strip is usually separated into these sections:

* Input Jacks / microphone preamps
* Basic input controls
* Channel EQ (High, Mids and low)
* Routing Section including Direct Outs, Aux-sends, Panning control and Subgroup assignments
* Input Faders

Each signal that is input into the mixer has its own channel. Depending on the specific mixer, each channel is stereo or monaural. On most mixers, each channel has an XLR input, and many have RCA or quarter-inch Jack plug line inputs. On the Yamaha Console above, these sections are color coded for quick identification by the operator.

Basic input controls

Below each input, there are usually several rotary controls (knobs, pots). The first is typically a trim or gain control. The inputs buffer the signal from the external device and this controls the amount of amplification or attenuation needed to bring the signal to a nominal level for processing. This stage is where most noise or interference is picked up, due to the high gains involved (around +50 dB, for a microphone). Balanced inputs and connectors, such as XLR or Tip-Ring-Sleeve (TRS) quarter-inch connectors, reduce interference problems.

There may be insert points after the buffer/gain stage, which send to and return from external processors which should only affect the signal of that particular channel. Insert points are most commonly used with effects that control a signal's amplitude, such as noise gates, expanders, and compressors.

Auxiliary send routing

The Auxiliary send routes a split of the incoming signal to an auxiliary bus which can then be used with external devices. Auxiliary sends can either be pre-fader or post-fader, in that the level of a pre-fade send is set by the Auxiliary send control, whereas post-fade sends depend on the position of the channel fader as well. Auxiliary sends can be used to send the signal to an external processor such as a reverb, which can then be routed back through another channel or designated auxiliary returns on the mixer. These will normally be post-fader. Pre-fade auxiliary sends can be used to provide a monitor mix to musicians onstage, this mix is thus independent of the main mix.

Channel equalization

Further channel controls affect the equalization (EQ) of the signal by separately attenuating or boosting a range of frequencies, e.g., bass, midrange, and treble. Most large mixing consoles (24 channels and more) usually have sweep equalization in one or more bands of its parametric equalizer on each channel, where the frequency and affected bandwidth of equalization can be selected. Smaller mixing consoles have few or no equalization controls. Care must be taken not to add too much EQ to a signal that is already close to clipping; additional energy will overdrive the channel.

Some mixers have a general equalization control (either graphic or parametric) at the output.

Subgroup and mix routing

Each channel on a mixer has an audio taper pot, or potentiometer, controlled by a sliding volume control (fader), that allows adjustment of the level, or amplitude, of that channel in the final mix. A typical mixing console has many rows of these sliding volume controls. Each control adjusts only its respective channel (or one half of a stereo channel); therefore, it only affects the level of the signal from one microphone or other audio device. The signals are summed to create the main mix, or combined on a bus as a submix, a group of channels that are then added to get the final mix (for instance, many drum mics could be grouped into a bus, and then the proportion of drums in the final mix can be controlled with one bus fader).

There may also be insert points for a certain bus, or even the entire mix.

Master output controls

Subgroup and main output fader controls are often found together on the right hand side of the mixer or, on larger consoles, in a center section flanked by banks of input channels. Matrix routing is often contained in this master section, as are headphone and local loudspeaker monitoring controls. Talkback controls allow conversation with the artist through their wedges, headphones or IEMs. A test tone generator might be located in the master output section. Aux returns such as those signals returning from outboard reverb devices are often in the master section.

Metering

Finally, there are usually one or more VU or peak meters to indicate the levels for each channel, or for the master outputs, and to indicate whether the console levels are overmodulating or clipping the signal. Most mixers have at least one additional output, besides the main mix. These are either individual bus outputs, or auxiliary outputs, used, for instance, to output a different mix to on-stage monitors. The operator can vary the mix (or levels of each channel) for each output.

As audio is heard in a logarithmic fashion (both amplitude and frequency), mixing console controls and displays are almost always in decibels, a logarithmic measurement system. This is also why special audio taper pots or circuits are needed. Since it is a relative measurement, and not a unit itself (like a percentage), the meters must be referenced to a nominal level. The "professional" nominal level is considered to be +4 dBu. The "consumer grade" level is −10 dBV.

Hardware routing and patching

For convenience, some mixing consoles include inserts or a patch bay or patch panel. Patch bays are mainly used for recording mixers.

Other features

Most, but not all, audio mixers can

* add external effects.
* use monaural signals to produce stereo sound by adjusting the position of each signal on the sound stage (pan and balance controls).
* provide phantom power (typically 48 volts) required by some microphones.
* create an audible tone via an oscillator, usually at 440 Hz, 1 kHz, or 2 kHz

Some mixers can

* add effects internally.
* read and write console automation.
* interface with computers or other recording equipment (to control the mixer with computer presets, for instance).
* control or be controlled by a Digital Audio Workstation via Midi or proprietary commands.
* be powered by batteries.

Digital versus analog

Digital mixing console sales have increased dramatically since their introduction in the 1990s. Yamaha sold more than 1000 PM5D mixers by July, 2005, and other manufacturers are seeing increasing sales of their digital products. Digital mixers are more versatile than analog ones and offer many new features, such as the ability to save multiple mute groups, multiple VCA groups and channel settings into a scene and reconfigure signal routing at the touch of a button. The faders can be "swapped" or "flipped" to show aux send levels; a feature very useful in mixing artists' monitors. In addition, digital consoles often include a range of special effects such as parametric EQ, compression, gating, reverb, automatic feedback reduction, tap delay and straight delay. Some products are expandable via third-party software features (called plugins) that add further reverb, compression, delay and tone-shaping tools. Several digital mixers include spectrograph and real time analyzer functions. A few incorporate loudspeaker management tools such as crossover filtering and limiting. Digital signal processing can perform automatic mixing for some simple applications, such as courtrooms, conferences and panel discussions, but at this time no digital mixer in live audio includes automixing. Consoles with motorized faders can read and write console automation.

Digital mixers can be designed to be quieter than most analog mixers, as digital mixers often incorporate very low threshold noise gates to stop inactive mix bus background hiss from summing with active signals. Digital circuitry is more resistant to outside interference from radio transmitters such as walkie-talkies and cell phones.

Propagation delay

Digital mixers have an unavoidable amount of latency or propagation delay, ranging from 1.5 milliseconds to as much as 10 ms, depending on the model of digital mixer and what functions are engaged. This small amount of delay isn't a problem for loudspeakers aimed at the audience or even monitor wedges aimed at the artist, but can be disorienting and unpleasant for IEMs (In ear monitors) where the artist hears their voice acoustically in their head and electronically amplified in their ears but delayed by a couple of milliseconds.

Every analog to digital conversion and digital to analog conversion within a digital mixer entails propagation delay. Audio inserts to favorite external analog processors make for almost double the usual delay. Further delay can be traced to format conversions such as from ADAT to AES3 and from normal digital signal processing steps.

Within a digital mixer there can be differing amounts of latency, depending on the routing and on how much DSP is in use. Assigning a signal to two parallel paths with significantly different processing on each path can result in extreme comb filtering when recombined. Some digital mixers incorporate internal methods of latency correction so that such problems are avoided.

Ease of use

Analog consoles remain popular due to their continuing to have one knob, fader or button per function, a reassuring feature for the user. This takes up more physical space but allows more rapid response to changing performance conditions. Most digital mixers take advantage of the technology to reduce the physical space requirements of their product, entailing compromises in user interface such as a single shared channel adjustment area that is selectable for only one channel at a time. Additionally, most digital mixers have virtual pages or layers which change the fader banks into separate controls for additional inputs or for adjusting equalization or aux send levels. This layering can be confusing for operators.

