Serato DJ Pro syncs with Roland TR drum machines with TR-SYNC update

Roland TR 8S Serato TR-SYNC

Roland has announced updates to its iconic TR-8, TR-8S, TR-08, and TR-09 drum machines, making them Serato DJ OSA-ready. This new functionality, named TR-SYNC, is now available as part of the latest Serato DJ Pro 2.1.1 update and allows DJs to effortlessly match the BPM of the TR drum machines with tracks playing on Serato […]

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A plea to DJs: make sharing part of digging

Many DJs still believe track lists and track IDs are proprietary information to be guarded … for some reason. But however defensible this position may have been in the past, opening up information matters now like never before.

The issue blew up again in the past 24 hours as The Black Madonna and other responded to Developer, the label chief for Modularz. Developer argued that people should “find their own gems” and he had no interest in sharing track listings or track IDs because he spent “hours” digging for tracks. He has since deleted those tweets (including one reply to me suggesting I go use Shazam), and didn’t respond to my request for comment. He did, however, leave up various retweets of people defending the position.

But this isn’t about Developer – and on the contrary, I’d rather he and others changed their minds. I totally agree with his learn to hunt idea. But what I don’t understand is why you’d brag about hiding tracks in the first place. So there’s clearly some disconnect here.

Some DJs I quite like keep doing … this every time someone asks for a damned track ID:

Noncompliant puts it succinctly:

This is about producers. Electronic music is now flooded with new people DJing, new people making music, and new people becoming music fans. That should be a healthy combination, one that supports the people making music.

Making music involves a heck of a lot of vulnerability. A lot of artists are desperate just to be heard – not widely, to be heard and appreciated in some real way even once often means a lot. They fight depression and insecurity and day jobs and the need to do tax accounting to put music out there for an audience that often ignores them.

Total obscurity is toxic to expression. It robs makers of fans, and fans of experiencing something unique. And there’s a lot of music being condemned to that fate. Music streaming isn’t just lowering the value of music returned to creators; it’s raising the cost of getting your music heard – because it’s being consolidated in the hands of a few major companies (Apple, Google, Spotify) who then fix algorithms and channels based on mainstream tastes and inward-turning circles of machine learning. Meanwhile, independent journalism has dwindled, dominated by large corporate interests and pay-for-play schemes even at smaller sites and … okay, I’ll just stop. It’s not all bad, but there are some major challenges out there that can be devastating to some great music.

With streaming poised to take over DJ booths, far from defending the exclusivity of DJing, we are fighting against a possible future where most DJs select music based on algorithms and Instagram influencers. (There’s some better scenarios here, but some of them are indeed scary.)

But then that makes me utterly mystified why DJs would pick this moment to get precious about their playlists.

So, okay, let me address that crew now, even if it means I have to duck into a phone booth (kids, ask your parents) and change into my not-at-all-secret superhero identity – [Disney Marvel Studios presents] CAPTAIN OBVIOUS!

Photo (CC-BY) jlggb.

You don’t have to answer pests. I get it – there’s that person at a club who ought to be dancing who won’t leave you alone. I’m not talking about any of them; that’s fine to refuse them. And if your Facebook page or Instagram inbox is overflowing with requests, I get that, too. Don’t stress; you’re free to ignore them.

But don’t sell yourself short. Come on. What DJ has ever only made a mark only based on picking obscure secret weapons? You’re a good DJ (or you’re not, but then you really shouldn’t be arguing here). It’s about mixing and placement and edits and adjustment and reading the crowd and the narrative of the evening and the moment and … are you seriously arguing you’re giving away something if you tell someone the name of a track you liked? I’m sorry, I’m still mystified as to why I’m even having to write this, but here we are.

That said …

These tracks aren’t yours to protect. Okay, apart from if you made the track yourself, in which case this resistance is exceedingly weird, what the Hell are you doing? Someone made a track that you played and someone loves it. Don’t you owe it to the person who made that track to give them credit? And speaking of which –

Encouraging people to buy music is great. I found it especially odd that DJs were complaining about people going and buying $2 downloads. Uh… that’s not normally something labels and artists are opposed to having happen more often.