Analog consoles make for simpler understanding of hardware routing. Many digital mixers allow internal reassignment of inputs so that convenient groupings of inputs appear near each other at the fader bank, a feature that can be disorienting for persons having to make a hardware patch change.

On the other hand, many digital mixers allow for extremely easy building of a mix from saved data. USB flash drives and other storage methods are employed to bring past performance data to a new venue in highly portable manner. At the new venue, the traveling mix technician simply plugs the collected data into the venue's digital mixer and quickly makes small adjustments to the local input and output patch layout, allowing for full show readiness in very short order.

Some digital mixers allow offline editing of the mix, a feature that lets the traveling technician use a laptop to make anticipated changes to the show while en route, further shortening the time it takes for the sound system to be ready for the artist.

Sound quality

Both digital and analog mixers rely on analog mic preamps, a high-gain circuit that is the origin of much of the perceived character of sound quality in an audio mixer. In this respect, both formats are on par with each other. In a digital mixer, the mic preamp is followed by an ADC which quantizes the audio stream. Ideally, this process is carefully engineered to deal gracefully with overloading and clipping while delivering an accurate digital stream over the linear dynamic range. Further processing and mixing of digital streams within a mixer need to avoid clipping and truncation if maximum audio quality is desired.

Analog mixers, too, must deal gracefully with overloading and clipping at the mic preamp and as well as avoiding overloading of mix buses. Background hiss in an analog mixer is always present, though good gain stage management minimizes its audibility. Idle subgroups left "up" in a mix will add their background hiss to the main outputs; many digital mixers avoid this problem by low-level gating.

Many electronic design elements combine to affect perceived sound quality, making the global "analog mixer vs. digital mixer" question difficult to answer. Controlled ABX double-blind listening tests have not been published at this date; no conclusive answer can be reached. Experienced live sound professionals agree that microphones and loudspeakers (with their innate higher distortion levels) are a much greater source of coloration of sound than the choice of mixer. The mix style of the person mixing is also more important than the make and model of audio console. Analog and digital mixers both have been associated with extremely high-quality concert performances and studio recordings.

Remote control

Analog mixing in live sound has had the option since the 1990s of using wired remote controls for certain digital processes such as monitor wedge equalization and parameter changes in outboard reverb devices. That concept has expanded until wired and wireless remote controls are being seen in relation to entire digital mixing platforms. It's possible to set up a sound system and mix via wireless (or wired) laptop, touchscreen or tablet, especially if the performance requires no unpredictable fast responses to multiple changing conditions on stage. Computer networks can connect digital system elements for expanded monitoring and control, allowing the system technician to make adjustments to distant devices during the performance. The use of remote control technology can be utilized to reduce "seat-kills", allowing more paying customers into the performance space.

Virtual mixing

Increasingly, the mixing process can be performed on screen, using computer software and associated input, output and recording hardware. The traditional large control surface of the mixing console is not utilized, saving space at the engineer's mix position. Some virtual mixing (such as the Gamble DCX) uses digital controls of analog audio circuitry, but most virtual mixers are fully digital so as to save cost and physical space. In the virtual studio, there is either no normal mixer fader bank at all or there is a compact group of motorized faders designed to fit into a small space and connected to the computer via USB or Firewire. Many project studios use such a space-efficient solution, as the mixing room at other times can serve as business office, media archival, etc. Virtual mixing is heavily integrated as part of a digital audio workstation.

Applications

Dub producers/engineers such as Lee "Scratch" Perry were perhaps the first musicians to use a mixing board as a musical instrument.

Public address systems will use a mixing console to set microphones for different speakers to the correct level, and can add in recorded sounds into the mix. A major requirement is to minimise audio feedback.

Most bands will use a mixing console to combine musical instruments and vocals to the correct level.

Radio broadcasts use a mixing desk to select audio from different sources, such as CD players, telephones, remote feeds, or prerecorded advertisements.

Mixing console manufacturers

* ADT-Audio http://www.adt-audio.com
* Alesis
* Alice Soundtech http://www.alice.co.uk
* Allen & Heath
* Altair E-3 http://www.altairconsoles.com
* Amek http://www.amek.com
* AMS Neve
* Audient http://www.audient.co.uk
* Automated Processes Inc (API) http://www.apiaudio.com
* Audio Toys Inc (ATI) http://www.audiotoys.com
* Behringer
* Bushnell Electronics
* Cadac
* Calrec http://www.calrec.com
* Carvin A&I
* Ciclotron http://www.ciclotron.com.br
* Clair Brothers http://clairglobal.com
* Crest Audio
* D&R
* Dangerous Music http://www.dangerousmusic.com
* DDA Consoles http://www.ddaconsoles.com
* DHD (audio) http://www.dhd-audio.com
* DiGiCo
* Digidesign
* Dynacord http://www.dynacord.com
* EAW
* Elberg http://www.elberg-elt.dk/english
* Electrodyne
* Euphonix
* Fairlight
* Daniel Flickinger
* Harris Corporation
* Harrison Audio Consoles
* Helios Helios service by Raindirk Audio
* Innovason
* Inter-M http://www.inter-m.com
* Jim Gamble Associates http://www.gambleboards.com/
* Klotz Digital
* Langevin
* Lawo http://www.lawo.de
* Logitek http://www.logitekaudio.com/
* Mackie
* MCI
* Merging Technologies http://www.merging.com
* Midas Consoles
* Montarbo http://www.montarbo.com
* Neotek
* Opamp Labs http://www.opamplabs.com/
* Peavey
* Phonic Corporation
* Pioneer Corporation
* Purple Audio http://www.purpleaudio.com
* Quad Eight Electronics http://www.quadeightelectronics.com
* Radio Systems http://www.radiosystems.com
* Rane Corporation
* Renegade Labs http://www.renegadelabs.com
* Roland Corporation
* Roll Music Systems http://www.rollmusic.com/folcrom.php
* Salzbrenner Stagetec http://www.stagetec.com/ http://www.stagetec.com/salzbrenner_de/
* Samick
* Samson Technologies
* Showco http://www.showco.com
* Shure
* SignVideo http://www.signvideo.com/
* Smart AV http://www.smartav.net
* Solid State Logic
* Soundcraft
* Soundtracs http://www.studiosystems.co.uk/soundtracs/
* Speck Electronics http://www.speck.com
* Spectra Sonics http://www.spectrasonics610.com
* Stage-techttp://www.stagetec.com
* Staner http://www.staner.com.br
* Studer
* Studiomaster
* Tapco
* Tascam
* Toft Audio Designs http://www.toftaudiodesigns.com/
* Ward-Beck Systems
* Wheatstone Corporation http://www.wheatstone.com
* Wharfedale (Audio) http://www.wharfedalepro.com
* Wunder Audio http://wunderaudio.com/
* Yamaha Pro Audio
* Oram

From Wikipedia, the free encyclopedia

Minutoli

2009-08-16T03:26:00.000-07:00

Minutoli is phonograph turntable modified to support multiple (usually four) tone arms. The tone arms may be used independently and/or in combinations at the operator's discretion. The result is generally a unique performance, due to the random positions available. The device is mostly associated with Noise performer Emil Beaulieau as an instrument employed in his stage acts. It was invented by his friend, Michael Minutoli.