But you know, even apart from that:

We’re lucky to share our passion with other people, right? I talked to Noncompliant who talked about enjoying showing people record sleeves back in the day. Hell, I’ve had the most fun in the booth when people do ask me for IDs or I wind up striking up a conversation with a friend who’s playing. Sometimes those tracks are rare; sometimes they’re totally obvious but still lovable.

We’re living in scary times. The solution to protecting the value of the DJ is not to hide your tracks – because that will only accelerate a trend where music is unknowable and left to unseen forces, and those unseen forces are not benign. It ought to be a privilege to play other people’s music, not a burden to share the authorship of that music. And if DJs go and dig up rare and obscure sounds, nothing will illustrate that like letting people know.

No high tech solutions needed. There are plenty of interesting techie solutions to publishing playlists via Twitter or Pioneer’s servers or Richie Hawtin’s servers or Skynet or whatever, but I’ll leave that for another time.

You can show people record sleeves. You can hit the INFO button on a CDJ someone can see (thanks again to Noncompliant for both of those). You can tell someone or write them a note. You can share playlists manually on Facebook or Twitter or your website, as many people now do, and then you won’t get nagged.

But it’s not just me saying this. And this isn’t just “kids today” wanting all their information free so they can talk about it through fancy Snapchat filters while they eat Tide Pods. In fact, I’m totally biased as a producer first and an independent label and generally a pain in the ass. So here are some other people saying it, using fewer words because they’re not me.

Look, I’m not here to make a point. I really do hope this message spreads.

We need you, DJs – every ID, every listener makes a difference.

#digandshare

Photo at top: CC-BY Irma Daidone.

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NI intros Komplete Audio interfaces, 32-key portable keyboard, Traktor DJ 2 & more

New NI hardware 2019

Following its biggest ever release in September 2018, Native Instruments has announced four new easy-to-use, affordable, and powerful products. Included are two new Komplete audio interfaces, the most portable Komplete Kontrol keyboard to date, a new free tier of the Komplete production suite, and a new generation of the Traktor DJ app. These new products […]

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Roland just made syncing Serato and TR drum machines automatic

The hybrid DJ set keeps getting fresh nudges. Now, Roland and Serato have added easy, automatic sync over USB for the TR-8, TR-8S, and the Boutique Series TR-08 and TR-09 drum machines.

And… oh, actually, this is such a no-brainer, I could almost just finish the story with that. (And that’s actually kind of cool.) But let’s offer a little more detail.

How does it work? Plus in a compatible drum machine via USB, and your drum machine follows Serato’s BPM.

How is that different from existing solutions? Well, it saves you the added step of configuring MIDI clock, at the very least. We’ll be able to test this shortly to check it in action, but it also presumably irons out other performance issues that can crop up with MIDI.

Oh, plus, if you didn’t understand any word I just said – this update is totally for you. You plug it in and it works. And rankly, that’s how it ought to be.

How do you get the update? Looks like all Serato DJ Pro owners with Roland hardware will be squared away. This is officially called the “Serato x Roland TR-SYNC update” but it appears you basically get plug and play support in the latest version of Serato DJ Pro.

Why would you want to do this? Well, even short of doing a full-on hybrid set, it can be fun to layer sum drum parts or (on the TR-8S) samples and so on. You could also then go on to sync still more gear from the TR. Oh, and the Boutique TR-08 and TR-09 are advantageously tiny. Even the most cramped DJ booth could easily fit one.

Bottom line – it’s nice to see some challenge to Pioneer’s own link protocol with their CDJ. Why shouldn’t you plug in drum machines and have them groove along? That’s why they’re drum machines.

I think it’ll make perfect sense, but for some reason, Roland marketing have gone a little crazy and decided to explain this not to non-technical DJs, but to actual space aliens. And for some reason all the sync in the product photography is 120 bpm, which bothers me. So here we go:

https://www.roland.com/global/promos/tr-serato-sync/

I’ll translate back to human:

What is a drum machine? It is … a machine … with drums in it.