From Wikipedia, the free encyclopedia

MEP-7000

2009-08-13T20:29:00.002-07:00

The MEP-7000 is Pioneer's latest addition to their product range for professional DJs released in the late 2007. The player is a 19" rack mountable twin player type capable of playing media formats ranging from normal audio CD/CD-R/CD-RW to digital data files in MP3- and AAC-formats written on DVD's as well as USB-connected memorysticks and/or portable hard drives.

From Wikipedia, the free encyclopedia

Garrard Transcription Turntable

2009-08-13T20:29:00.001-07:00

The Garrard 301 Transcription Turntable was the first transcription turntable from the Garrard Engineering and Manufacturing Company that supported all extant commercial playback formats - the 33, 45 and 78 rpm records of the time. The first model was called the Garrard 301. The later 401 was nearly identical mechanically, but with a redesigned exterior. Both models were utilised by the BBC and in commercial radio stations, mostly in Europe; the 301 and to a lesser extent the 401 were also exported around the world. Production in of the 301 started in 1953; the 401 was produced until 1976.

In an unlikely exchange of technologies, by the early eighties notions of 'modern' and 'antiquated' were both being revisited-- as the Compact Disc was being introduced in the West by the consortium of Sony and Philips, small groups of audio enthusiasts in Japan and also in France were narrowing their sights to investigate what might be called the ‘overlooked’ technologies of the fifties. These were notably vacuum-tube amplification and idler-drive LP playback, amongst others.

Before there were workhorse direct-drive turntables in clubs, and belt-drive turntables on audiophile racks, the standard mechanism for playing LP records was the 'idler drive', a system utilizing an intermediate wheel in a capstan arrangement, in closely-coupled contact with the edge of the platter.

Unlike the beltdrive, which separates motor and platter via a compliant belt, and direct-drive, which uses a low-speed direct-current motor, idler drives most often used a high speed (circa 1,600 rpm) alternating-current motor engaged to an intermediate, or 'idler' wheel, which physically rotated the platter.

Transcription turntables must have speed accuracy and wow and flutter specifications that meet professional broadcasting standards.

Content to forego Compact Disc marketing's "perfect sound forever" scheme, these groups were by any measure a contrarian micro-movement, even in audiophile circles, but they kept acquiring new members. They would maintain they were after a more purist sound, untouched by what they saw the as the market’s misleading advertising. In this view there was seen to be an over-reliance on impressive but ever-more-unrealistic performance specifications, and needless, flashy features. Analog sound, unaltered by digital sampling and reconstruction on the source side, and rendered without the shifted harmonics inherent in much transistor amplification of the time, would suit their goals. As reliable, well-built idler machines, the Garrard 301/401 models became the source component of choice for what was loosely labelled the ‘Ultra-Fi’ resurgence, guided by audio writers and do-it-yourselfers in Europe and Japan.

Long out of production, Garrard 301 and 401 model turntables today are sold on the used market for as much as ten to twenty times their original cost. Even though LP records are themselves several bygone formats away as of now, they too are still produced in late 2008. The emerging view seems to hold that there are separate and distinct qualities to analog methods and product that are not yet eclipsed by digital. In spite of solid advances in digital, analogue LP playback continues to be viable with new generations.

From Wikipedia, the free encyclopedia

Final Scratch

2009-08-10T12:41:00.000-07:00

Final Scratch is a DJ tool created by the Dutch company N2IT with input from Richie Hawtin (aka Plastikman) and John Acquaviva that allows manipulation and playback of digital audio sources using traditional vinyl and turntables. It seeks to cross the divide between the versatility of digital audio and the tactile control of vinyl turntablism.

Concept

Special vinyl records pressed with a digital timecode are played on normal turntables. The timecode signal is interpreted by a computer, connected to the turntables through an interface called the ScratchAmp. The signal represents where the stylus is on the record, in which direction it is traveling, and at what speed. This information is interpreted by the computer and used to play back a digital audio file which has been 'mapped' to the turntable.

In practical terms, this means that any audio file can be manipulated as though it were pressed on vinyl. This has a great many advantages for DJs, not least that a laptop computer can often hold tens of thousands of audio files, whilst a record box has a decidedly smaller capacity and is much heavier.

Advantages/Disadvantages

This system has various advantages over using normal records, without too many serious disadvantages.

Advantages:

* Portability of thousands of audio tracks, (laptop or external HDD as opposed to record box) with quick access and organization
* Ability to play audio tracks unavailable on vinyl eg. pre-arranged loops, unreleased music or rare tracks
* The use of CD deck features (software permitting) such as keylock, pitch shift, looping, instant cue locating and visual indicators of audio features such as loud or quiet parts
* The ability to prevent needle skips on the vinyl being reflected in the playback of the audio track being played/controlled (software permitting)
* Digital audio files will not degrade every time they are played, plus they can easily be backed up so if anyone should steal or accidentally damage your music collection, you may only have to replace easily obtainable hardware such as a laptop or hard drive instead of irreplaceable vinyl

Disadvantages:

* Reliability; depending on the hardware/software configuration used, vinyl emulation systems may use more system resources than some laptops or PCs offer, making them unsuitable for this use.

History

Final Scratch has passed through multiple stages of development. These stages are marked by involvement with different vendors, hardware configurations, software developers and operating systems.

Pre-release

Final Scratch was originally developed for BeOS, and premiered at the Be Developer Conference in 1998.

Versions 1.0-1.5

All versions of Final Scratch 1 use the same Scratchamp, a USB and RCA device in a round plastic shell. The technical specifications of this device have been closely guarded by Stanton as an anti-piracy measure, though some users, unsatisfied with the latency and instability of the system, have alleged the use of faulty Philips sound chips which had already been withdrawn from the market. However, the same chipset was being used in several other USB audio devices manufactured by companies like Griffin and Roland at that time.

FS 1.0 was released for PC only, on a specially modified distribution of Debian Linux. It was relatively primitive but some users found that, if configured correctly, it outperformed all subsequent versions of Final Scratch 1.x.

With version 1.1, Stanton Magnetics began working with Native Instruments on the software side of the product, which became Traktor Final Scratch. As the name suggests, this bore a resemblance to the interface of Traktor, a Native Instruments software DJing product. This version was once again available on Linux, but was also ported to Mac OS X.

The next major revision was version 1.5, which added a Windows XP version, but dropped Linux support. This version also added the ability to keep the pitch of the record constant whilst shifting the tempo. The interface changed very little, but some users initially had issues with the Windows Scratchamp drivers.

Support for the original Scratchamp has all but since disappeared and current owners, disappointed by the lack of support by Stanton, have had to rely on old versions of Traktor FS or Digiscratch.

Version 2

Version 2 marks the introduction of both a new Scratchamp hardware device and different software compatibility.

This new Scratchamp made 24-bit/96 kHz digital quality playback and record possible. Stanton added an ASIO driver, and MIDI capabilities. They also replaced the USB interface with Firewire which was intended to reduce playback latency. The new Scratchamp was developed by Alan Flum, Len Bryan, Mark DeMouy and Jim Mazur.

The version 2 Scratchamp is compatible with Native Instruments Traktor DJ Studio versions 2.6 and through 3.2.0.80. NI has dropped support of SA2 in favor of their own vinyl system Traktor Scratch.

Final Scratch Open

In late 2005, Stanton and Native Instruments ended their working relationship. Stanton still markets the ScratchAmp hardware as part of Final Scratch Open, introduced in early 2007. Stanton claims that the ScratchAmp can now interact with any audio software through ASIO or WDM on Windows, and CoreAudio in Mac OS X. Although all Windows and Mac audio software is ostensibly compatible with Final Scratch Open, there is no dedicated software program for deejaying with the ScratchAmp hardware.