What’s so special about Roland drum machines? No idea. I swear I can stop using them any time I want. I don’t really even like music. Watch, I’m about to do something more productive with my life right this second. The official Roland explanation, though:

The legendary TR-808 and 909 are the most influential drum machines of all time and have become part of the DNA of everything. They’ve literally just reprogrammed our genetic code and destroyed our minds and now all music genres and all carbon-based life on Earth have been assimilated, leading up presumably to some kind of invasion – once everyone has become a DJ.

Isn’t making your own beats complicated? No, it’s not, but that won’t stop you from becoming newly obsessed with how the beat is never right and the longer you listen to it, the more your grasp of all reality will melt away leaving you only with this loop. See DNA issue, above.

How do I include my own beats in my DJ set? This is a question that has truly no accurate answer, but if you call yourself a DJ, you’re already part of a global phenomenon started by a surprisingly small handful of people of color (very poorly attributed, as per usual) who just decided to show off and also not to have gaps between tracks and then got really deep into using phonographs incorrectly, so… uh, experiment, if you like, until you find something you like?

I’ve done it again. Long article. Also, not only is this not sponsored product, I now probably have to buy some apology rounds of drinks for whoever did write the original ad copy. Sorry.

There, instead of configuring MIDI, you now have more time to read my blathering.

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Pioneer DJ intros HDJ-X10C limited-edition carbon fibre version of flagship DJ headphones

Pioneer HDJ-X10C

Pioneer DJ has announced the HDJ-X10C, a premium version of its over-ear flagship DJ headphones which will be globally released in limited quantities from 17th January 2019. The new model features enhancements to the design of the popular HDJ-X10, which offers outstanding audio quality, lasting durability and flexible functionality for professional DJs. Special materials used […]

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Reloop’s new RP-8000 MK2: instrumental pitch control, Serato integration

Like the relaunched Technics 1200, the new Reloop decks sport digitally controlled motors. But Reloop have gone somewhere very different from Technics: platters that can be controlled at a full range of pitches, and even play scales. And the RP-8000 MK2 is a MIDI controller, too, for Serato and other software.

Oh yeah, and one other thing – Reloop as always is more affordable – a pair of RP-8000 MK2s costs the same as one SL-1200 MK7. (One deck is EUR600 / USD700 / GBP525).

And there’s a trend beyond these decks. Mechanical engineers rejoice – the age of the motor is here.

238668 Reloop RP-8000 MK2

We’re seeing digitally controlled motors for haptic feedback, as on the new Native Instruments S4 DJ controllers. And we’re seeing digital control on motors providing greater reliability, more precision, and broader ranges of speed on conventional turntables.

So digitally controlled motors were what Technics was boasting earlier this week with their SL-1200 MK7, which they say borrows from Blu-Ray drive technology (Technics is a Panasonic brand).

Reloop have gone one step further on the RP-8000 MK2. “Platter Play” rotates the turntable platter at different speeds to produce different pitches – rapidly. You can use the colored pads on the turntable, or connect an external MIDI keyboard.

That gives the pads a new life, as something integral to the turntable instead of just a set of triggers for software. (I’m checking with Reloop to find out if the performance pads require Serato to work, but either way, they do actually impact the platter rotation – it’s a physical result.)

238668 Reloop RP-8000 MK2

Serato and Reloop have built a close relationship with turntablists; this lets them build the vinyl deck into a more versatile instrument. It’s still an analog/mechanical device, but with a greater range of playing options thanks to digital tech under the hook. Call it digital-kinetic-mechanical.

Also digital: the pitch fader Reloop. (Reloop call it “high-resolution.”) Set it to +- 8% (hello Technics-style pitch), or +/- 16% for a wider range (hello, Romanian techno, -16%), or an insane +/- 50%. That’s the actual platter speed we’re talking here. (Makes sense – platters on CDs and Blu-Ray spin far, far faster.)

With quartz lock on, the same mechanism will simply play your records more accurately at a steady pitch (0%).

The pitch fader and motor mechanism are both available on the RP-7000 MK2, for more traditional turntable operation The performance pad melodic control is on the 8000, the one intended for Serato users.