Internal workings

The internal workings of Final Scratch are quite simple to understand. Multiple open source software libraries have been created to decode the Final Scratch time code. The information here comes from those libraries.

A basic Final Scratch setup consists of five pieces of equipment.

1. A computer running a compatible software, usually Native Instrument's Traktor
2. The ScratchAmp
3. Two turntables or two CD decks made for DJing
4. Two time coded vinyl records or time coded CDs
5. An audio DJ mixer.

ScratchAmp

The ScratchAmp is a firewire (FS 2, FS Open) or USB (FS 1) audio device. It has two phono/line stereo level inputs to read the timecode from the record or the CD, and two line level stereo outputs to feed into the audio DJ mixer line channels. It also has two phono stereo outputs for pass-through of the actual phono audio signal. This is useful for DJs who wish to play both digital audio tracks AND traditional vinyl; allowing them to switch between the two sources without disconnecting or re-connecting audio jacks in the middle of a DJ set.

The ScratchAmp does not store any audio on its own, it is simply a purpose built external Soundcard. It communicates with a PC—usually a laptop—over the firewire or USB connection. The laptop uses Final Scratch compatible software (typically Traktor DJ Studio) to interpret the timecode signal from the supplied special vinyl/CD, then play back a digital audio file based on that signal, allowing traditional DJ vinyl control of MP3, WAV and Apple AAC audio files. The Laptop software then sends audio data back, over the same firewire/USB connection to the scratch amp, which then sends an audio signal out through the line level output, for playing through a DJ Mixer or Amp.

Audio/Data Routing

A step by step series of events detailing how Final Scratch operates;

1. Timecoded audio signal pressed onto vinyl/CD picked up by vinyl/CD turntable
2. Signal routed into ScratchAmp via phono connection, then into PC/Mac via USB or Firewire
3. DJ software decodes timecode signal and determines position, speed and direction the Vinyl/CD is being played or manipulated
4. DJ software plays the selected "mapped" digital audio file synchronous to the vinyl/CD playback
5. Digital audio file audio signal is sent to the Scratchamp phono connectors for connection to a DJ mixer or Amp

Vinyl/CD time code

The most complex piece of the Final Scratch setup is the code pressed onto the vinyl. A 1200 Hertz amplitude modulated sine wave is pressed into the left and right channels with a phase difference of 90 degrees. Each channel holds one of the two bit streams required for the time code. In one cycle of either wave form, two bits are stored: one on the positive voltage peak and one on the negative voltage valley. The relative amplitudes of these peaks represent either a binary one or zero. A relatively high amplitude on either peak represents a one, a relatively low amplitude represents a zero. In each channel is a separate bitstream, the left channel is not identical to the right (disregarding the phase difference).

Finding position

The time codes themselves consist of 40 individual bits, or 20 cycles on each channel's waveform. On the right channel the bit sequence of 0, 0, 0, 1 represents the start sequence for a single time code. Those four bits along with the four corresponding bits on the left channel and the next 16 bits on each channel can be decoded as an integer position value which represents where the needle is on the record.

Finding speed

The speed at which the record is spinning can be found by comparing the frequency of the waveform being read from the record to the true frequency of the wave form on the record at normal speed. This difference represents the change from the normal speed at which the record turns.

Finding direction

The direction which the record is spinning at any given time can be found using the phase difference between the waves on the two channels. This procedure is the same as that used to determine the direction in which a ball mouse is moving.

Issues regarding time code errors

Because a single time code is made up of 40 consecutive bits, read errors can cause a timecode to be unreadable even if a single bit is misread. A bit that has become unreadable due to a scratch can make an entire 40 bit long time code permanently unreadable. Dust can have a similar effect on the time code. The time code implements very little error checking, an attribute strong in a number of other vinyl control systems.

From Wikipedia, the free encyclopedia

djay (software)

2009-08-10T12:40:00.001-07:00

djay is a digital music mixing software program for Mac OS X created by the German company algoriddim. It allows playback and mixing of digital audio files with a user interface that tries to simulate the concept of "two turntables and a microphone" on a computer. Before the commercial release in November 2007, djay had initially been released as freeware in June 2006.

Compared to professional DJ software like Traktor Scratch and Serato Scratch Live, the software aims to be easier to use and to have a look and feel more akin to other Mac software. Its interface consists of two turntables, a mixer and a music library showing songs and playlists from iTunes.

From Wikipedia, the free encyclopedia

Direct-drive turntable

2009-08-07T05:26:00.001-07:00

A direct-drive turntable is one of two main phonograph designs being manufactured today. The other style is the belt-drive turntable. Each name is based upon the type of drive motor used. Both are primarily for playing 12" and 7" vinyl disc records.

In a direct drive turntable the motor is located directly under the center of the platter and is connected to the platter directly. The first commercially available direct-drive turntable, the model SP-10, was introduced by the Technics division of Matsushita in 1969.

Direct drive turntables may suffer from vibration due to the motor. This is less of an issue for belt-drive turntables. However, in recent years, shock-absorbing (less dense) material, placed between the motor and platter, has been used to cut back on vibrations. The torque on direct drive turntables is usually much higher than on belt drive models. This means the platter speed is less susceptible to outside forces (stylus, hand). Higher torque also means the platter will accelerate to its proper speed faster so less distortion is heard when the record begins to play.

Some direct-drive turntables further reduce the separation of motor and platter by using the platter itself as the rotor in the turntable's induction motor. This means that there is no motor, per se, in the turntable - the platter is entirely driven by the magnetic field induced by the turntable's stator.

In all turntables a motor spins a metal disk at a constant speed. On top of the rotating disk (platter) is a mat and on top of the mat records are placed to be played. In the past rubber mats were used to hold the record in place so that it would not rotate independently of the platter. Nowadays slipmats are used to reduce the friction between the spinning platter and record, and is often made of a felt-like material. This way a DJ can scratch the record while the platter continues to spin underneath. In direct drive turntables the slipmat also helps isolate the record from motor vibrations that would be picked up by the stylus.

Many turntables also include a pitch control, which allows a DJ to mix using a technique known as beatmatching. From the late 1990s onwards manufacturers such as Vestax started to include other electronic controls such as reverse, and "nudge".

DJs and Turntablists have learned to use all the above functions to assist them in musical performances.

From Wikipedia, the free encyclopedia

DVJ-X1

2009-08-07T05:25:00.000-07:00

The DVJ-X1 is a DVD quasi-turntable that allows VJ's to scratch and mix video like a vinyl record. Released in 2004 and designed for professional use in clubs, it features real-time digital video scratching, looping and instant hot cueing. It has capability to sync video and audio streams even when being pitched or reversed. It also plays CDs with features similar to the regular CDJ-1000 CD turntable.

In 2006, Pioneer introduced a successor unit, the DVJ-1000.

From Wikipedia, the free encyclopedia

DVJ-1000

2009-08-05T04:47:00.001-07:00

The DVJ-1000 is a digital turntable that is capable of playing back video data on DVDs, as well as CD-Audio, and MP3 audio on both CDs and DVDs. Created by Pioneer Electronics in 2006, it is the successor to the Pioneer DVJ-X1.

Unlike the DVJ-X1, the DVJ-1000 is approximately the same dimensions as Pioneer's audio-only CD turntables (CDJ-1000), and can be fitted into existing enclosures with relative ease, allowing for an easy upgrade path for club owners and sound engineers.