Serato integration

I expect some people want their controller and their deck separate – playing vinyl means bringing actual vinyl records, and playing digital means using a controller and computer, or for many people, just a USB stick and CDJs.

If you want that, you can grab the RP-7000 MK2 for just 500 bucks a deck, minus the controller features.

On the RP-8000 MK2, you get a deck that adds digital features you’ve seen on controllers and CDJs directly on the deck. As on the original RP-8000, Reloop are the first to offer Serato integration. And it’s implemented as MIDI, so you can work with third-party software as well. The market is obviously DVS users.

The original RP offered Cue, Loop, Sample and Slicer modes with triggers on the left-hand side. Plus you get a digital readout above the pitch fader.

On the MK2, the numeric display gives you even more feedback: pitch, BPM, deck assignment, scales and notes, elapsed/remaining time of current track, plus firmware settings.

New playback and platter control options on the Reloop RP-8000 MK2.

The pads have new performance modes, too: Cue, Sampler, Saved Loops, Pitch Play, Loop, Loop Roll, Slicer, and two user-assignable modes (for whatever functions you want).

Reloop have also upgraded the tone arm base for greater reliability and more adjustments.

And those performance modes look great – 22 scales and 34 notes, plus up to 9 user-defined scales.

For more integration, Reloop are also offering the Reloop Elite, a DVS-focused mixer with a bunch of I/O, displays that integrate with the software, and more RGB-colored performance triggers and other shortcuts.

https://www.reloop.com/reloop-elite

One of these things is not like the others: the new kit still requires a laptop to run Serato.

If I had any complaint, it’s this: when will Serato do their own standalone embedded hardware in place of the computer? I know many DJs are glad to bring a computer – and Reloop claims the controls on the deck eliminate the need for a standalone controller (plus they have that new mixer with still more Serato integration). But it seems still a bummer to have to buy and maintain a PC or Mac laptop as part of the deal. And if you’re laying out a couple grand on hardware, wouldn’t you be willing to buy an embedded solution that let you work without a computer? (Especially since Serato is an integrated environment, and would run on embedded machines. Why not stick an ARM board in there to run those displays and just read your music off USB?)

As for Reloop, they’re totally killing it with affordable turntables. If you just want some vinyl playback and basic DJing for your home or studio, in December they also unveiled the RP-2000 USB MK2. USB interface (for digitization or DVS control), direct drive control (so you can scratch on it), under 300 bucks.

https://www.reloop.com/

Previously in phonographs:

The Technics SL-1200 is back, and this time for DJs again

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Technics intros SL-1200MK7 turntable with coreless direct drive motor

Technics SL-1200MK7

Technics has unveiled its new SL-1200MK7 Direct Drive Turntable, a new model that inherits the traditional design of the same series and maintains the same operating ease, reliability and durability, while newly adding a coreless direct drive motor and other sound-enhancing technologies. It also features new DJ play functions, such as reverse playback. The SL-1200MK7 […]

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The Technics SL-1200 is back, and this time for DJs again

First it was dead. Then, it came back but … inexplicably cost four thousand bucks and seemed to be for audiophiles, not DJs. Now, at last, the iconic* Technics SL-1200 turntable is back, and in a newly-manufactured form that might actually suit DJs.

The pitch: take advanced tech, learned from Blu-ray players, and turn it into an accessible turntable that delivers the performance and playing style of traditional players, with greater reliability and better sound.

If you don’t particularly need the name “Technics” on your turntable, of course, this may not even qualify as news. Manufacturers from Pioneer to Reloop now make reasonably affordable turntables that expand on the legacy of the Technics turntable and enable DJs to play decks like an instrument.

A couple of years ago when Panasonic revised the SL-1200 name, it at first seemed the company was surrendering the DJ market to those rivals. The first SL-1200GAE/1200G was a heavy, expensive machine engineered to within an inch of its life for vinyl consumers and deep-pocketed audiophiles. (Okay, I want to say “suckers.” At least people with money to burn.) Bizarrely, there wasn’t much mention of the DJs or hip hop producers who made the SL series famous in the first place. (Wired got the first preview; Vinyl Factory commented on the company’s explanation of that $4000 sticker shock.)