In addition, the unit borrows several usability features from the current CDJ line, including a brighter fluorescent display on both the information screen and the central On-Jog display. Loop adjustment features are carried over as well, and a new automatic 4-beat loop feature has been included on this unit.

Being that the unit plays back DVD material, several new outputs have been added, including S/PDIF, composite outputs, a preview video output, which also doubles as a 'dashboard' for searching through video and MP3 content, as well as control outputs for compatible Pioneer DJ mixers.

For the travelling DJ, the unit is multi-system, outputting both PAL and NTSC video signals for near-global compatibility.

As part of its marketing strategy, Pioneer has equipped several noted DJs with the new unit, including Sander Kleinenberg.

Currently, the unit retails for $2500 USD, £1599 GBP, which is about 25 percent less than the introductory pricing on the DVJ-X1.

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DMP-555

2009-08-05T04:46:00.000-07:00

The DMP-555 was a single deck tabletop CD-player in Pioneer's range for DJs that was introduced in April 2002 and discontinued during 2004.

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DJM

2009-08-03T06:04:00.000-07:00

DJ Console Mk2

2009-08-03T06:03:00.000-07:00

The DJ Console Mk2 is the second generation Dual deck DJ Mixer with integrated audio to play, mix and create DJ music manufactured by Hercules. DJ Console MK2 combines a DJ control surface and a DJing audio interface in 1 case, connected to the computer via a USB port.

Software

DJ Console MK2 was released in 2 versions:
- DJ Console MK2 standard version includes VirtualDJ 3 DJC Edition, a DJ mix software tailored for DJ Console MK2 and developed by Atomix Productions (website: http://www.virtualdj.com)
- DJ Console MK2 Traktor version includes Traktor 3 LE, a DJ mix software developed by the Native Instruments (http://www.native-instruments.com/index.php?id=tds3le&L=0).

DJ Console MK2 several computer DJ mix software as
- VirtualDJ 3 Pro, VirtualDJ 4 Pro, VirtualDJ 5 Pro (http://www.virtualdj.com)
- Traktor 3 DJ Studio (http://www.native-instruments.com)
- DJDecks (http://djdecks.be/),
- Ultramixer 2 (http://www.ultramixer.com/),
- DeejaySystem Audio MK2 (http://www.deejaysystem.com),
- DJ Pro Advance (http://www.visualdiscomix.com/)
- FutureDecks Pro (http://www.xylio.com/index)
- Mixxx (http://mixxx.sourceforge.net/)
- MegaSeg 4 (http://www.megaseg.com/controllers.html)
- Deckadance (as of version 1.30.6)

Drivers

DJ Console MK2 comes with :
- audio drivers for the audio record & playback (WDM and Asio in Windows XP and Windows Vista, CoreAudio in Mac OS 10.4 and 10.5)
- MIDI drivers for the control surface (MIDI In/Out in Windows XP and Windows Vista, CoreMIDI in Mac OS 10.4 and 10.5

Hardware

DJ Console MK2 is a dual-deck controller with:

Audio features
- 2 line/phono inputs, to mix with analogue audio (or with timecoded vinyles)
- 2 stereo outputs
- Headphones monitoring to prepare the next music track you will play
- Microphone input to talk over the music

Control surface
- 2 vinyl-style jog wheels for spinning and scratching
- 1 crossfader for mixing between the two decks
- 2 volume sliders
- 2 pitch knobs + 2 pitch bend buttons
- 2 x 4 buttons to control software playback (Play / Cue / Next / Previous for each deck)
- 2 x 3 equalizer knobs
- 2 x 3 buttons for effects
- 2 x 2 buttons to control the tempo (Auto-Beat and Master tempo for each deck)
- 1 ministick with 2 buttons emulating a mouse to navigate within any menu
- 2 buttons to select the audio source on the deck.

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CMX-5000

2009-08-01T02:20:00.001-07:00

The CMX-5000, released in March 2000, was Pioneer's first attempt to enter the 19" rack mountable dual CD player-market (though, with an optional installation bracket, it had previously been possible to install two CDJ-500S-players side by side into an industry standard rack) that had previously been dominated by Denon.

The CMX-5000 consists of a 2U section with a pair of slot-loading CD drives and a 3U 'controller' section with a pair of jog wheels and control buttons for the CD drive below.

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CMX-3000

2009-08-01T02:19:00.000-07:00

CDJ-800

2009-07-30T06:26:00.000-07:00

The CDJ-800 (known as the Mark 1 once the second version was released) is a stripped down model of the CDJ-1000 (including the second and third versions, the CDJ-1000MK2 & CDJ-1000MK3), made by the Pioneer Corporation. It is similar in size to the CDJ-1000, but doesn't have the same functionality, and comes in a hard plastic silver casing, rather than the black casing of the CDJ-1000. The biggest differences with the 1000-series players are : Totally different mechanisme for the jog rotation, No Memory card option, No waveform and the overall build is slightly lighter than the CDJ-1000 series.

The general design purpose of the CDJ-800 was to offer DJ's the Jog facilities they have in the club on CDJ-1000's at home for a lower price.

The CDJ-800 was introduced in November 2002 and discontinued in February 2006 in favor of the updated second-generation version, called CDJ-800MK2. The main difference is that the CDJ-800MK2 can play MP3 files off CDs, while the original CDJ-800 can't. The look of some parts of the casing has also been changed (most notably the Play and Cue buttons, and the pitch slider, which have been changed from black to silver).

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CDJ-500

2009-07-30T06:25:00.000-07:00

The CDJ-500 (known as the Mark 1 once the second version was released) was the first model, released by Pioneer Electronics in the mid-1990's, of their popular CDJ range of CD players.

The first player to have a Jog Dial, a quick-response dial making frame-by-frame search and cue point selection easy and accurate while providing a closer-to-vinyl turntable feel. Flat-top design made the controls easy to use, for DJs used to working with vinyl turntables. Quick start made the music play instantly, so you had accuracy for cueing. Safety guards around the power and eject buttons prevented accidental music cut-off, and the reader inside the CD tray had a protective slide which operated automatically when the CD door opened. Fader start play and back cue play, meant that when used in conjunction with the DJM-series of mixers you can start the music with a channel fader or cross fader, as well as use them to return to the cue point.

It had a loop function, as well as loop-out adjust, and other facilities associated with looping samples from the track being played. The pitch control was +/- 10% only, and Master Tempo (World's first) allowed the pitch to be locked despite tempo changes being made.

All models of the 500 had top-opening CD loading, which is opposite to all the later ranges of CDJs (starting with CDJ-100S in 1998) which have since had front slot-loading of discs.

CDJ-500II

The CDJ-500II, version Mark 2 of the CDJ-500 (as well as a very similar model, the CDJ-500II LIMITED), was similar in size to the first version CDJ-500. The CDJ-500II offered only a few options extra : slightly faster performance, Loop Out adjustable and the maximum loop length was increased to 10 minutes. The CDJ-500II limited was even further improved and offered a world first: Loop Out point could now be set in tracks following the track where the Loop In point was set.

CDJ-500S

(NB: This was known as the CDJ-700S in the US)

The CDJ-500S (launched 1997) was a much smaller version of the CD player --hence the letter "S" in its title - and is technically a step forward from the Mark 2 player, CDJ-500II(LTD). Pioneer learned in the field and improved the CDJ-500S on overall reliability, it was the world's first DJ CD player with an oil damped shock absorption system to reduce skipping.

The main reason for the size difference was to get it into clubs, where space was at a premium around the DJ booth area, the size of the S-type player was ideal for smaller location in booths. This was made possible by being the first machine in the CDJ range that had a ready-made installation bracket available for it to be placed above the vinyl turntables. Further to this, two machines were rack-mountable when placed side-by-side, provided the rack was to the standard 19" studio rack. Again, good for storage in places that had no extra flat table space.

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CDJ-400

2009-07-27T19:03:00.002-07:00

The CDJ-400 is the most recent model in the CDJ-range from Pioneer Corporation that was released in the late 2007. It is similar in size to the CDJ-200, but comes with scratching abilities and effects, can be used as a MIDI controller, as well as being Pioneer's first model to have a USB input with easy access on the top of the player. This makes it possible to play MP3 music from a USB memory stick.

On the back of the CDJ-400 is another USB connector that can be used to connect the CDJ-400 to a computer. This will enable the MIDI control possibilities so the player can be used to control various types of DJ mix software. The CDJ-400 has a built in USB sound card.

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CDJ-200

2009-07-27T19:03:00.001-07:00

The CDJ-200 is the second cheapest model in the CDJ range of CD players, made by the Pioneer Corporation. It is similar in size to the CDJ-100S, however features are improved and added like MP3 playback capabilities and loop functions. Both the CDJ-100S and the CDJ-200 have similar options to manipulate the CD, however they lack the vinyl modes of other models.

A rough overview of the added features of the Pioneer CDJ-200 :

* MP3 playback has been included
* Improved sound quality of the effects
* Loop Section added : set Loop In, set Loop Out, Adjust Loop Out, Hot Start Loop, Loop Exit, Loop Devider and expander
* Separate folder browse buttons for easy navigation
* Pitch scale : 6%, 10% and 16%. When 6% scale is set, the pitch resolution is 0.02%. When 10% or 16% is selected the pitch accuracy is 0.05%.

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CDJ-100S

2009-07-25T08:20:00.001-07:00

The CDJ-100S is the cheapest and most basic model in the CDJ range of CD players. It was released by Pioneer in October 1998. The CDJ-100S is a basic CD player with a pitch controller and three sound effect options. It has been superseded by the Pioneer CDJ-200 since then. Critics of the unit claim that it is poorly made and that the controls loosen after limited use.

Although criticized, the CDJ-100S has been the entry level CD deck for many aspiring DJs.

The U.S. model of the CDJ-100S has a digital output which is absent on the European model.

Although CDJ-100s were meant for bedroom DJs, they paved the way for the introduction by Pioneer Corporation of their industry-standard, professional CD deck; the CDJ-1000.

The S in CDJ-100S stands for Silver.

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CDJ-1000

2009-07-25T08:18:00.000-07:00

The CDJ-1000 (affectionately known as the mk1 after the release of mk2) was a digital turntable by Pioneer Electronics in 2001 that was used to play CDs and was generally accepted as the first CD player that can accurately emulate a vinyl turntable - including the ability to scratch - and became a popular CD player used by DJs. The original mk1 was discontinued in 2003 during the introduction of mk2 into market.

The player implements a large touch-sensitive platter with a digital display in the middle that can relay information about the position in the music. Although this platter is not driven (meaning that it does not rotate by itself) like a turntable, the display in the center shows positioning information for accurate cueing. Also there is an orange Cue marker that simulates the stickers used by scratch dj's. The waveform display gives DJs the opportunity to look ahead on tracks to see forthcoming breaks.

The CDJ-1000 (and its reincarnations) has become a popular tool for dance clubs and DJ's, and is currently the most widely used DJ-style CD deck to be found in the booths of world's best nightclubs. The player supports playback from CD, CD-R and CD-RW and implements all of the essential features for DJ CD players such as looping and pitch changing in addition to less common features such as reverse play-back and turntable break-stop and start. It includes the master tempo-function introduced on the earlier CDJ-500 & CDJ-500S models, whereby the music changes speed while maintaining pitch.

It is generally thought to be the first CD player to be widely adopted in club use. Until this point few clubs bothered with CD machines in them, either due to their lack of DJ functionality and overall robustness, or due to the fact DJ's still liked to use the vinyl format as most of the upfront music they required to play was still much more prevalent on vinyl over CD media. The other reason this machine took-off in popularity was the release of recordable CD-R and then CD-RW media discs and stand-alone machines which could record music onto them. Before this, DJ's who wanted to test in either a club or as early promotional items to radio DJ's, a new piece of music they might have made themselves in a studio, often had to rely on getting acetate discs pressed-up. These were both expensive to do and had inherent short lifespan; as after a few plays the disc would wear-out and thus be completely unplayable.

Updated versions

CDJ-1000MK2

An updated version of the CDJ-1000, the CDJ-1000 mk2 was released on July 2003 with additional features like improved jog wheel and faster response time than in the original model. The product was discontinued on 2006 when the mk3 was introduced into the market.

CDJ-1000MK3

The latest version of the CDJ-1000 is the third model known as the CDJ-1000 mk3 released in March 2006.

Unlike the earlier versions, the mk3 supports playback of MP3's from CD-R and CD-RW -media. Other improvements to earlier versions include bigger lighter displays, a 100 dots waveform display instead of the earlier 50 dots waveform, the ability to record loops also into Hot Cue slots instead of just cue points. The mechanical resistance of the jog wheel is adjustable to suit different styles of handling by the dj. Furthermore, the mk3 uses a newer SD media, while the earlier incarnations used MMC as a memory card format.

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DJ mixer

2009-07-17T06:20:00.000-07:00

2009-07-17T06:18:00.000-07:00

A DJ mixer is a type of audio mixing console used by disc jockeys. The key features that differentiate a DJ mixer from other types of audio mixers are the ability to redirect (cue) a non-playing source to headphones and the presence of a crossfader, which allows for an easier transition between two sources. DJ mixers are also used to create DJ mixes.

Structure

A typical modern DJ mixer generally has between two and six stereo channels for connecting and mixing audio sources. Each channel usually has a phono input with RIAA equalization for turntables and one or two line level inputs for sources such as CD players. Controls for individual channels are arranged in vertical columns (channel strips), starting with a switch or a knob selecting between the inputs.

Below the input selector is a gain (or trim) control, used to match signal levels between channels. Next follows an equalizer section, used to fade parts of tracks in and out; a common basic technique is to kill the bass on one channel while mixing so the basslines of two tracks don't clash. A typical mixer features separate knobs for the low, mid and high frequency ranges. Some more controls may follow, such as a balance knob, built-in sound effects and aux-sends for external effects units. Below there's normally a cue switch sending the signal to the headphones, letting the DJ preview and beatmatch a track without sending it to the master output, but on some mixers there's a different way to select the cued source. The channel strip ends with a fader which sets the channel's signal volume in the final mix.

The signal may pass through a crossfader. On simple mixers there are normally two channels assigned opposite ends of the crossfader, sometimes with a button to reverse the crossfader's direction. More advanced mixers have assignable crossfaders in which each channel can be assigned to either end of the crossfader or to bypass the crossfader entirely. Many scratch mixers have a crossfader curve control that effectively changes the distance the crossfader needs to travel to open the channel fully, letting to shorten it to a millimetre or two, which is useful for speedy scratching.

Additionally, one or two microphone inputs may be present to accommodate MCs. These can be configured either as additional inputs to main channels or as special microphone channels which are similar in structure, but normally have fewer controls and are often monaural.

Most DJ mixers feature peak meters to aid matching levels between channels and monitor the signal for clipping. Usually there are peak meters for master mix and cued mix, though sometimes per-channel meters are present.