Now, it seems, we’re back to reality. The new SL-1200MK7 has specs more like a normal SL-1200, has marketing and specs intended for DJs, and while we don’t know the price, at least returns to a normal weight (just under 10kg).

The SL-1200MK7 (aka the SL-1210MK7 in Europe) then can be fairly dubbed the first Matsushita/Panasonic turntable for DJs to come off the assembly line in nine years – and the first in nine years to be a direct successor to the 1972 original 1200.

Onboard, some new engineering, now again in the service of DJs:

Coreless direct drive motor – okay, first, Panasonic are again making a new motor, apparently even after the 2016 audiophile take on this. It’s a direct drive motor like the original, but Technics promises the torque of the MK5, but without the iron core that can cause cogging (inconsistencies that impact audio quality).

To put it more briefly – this is the kind of more reliable motor Technics was pushing, but this time not so damned heavy and expensive.

Also new:

Reverse it. Provided you have a compatible phono cartridge, you can enable a reverse play function accessed by hitting the speed selector and Start/Stop at the same time.

Scratch-friendly – with computer control. Here’s the surprise: you get new motor control Panasonic have borrowed from the development of Blu-ray drives, using microprocessors to keep the motor operating smoothly. The MK7 tunes that relationship, says Technics, to work across playing styles – including DJing. What else does that mean?

Pitch is digitally controlled. Greater accuracy of pitch adjustment is another side benefit, because the motor can respond interactively as you play.

Well, apparently the original silver color is now reserved for audiophiles.

But there’s no question this is a sign of the times. Where as the digital age first seemed to jettison old brands and old technologies, all of them are back with a vengeance, from film photography to turntables to synthesizers. And finally even the likes of Japanese titan Panasonic, Technics parent company, are getting the memo. Just like a violinist wants particular features out of a violin, a DJ has expectations of what a turntable should be – not only appearance or moniker, but engineering.

And, let’s be honest, there is something nice about seeing new Technics in production.

Now the question is, can Panasonic trickle down new advanced tech in motors and control, inherited from advanced Blu-ray players, to the traditional turntable? If they can, they might just be able to best some of the other commodity turntables on the market.

Full details:
https://www.technics.com/us/news/20190107-sl-1200mk7/ [Press release]

[Product page]

A timeline of Technics turntables

The SP-10 started it all – at least introducing the world to direct drive turntables. But notice it didn’t even have its own integrated tonearm.

DJ Kool Herc was far enough ahead of the curve that he started on the 1971 SL-1100, not the SL-1200.

1970: SP-10
World’s first direct drive turntable (the enabling technology that would enable DJing technique and scratching)

1971: SL-1100
Starts to look like the turntables we know (integrated tonearm and platter). Used by hip-hop pioneer DJ Kool Herc.

1972: SL-1200/SL-1210
You’d feel at home cueing and beatmatching on this, but – note that the speed control was on a dial. (The 1210 variation of this is a Euro-friendly model with voltage selection and black, not silver.)

1979: SL-1200MK2
The SL-1200 was already a standard, but the MK2 looks more like the template DJs recognize today. Influenced by a field trip to Chicago clubs, the engineers unveiled the MK2 with Quartz Lock, a big pitch fader (whew!), and other details like a vibration-soaking cabinet and rubber.

Later revisions added other minor improvements, but it was really the MK2 that looks like the template for all DJ turntables to come – particularly thanks to pitch being on a fader and not a tiny knob (once Japanese engineers worked out how artists in Chicago were using pitch).

1989: SL-1200MK3
Improvements largely around vibration.

1997: SL-1200MK3D
The end of the center click pitch controller (so you could get hairline adjustments around zero more accurately).

2000: SL-1200MK5
Sort of the gold standard here, based on tiny performance enhancements and details like brake speed adjustment. See also the MK5G variation, 2002.

2019: SL-1200MK7/SL-120MK7
All-new motor, digitally-controlled pitch, reverse play.

And yes, I agree with my colleague James Grahame of MeeBlip in thinking this is all becoming a bit like the modern Spitfire kit remake planes, the Submarine Spitfires.