A DJ mixer has one or two headphone jack plugs and a headphone volume control. Headphones are normally used to monitor a cued channel, but on some mixers other variants are possible, such as split cue where cued channels are sent to the left headphone channel and master mix to the right, or a way to select between cued channels and master mix.

Normally there are two or more outputs for the master mix, used to send the signal to an amplifier or another mixer for the public address system, to a loudspeaker in the DJ booth for monitoring the mix, or to a tape recorder or a computer for recording. There may be one volume control for all outputs or separate controls for each outputs. Sometimes a recording output doesn't have a volume control.

History

One of the pioneers of DJ mixing equipment design was Rudy Bozak.

Beatmatching and beatmixing with a DJ mixer were first used to ensure dancers didn't leave the dancefloor between songs.

More recently DJ mixers have been used to for harmonic mixing.

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Zki & Dobre

2009-07-12T18:34:00.000-07:00

Zki and Dobre are a house music duo from Haarlem, the Netherlands: Gaston Steenkist ("Dobre") and René Horst ("DJ Zki"). They have produced multiple dance hits under various group names since the early 1990s.

Under the name of The Goodmen, their biggest hit was "Give It Up", a house music track based upon loud, samba-styled percussion and the simple, repeating vocal line of the song title. It hit #1 on the Hot Dance Music/Club Play chart in 1993 and made a brief appearance on the Hot 100, peaking at #71. After being re-released in late 1993, it reached #5 in the UK Singles Chart.

In 2001 they returned to the dance chart under the artist names of Mechanical Soul Saloon, F-action, Chocolate Puma (with which they had a UK #6 hit with "I Wanna Be U"), Basco, DJ Manta, DJ Zki & Dobre, Fresh Tunes, Glenn Masters, Jark Prongo, Klatsch!, René Et Gaston, Rhythmkillaz, Riva, Stainless, and Tomba Vira.

In 1995 Simply Red sampled "Give It Up" for "Fairground", their UK Number One hit of that year.

Discography

1993

* Give It Up (Fresh Fruit via ffrr/London Records) ...trading as The Goodmen - UK chart position: # 5

1999

* Movin' Thru Your System (Hooj Choons) ...trading as Jark Prongo - UK chart position: # 58

2001

* I Wanna Be U (Cream via Parlophone/EMI) ...trading as Chocolate Puma - UK chart position: (March 2001) # 6
* Wack Ass MF (Incentive Records) ...trading as Rhythmkillaz - UK chart position: (March 2001) # 32
* The Sound Of: Oh Yeah (VC Recordings via Virgin/EMI) ...trading as Tombra Vira - UK chart position: (June 2001) # 51

2003

* Who Do You Love Now? ft. Dannii Minogue ...trading as Riva...

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DJ Zany

2009-07-12T18:33:00.001-07:00

DJ Zany (or just Zany; real name: Raoul van Grinsven) (born 11 May 1974, Veldhoven) is known as a veteran disc jockey, with over ten years of experience at the producing and performing in the dance scene. He lives in Veldhoven, near Eindhoven and is currently a fulltime DJ/producer, after having worked on the side for ten years in a record shop. He started his career in the hardcore world, working between times with techno and trance, and has had many hits in the top 10, under various aliases. For the last few years, he has been concentrating on hardstyle. The former member of Shadowlands Terrorists has been producing for the Fusion label for many years, under a variety of pseudonyms. "The ambience of the hardstyle scene is great, with enthusiastic and varied audiences. Hardstyle is a broad movement which I get a lot out of. However, I'm not afraid of incorporating techno, hardtrance and oldschool into my sets. The audience appreciates it if a DJ plays a variety of styles, rather than just hammering away in the same tone."

The former chef was infected with the dance bug by his elder brother and started work at the beginning of the 90's in the Eindhoven record shop Freaky Records. During that time, Raoul was regularly found in local clubs like Carte Blanche and Carmen, and at big Shadowlands parties. As a member of the Shadowlands team, he performed abroad with the Shadowlands Terrorists, as well as under his own name. In the meantime, DJ Zany has played in countries such as Italy , Switzerland , Spain , Crete , Germany , Belgium , USA, England ,Northern Ireland, Curacao and France . The musically broad-focused DJ Zany decided to concentrate his energies on the emerging hardstyle, putting his activities as a hardcore DJ/producer on the back burner. Highlights include well-known parties such as Defqon 1, Qlimax, Qlubtempo, X-qlusive, Inqontrol, Decibel, Hardbass and Sensation Black. Hardcore's popularity was lessening around that time and hardstyle was an interesting new movement. "It was a challenge for me to get involved in it straight away" says DJ Zany.

Innovation and progress are two key words in Zany's career. Already on his first steps towards producing under the name of Shadowlands Terrorists he tried to develop a distinctive sound. From 2001, Raoul made a series of EP's and remixes for the Fusion label, under various pseudonyms, plus a mix album 'New Generation Bass'. On stage, Donkey Rollers consists of three people, while the music is produced by Zany and Michel Pollen. Michel Pollen later went on to work with more serious dance artists, such as Kim Leoni and James Moniz. "The Netherlands has always put its stamp on the international dance scene and we must keep up this role of trendsetter. So producers and DJ's must always try to achieve progress and avoid repeating themselves. Only then can movements and scenes develop."

Zany's music career in 2005 can be best described as an insane and breathtaking ride on a fast rollercoaster. He ended up at an amazing third place at the prestigious Dutch Dance Awards, which made him the most popular hardstyle-dj in the world. Zany finished the well received compilation 'Decibel' named after the big outdoor festival in nearby Rotterdam. Under the name Donkey Rollers he started a fresh project, and with this last mentioned act he played a superb show at the DefQon festival. Zany did successful remixes for both Dana and Showtek as well and continued working on the Southstylers project alongside with Showtek. "Earlier this year I finished the mix compilations Blutonium Hardstyle Vol. 8' and Qlimax Belgium '. I'm also very proud that I'll play at Sensation Black and think that 2006 will be just a hectic as last year."

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DJ Zinc

2009-07-10T19:42:00.000-07:00

DJ Zinc (real name Benjamin Pettit) is a drum and bass / breakstep DJ from the United Kingdom. Zinc is best known for 1995's "Super Sharp Shooter", a hip hop / jungle fusion.

Biography

Zinc's career as a DJ and producer, stretches the steady evolution of hardcore from its house and rave roots through ragga and hip hop styled hardstep and beyond.

He continued to DJ on a regular basis, and was one of the first drum and bass heads to score with the R&B slanted two step market courtesy of his 1999 single, "138 Trek".

He also remains a relative rarity in the drum and bass scene in that his productions outside drum and bass, most notably in the breaks genre under the pseudonym Jammin popular. Several of his productions have been successful in the UK garage genres with songs like "138 Trek", and Zinc's work is also appreciated by Grime artists.

DJ Zinc produces and DJs as part of the Ganja Kru and True Playaz collectives, often in association with friend and mentor DJ Hype. He also runs the Bingo Beats record label, which releases both drum and bass and breaks records. He has also been known to release many records under the alias of Dope Skillz.

In 2001, Zinc released a remix compilation album of his own productions called Beats By Design. By August 2004, he released his second album, Faster a concept album of sorts. The album, as the name suggests, ups the tempo little-by-little for each song. The title track, and album opener, epitomises this and is a grimey crawl through bass and beat that speeds up from 40bpm into the early 100's by its end.