All photos courtesy Technics.

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When music takes us between pain and peace: Dimension Series mixes

Music can be wallpaper and fashion and groove and all those things – and sometimes those things are grand. But music can also be a torch to help us see out of the dark. The Dimensions Series of curated mixes this year took on those themes of metamorphosis – and how to find ways out of depression and darkness.

http://staticdiscos.com/dimension/category/metamorphosis/

Mexico City-based artist and curator Oscar González of the wonderful Static Discos label gathered some significant names for this series. And musically, it’s worth listening top to bottom. But I also appreciate that from the start Oscar opened up about his own personal challenges.

We need a reason to make music. Sometimes, that reason can be survival — finding peace when it threatens to elude us. Oscar tells CDM:

I think I’ve never talked about where the idea of the series was born.

The last five years have been and, in some way continue to be, challenging and shifting. It has been very difficult and there have been some very dark periods, actually. The idea was born right in that chaos; it was like a gift in the middle of depression. But during the last year, there have also been lots of wonderful achievements, new friendships made, lessons learned thanks to my falls and failures that — although they’ve hurt extremely – have helped my convictions and faith to be strengthened.

Some incredibly positive and happy moments also happened. My dad is a miracle, [surviving] several heart attacks. For my part, I got a job that I really love, and I learned to love myself such as I am. I stopped thinking that I was not enough for myself or for others, and I started to believe only what God says I am.

Now brief moments of peace are hitting me…

So, I tried to express some of these experiences and feelings into the series across these years. Each edition is a good representation of those shifting patterns and where my heart was in every moment while curating.

Please, don’t get me wrong – I do not want to be a hypocrite. Just like Luke Hess, I’m just a Christian guy from somewhere in Mexico City trying to spread a little love through music, because for me the music still is the best remedy for the broken heart, to inspire and give us hope where there seems to be none.

However, I feel a deep sadness, since there are many young people that now are going through by the same situation in which I was, mired in depression, with thoughts of suicide and in a deep pain — so if you want to talk, please hit me up, sometimes we just need someone to listen to us.

“Sometimes we just need someone to listen to us.”

I could add here, but I expect I don’t have to – this experience of navigating darkness and hopelessness through music is something that I know can resonate with most or all of you.

What’s been beautiful about the Dimensions Series this year is how each new mix has let the theme of metamorphosis unfold and blossom. And guest artists from a range of backgrounds often touched on these themes from Oscar even without prompting.

Elli. Photographer : Ryuji Sue
Hair & Makeup : Tori.
Styling : Joe (TOKYODANDY)

Elli Arakawa of Japan has an especially beautiful, artful, moving mix, one that tugs at your heart and lifts you to some transcendent plane.

And she also gets personal:

This year has been a year of transition and realization.
There have been many changes for the good and the bad to make me realize what is important in life and living in this difficult world right now as a woman, an independent and strong woman that I would want to be considered.

This mix is dedicated to my mother.
Who just had a bad accident/operation but still has a positive prospective about life, the overall cause, and effect, karma, everything happens for a reason and from that, we learn.

She has dealt the accident with grace and I could not be more proud. She has not let it affect her life and ever since she has only been moving forward. So I would like to dedicate it to her strength and determination. She is an inspiration to many of us women and continues to be. We need women like her to pull us all together and fight for what we deserve and what we wish for.

My mind was everywhere at the time but I found myself being centered when I was recording this mix.

I hope it triggers some kind of positive effect to every person who gets to hear this mix. Or some kind of realization towards life, to be able to embrace changes and to notice how lucky we are for what we have.

Jenus, artist and curator, has moved from helming Ostgut Ton to Kobosil’s bold R – Label Group. To anyone who says Berlin lacks a sound, here it evolves gradually, from Detroit to Friedrichshain, in a sense of experimentalism that is rooted and timeless.

Perversely, it’s often a lack of history that can hold producers and DJs back from experimentation – like traveling without a compass. What I’ve grown to appreciate about Jenus in the years I’ve known him in Berlin, apart from his deeply intimate sense of dedication to music, is that sense of history. And he has a knack for navigating shadowy sound, taking us deep into the forest.

He lends some theory to this soulful Winterreise that emerges in this series, and – sure enough, talks about how that connection to the past is meaningful to him. Connect this sense of music finding its way and how we personally find our way (including our personal path through music), and I think there’s something potent:

While working on this mix I was thinking about development and structural change. I wanted to reflect on the process of forming, it’s about memory and transformation. The mix combines some tracks that have been with me for a long time – since the early 90’s, through layering them with new sounds they evolve into something new. I need a lot of time to slowly develop a transition and I like a natural ebb and flow, the force of nature. Energy regenerates and then rears up, you can see this again and again everywhere you look. This mix is a little darker maybe and more pensive, you have to take time, in general, this is something that I believe people should do more. Change just happens, it’s inevitable, but positive change benefits from an understanding and contemplation of the past.

These wonderful images are created by designer FAX aka Rubén Alonso – as always for the Static Discos label. And if some of the guests here bared souls, FAX brings you into his home and workplace, with an eclectic soundtrack that reveals how he mixes his daily life and remains creative.

John Osborn is essential listening, too. And he speaks to the notion of traversing emotions, finding narrative. It’s mixing in the most personal and subjective way, far from the functionality required out in public. And it’s lovely (track listing is over on SoundCloud):

It was a long time since I last recorded a ‘home-studio’ mix. My previous mixes/podcasts have all been live recordings, mainly from sets in Japan & Asia. Oddly, it felt new to me to record a mix without a location defining what I play. Without the external defining the direction I found myself asking myself quite a deep, yet simple question; What do I want to communicate? I took a personal report of the past few years of musical experiences to find out where my head is today and in doing so I created this mix. I composed a mix that carries you through a rich narrative, that makes, holds and breaks tension in a gentle sine-wave pattern. I discovered the sound that currently interests me as a DJ is one that will always transport you, on the dance floor or in your headphones, like that magical feeling when you are in transit to a new, never seen before destination. Tension, drive and expression are not defined by BPMs, but emotions.

Oh yeah, and I did the first mix in this series. I thought about transformation and I knew Oscar had been going through a lot – I knew I’d been going through a lot of change, too – and so I felt a lot of the same calling he talks about above.

Oscar and I hadn’t talked about depression and metamorphosis so directly, but I’m looking back on what I wrote when I sent in the mix, and I think intuitively sometimes we speak these things when we share music. Here’s what I had to say:

I hope music is that one space that gets deeper the further we go, that makes us more malleable as we get older instead of more brittle. It’s the language we never stop learning. And when the world around us sometimes gives us pain and loss, I think sound can be the code that helps us find ourselves again. That’s true whether it’s silly, or repetitive, or ridiculous, or noise and grit and distortion. Screams become joyful and pain turns to laughter. Music is the sound our heart makes when it’s unafraid.

I find depression stops you from being able to make music, but I think that’s because depression is immobile and unchanging. But then music can be the way to get yourself out of that hole – to move again, to become yourself again by allowing yourself to become someone new.

I was fascinated by the rhythm of Charles Bukowski’s words, and the idea of beatmatching a poet to music … and then from there I find I’m turning to music from people I’ve gotten to know, strangers I wish I knew, music from labels I admire, finding the through line in all that.

I wish we mixed more, and listened to each other’s mixes more, and less to algorithms or albums we’ve grown tired of or what we think is cool. Isn’t that the stuff that matters?