Single discography

* "138 Trek" (2000) - UK #27
* "Casino Royale" / "Dead A's" (2001) - UK #58 †
* "Reachout" (2002) - UK #73
* "Fair Fight" / "As We Do" (2002) - UK #72
* "Ska" (2004) - UK #54
* "Steppin' Sones" / "South Pacific" (2004) - UK #62
* "Drive By Car" / "Ins" (2005) - UK #66 ‡

† - credited as 'DJ Zinc / DJ Hype'

‡ - credited as 'DJ Zinc featuring Eksman'

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DJ Z-Trip

2009-07-10T19:39:00.000-07:00

Z-Trip (born Zach Sciacca) is best known as a founder of the mashup movement. A Phoenix, Arizona native, who now resides in Los Angeles. Was known early in his career for performing with the Bombshelter DJs (DJ Emile, DJ Radar, and DJ Z-Trip). He became widely known when his collaboration with DJ P, Uneasy Listening, Vol. 1, was released in 2001. Only 1000 copies were made, but the album was soon distributed over the Internet in MP3 format. "Uneasy Listening" topped many critics best album of year lists, including: Rolling Stone, Spin, Entertainment Weekly, URB, LA Times and NY Times. Since then he has become well-known worldwide for his sold out shows and eclectic style.

His album Shifting Gears marked his major label debut. Released on Hollywood Records in 2005, the album features guest artists Supernatural, MURS, Lyrics Born, Luke Sick, Aceyalone, Mystic, Prince Whipper Whip, Busdriver, Chester Bennington (from Linkin Park), Chuck D (from Public Enemy) and Soup (from Jurassic 5). "Shifting Gears" received both critical and commercial acclaim. Rolling Stone gave "Shifting Gears" **** (four stars.) It also charted 3 Top Ten Singles,in the US.

Z-Trip dedicated 2006 to worldwide sold out shows. Ahead of the Curve with Lateef on Quannum Projects, was released in 2007. Z-Trip also composed original score for EA Games' release Skate. In addition to remixing Nirvana: Lounge Act (Z-Trip Remix) (2007)

Z-Trip is featured in the 2001 documentary Scratch and also starred in "How To Rock A Party" showing off some technique.

He performs with Serato Scratch Live as well as traditional vinyl. As of August 2006, Z-Trip has left Hollywood Records.

Z-Trip is just one of 9 artists who participated in thetruth.com’s Remix Project, where he remixed the Sunny Side song “Smaller Babies”. Some of the other artists were: Mad Decent, Diplo, Pete Rock, and Mix Master Mike.

Albums

* Z-Trip: Uneasy Listening, Vol. 1 (Independent release) (1999)
* Z-Trip: Shifting Gears (Debut major label album) (2005)
* Z-Trip & Lateef: Ahead of the Curve Quannum Projects (2007)
* Z-Trip: "Party For Change" (Hard Left Records) (2008)
* Z-Trip: "Victory Lap" (Hard Left Records) (2009)

EPs

* Z-Trip: Breakfast Club 10-inch
* Z-Trip: Listen to the DJ 12-inch (feat. Soup of Jurassic 5)
* Z-Trip: Rhythmic Metaphor 12-inch
* Z-Trip: Shock And Awe 12-inch (feat. Chuck D of Public Enemy)
* Z-Trip & MSTRKRFT: Soundclash (2007) Album Art by Shepard Fairey

Soundtracks

* Various Artists: Small Soldiers (Soundtrack) ("Tom Sawyer (Z-Trip Remix)" track)
* Z-Trip & Garron Chang: Infamy (Movie Theme) (composer) (2006)
* Z-Trip: All Pro (Production) (2007)
* Various Artists: skate. (Soundtrack) (Composer) (2007)

Remixes

* Z-Trip & Rush: Tom Sawyer (Z-Trip Remix) (Short Version of the Remix) (1998)
* Z-Trip & Nirvana: Lounge Act (Z-Trip Remix) (2007)
* Z-Trip & Run Run Run: Fade Into You (Z-Trip Remix) (with Instrumental) (2006)
* Z-Trip: M@shUptight (2007)
* Z-Trip: Smaller Babies (Z-Trip Remix) The Truth Campaign

Proper mixtapes

* Z-Trip & Radar: Live @ Future Primitive Volume 2 (1998)
* Z-Trip: Mixed, Scratched, Tweaked & Abused
* Z-Trip: Urban Revolutions: The Future Primitive Sound Collective (1999)
* Z-Trip: Live In L.A. (2004)

Promo mixtapes/EPs

* Z-Trip: Mixed, Scratched, Tweaked & Abused
* Z-Trip: Slow Motion
* Z-Trip: Urban Revolutions Megamix (1999)
* Z-Trip: The Unknown
* Z-Trip: The Motown Breakdown Part 1 (2004)
* Z-Trip: B-boy Breaks 3
* Z-Trip & DJ P: Uneasy Listening, Vol. 1
* Z-Trip & Emile: Best Friends (The Long Lost Bombshelter Mix CD) (1997)
* Z-Trip & Murs: The End Of The Beginning Sampler Mix
* Z-Trip: Put A Tight Grip On Your Face
* Z-Trip: White Label 2007 (2007)

Internet only mixes

* Z-Trip: Live on Power 106 FM - 8.6.06
* Z-Trip: Live in Seattle - WA, USA 10.21.00
* Z-Trip: Live on Groove Radio - Toronto, Canada 5.2.01
* Z-Trip: Live on Future Primitive Radio - San Fran, USA 5.18.01
* Z-Trip: Live on Dublab 02.25.00
* Z-Trip: Live @ Rootdown 02.24.00
* Z-Trip: Live @ Rootdown 2003 (aka, The Anti-War Mix; aka, Z-Trip: For Those About to Vote)
* Z-Trip: Live @ Baltic Room 11/17/01
* Z-Trip: Live @ WFNX Radio
* Z-Trip: Live UCLA 05.30.03
* Z-Trip: Live @ DjScene.com
* Z-Trip: Live @ Seattle Tasty Show 10/21/00
* Z-Trip: Live @ Scratch Movie Party
* Z-Trip: Live @ Bonnaroo Festival
* Z-Trip: Live @ Scratch Movie Party
* Z-Trip: Live @ Beta Lounge 05.18.01
* Z-Trip: Live @ The Fox Boulder 05.25.03
* Z-Trip & DJ P: Live @ The Last Supper Club - Seattle, USA 12.7.00
* Z-Trip & DJ P: Live on Groovetech
* Z-Trip & DJ Mel: Live @ Thursday Uprock, Austin, TX 11.08.01
* Z-Trip & Emile: Hip Hop Mix 02.12.99
* Z-Trip, Emile & Radar: Acid Reign
* Z-Trip: Obama Mix
* Z-Trip: Obama Mix part 2: Victory Lap

Tracks

* Z-Trip & Rush: Tom Sawyer (Z-Trip Remix) (Short Version of the Remix) (1998)
* Z-Trip & Galactic: Zed Tripplen (Live) (2003)
* Z-Trip & Supernatural: Down Under Freestyle (2006)
* Z-Trip & Run Run Run: Fade Into You (Z-Trip Remix) (with Instrumental) (2006)
* Z-Trip & MURS: Kiss (Remix) (2006)
* Z-Trip & Nirvana: Lounge Act (Z-Trip Remix) (2007)
* Z-Trip: M@shUptight (2007)
* Z-Trip & Rush: Tom Sawyer (Z-Trip Remix) (Full Version of the Remix) (2007)

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