My track listing:

Charles Bukowski – Hustle [Goldenlane Records]
Red Line – Ao Wu [UnderU]
Koji Itoyama – forest [Fumin]
Dark Sky – Imagine [Monkeytown Records]
Frank Bretschneider – A Soft Throbbing of Time [Raster-Noton]
Murcof – Rostro [The Leaf Label]
Stan Velev – North Island [Detroit Underground]
Library Tapes – Sevilla (from Europe, She Loves soundtrack) [Library Tapes]
Nadia Struiwigh – 010101 [CPU Records]
N1L – ijsv_0gel (Logos Rmx) [Opal Tapes]
Energun – Psychotic Sequence 001 [Wunderblock Records]
H. Takahashi – Water Lily [Slow Editions]
Lucas Bat – A Colony Always Works for the Gyne [Lucas Bat]
Yaporigami – PLMS_IV_B [Yaporigami]
Wilhelm Bras – Possibility of Artificial Suffering [Wilhelm Bras]
Analog Tara – Density and Surface [Tara Rodgers]
[unidentified artist] – Untitled (from Vague compilation [La notte di architetto]
Ten Hyphen Twenty – Hospitality Industry [Genot Centre]
Neel & natural/electronic system. – Sinistra [Tikita]
Gurun Gurun – Tsuki ni te (ft. Cokiyu) [Gurun Gurun]
Musica Sequenza & Buruk Ozedemir – Vieni vieni [Deutsche Harmoni Mundi]
CHAIRCRUSHER – Way station [Cornwarning]
Alessandro Cortini – La Sveglia [Hospital Produtions]
George Macreyannes – Dohena [Canary Records]

And do listen to the rest of the mix series; I’ve enjoyed the lot.

And if you feel pain, yes, do feel free to talk. I think if this site does anything at all, it should help us all to use music in how we live.

More mixes are coming —

http://staticdiscos.com/dimension/category/metamorphosis/

The post When music takes us between pain and peace: Dimension Series mixes appeared first on CDM Create Digital Music.

Build your own scratch DJ controller

If DJing originated in the creative miuse and appropriation of hardware, perhaps the next wave will come from DIYers inventing new approaches. No need to wait, anyway – you can try building this scratch controller yourself.

DJWORX has done some great ongoing coverage of Andy Tait aka Rasteri. You can read a complete overview of Andy’s SC1000, a Raspberry Pi-based project with metal touch platter:

Step aside portablism — the tiny SC1000 is here

In turn, there’s also that project’s cousin, the 7″ Portable Scratcher aka 7PS.

If you’re wondering what portablism is, that’s DJs carrying portable record players around. But maybe more to the point, if you can invent new gear that fits in a DJ booth, you can experiment with DJing in new ways. (Think how much current technique is really circumscribed by the feature set of CDJs, turntables, and fairly identical DJ software.)

Or to look at it another way, you can really treat the DJ device as a musical instrument – one you can still carry around easily.

The SC1000 in Rasteri’s capable hands is exciting just to behold:

Everything you need to build this yourself – or to discover the basis for other ideas – is up on GitHub:

https://github.com/rasteri/SC1000/

This is not a beginner project. But it’s not overwhelmingly complicated, either. Basically…

Ingredients:
Custom PCB
System-on-module (the brains of the operation)
SD card
Enclosure
Jog wheel with metal capacitive touch surface and magnet
Mini fader

Free software powers the actual DJing. (It’s based on xwax, open source Linux digital vinyl emulation, which we’ve seen as the basis of other DIY projects.)

Process:

You need to assemble the main PCB – there’s your soldering iron action.

And you’ll flash the firmware (which requires a PIC programmer), plus transfer the OS to SD card.

Assembly of the jog wheel and enclosure requires a little drilling and gluing

Other than that it’s a matter of testing and connection.

Build tutorial:

Full open source under a GPLv2 license. (Andy sort of left out the hardware license – this really sort of illustrates that GNU need a license that blankets both hardware and software, though that’s complex legally. There’s no copyright information on the hardware; to be fully open it needs something like a Creative Commons license on those elements of the designs. But that’s not a big deal.)

It looks really fantastic. I definitely want to try building one of these in Berlin – will team up and let you know how it goes.

This clearly isn’t for everyone. But the reason I mention going to custom hardware is, this means both that you can adapt your own technique to a particular instrument and you can modify the way the digital DJ tool responds if you so choose. It may take some time before we see that bear fruit, but it definitely holds some potential.

Via:
Rasteri’s SC1000 scratch controller — build your own today [thanks to Mark Settle over at DJWORX!]

Project page:
https://github.com/rasteri/SC1000/

Thanks, Dubby Labby!

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