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ONCE AGAIN, THANKS TO THE CREW AT SKRATCHWORX.COM FOR ANOTHER DOPE REVIEW!!

Nostalgia Bytes

Remember when you were young, during the glory days of 8 bit computing, when miners were manic, eggs were dizzy and Far Cry was nothing more than a noise your sister made when you hit her with a frisbee? Fantastic wasn’t it? And yet, as good as those games were, can you remember how you also longed for better, more colourful graphics, more realistic gameplay and a multi-button controller that didn’t look like a prop from those naughty films your dad watched?

Of course you do.

That’s why, as soon as you saw the exquisite detailing on Chun Li’s hem-line you ditched the Spectrum in favour of a SNES, SF2 and a loin full of misplaced lust. You might even have fond memories of typing obscenities and unrecognised commands into the Rod Pike classic, Dracula, but would you really prefer to play a text-based adventure when you could be slapping zombies in Resident Evil 5 and admiring Sheva’s cleavage instead?

Of course not.

The same is true of mobile phones, cars and royalty cheques. You love the one you have but cannot wait until a better one comes along. It’s ironic then, that in an industry where the chief players prefer the sound of a flatulent robot raping a dustbin to the sound of a real instrument, the arrival of the next best thing is either met with derision or hostile suspicion.

Back In The Day, when Technics was more than a type of Lego and your sole reason for buying an OEM turntable was to take it to the tip three months later, DJs longed for samplers that didn’t cost the same as a small planet, that could fit in the palm of your hand rather than the boot of your car, and had a memory capacity greater than that of an elderly relative. Being able to remix tracks and add additional production to your set without ‘cashing in’ your parents’ life insurance was truly the holy grail of DJing.

And yet, as soon as that holy grail became apparent and affordable to all but the most bankrupt of DJs, those that adopted it were derided by proponents of the old-skool as ‘fakes’, ridiculed by old ladies in supermarkets and given a good kicking by anyone wearing a stripey jumper and trackie pants tucked into their socks.

Why?

Possibly, because having spent at least a grand on DJ equipment and years of practice perfecting your skills, the last thing you want to see in a DJ booth is some pretty boy with fancy hair and a winning smile getting paid more than you to press a few keys, impregnate groupies, get drunk and still mess it up. More likely for old-skoolers, however, is that hitting a couple of mouse buttons is nowhere near as fun as pushing faders, rotating dials and moving platters.

Which brings us onto Akai’s face-punchingly desirable APC40 (finally… Gizmo).

In recent years many manufacturers have fallen over themselves to introduce MIDI controllers that offer a tactile feel familiar to DJs and allow them to exploit the creative possibilities offered by software. What has been missing is bi-directional communication between controller and software, together with Plug & Play connectivity that genuinely works.

NI have plugged this gap with Maschine, but unlike NI’s electronic nicotine, Akai have come up with a unit that is to be used to control mixing, on-the-fly sequencing and effects devices. It’s also intrinsically connected to a software application that splits opinion in the DJ community like no other – Ableton Live.

The APC40 features 8 channel faders, a master fader and a crossfader, more dials than a clock factory and plenty of buttons to trigger the play of music. It also ships with a special version of Ableton Live 7, creating a package that you can use straight out of the box, and the £379 that Akai ask for the APC40 buys you a lot more functionality than you get with traditional hardware, whether vinyl or CD.

Have Akai finally created a controller that will allow old-skool DJs to incorporate software without feeling guilty?

Disco Buttons

The first thing you’ll notice about the APC40 is the soul-tearingly beautiful, slick and stylish veneer. Akai have ignored the boxy, utilitarian traditions that dominate DJ hardware design and have gone for something that wouldn’t look out of place in a Giger-inspired space shuttle.

The second thing you’ll notice is the mass assemblage of rubber buttons that dominate the fader area of the APC. The majority of these buttons make up the Clip Matrix, and for many DJs and producers the Clip Matrix is where their attention will be focused. It is an 8X5 matrix which means it contains no less than 40 buttons with which you can launch and re-launch clips from Live’s Session View. Tracks are represented horizontally whilst the clips are stacked vertically so as to match the on-screen session view within Ableton Live.

The clip buttons are illuminated either red, amber or green according to their state. If a clip is currently playing it is illuminated green, otherwise it is amber. If you have armed a MIDI track for recording then pressing a clip will select it for recording and it will light up red. Sure, this is a simple traffic lights system but it works so well, the visual cues presented by the APC mean that you don’t have to squint at a tiny laptop screen to work out which clip is playing, which is armed and so on. If you know your set well (and let’s face it, you should) you can concentrate on the APC instead, allowing you to work much more quickly with Ableton, especially during a live performance.

Below the Clip Matrix are eight Clip Stop buttons, one for each track. To the right, stacked vertically, are 5 Scene Launch buttons that when pressed trigger an entire row of clips.

Somewhat disappointingly, the Scene Launch buttons have no back-lighting to denote the currently playing scene, as the lighting of the Clip Matrix makes it blindingly obvious which scene is playing. Below the Scene Launch buttons is a solitary button that when pressed ceases play of all clips.

The buttons themselves are fabricated from a soft rubber that nicely cushions your fingers as you bash the living daylights out of them. As with all of the materials and switches that adorn the APC, the buttons of the Clip Matrix stand up well to prolonged battering and give you every confidence that they’ll last a long time.

Although the APC Edition of Live limits you to a maximum of 16 tracks (8 MIDI and 8 audio) the APC is capable of supporting the unlimited number of tracks and scenes that the full-fat version of Live 8 can support. The logistical nightmare of traversing a vast Ableton landscape is eased with the Shift key that, when pressed, uses one Clip Launch button to represent a full 8X5 matrix.

If your Live sets are more modest you can use the bank select buttons to traverse the set one track or scene at a time.

The rest of the fancy flashing buttons are located below the Clip Matrix and consist of Activator switches that enable or disable a track, Solo/Cue switches to silence all other tracks except the one you want to hear and Record Arm buttons that allow you to record your performance into a MIDI track.

Faders

The channel faders are stiff, which aids precise positioning for mixing down studio tracks, whilst the crossfader is taken straight from the parts bin of the Numark’s budget assembly line. Any attempts at turntablism and even basic scratching will cause the crossfader to bleed in no time at all.

Luckily, you can quickly replace the crossfader by opening a hatch on the underside of the APC and pulling the old one out. As long as you’re fading and not scratching the crossfader won’t be an expensive consumable over the life of the unit. The crossfader bay is short on space so the fitting of aftermarket solutions isn’t possible.

Actually using the crossfader is an unpleasant experience due to the scratching sound it makes as you move it, a sound akin to that made by fingernails as they’re scratched down a blackboard. It isn’t loose and although you can’t accuse it of feeling jerky, there is way too much resistance to the crossfader travel.

This stiffness has nothing to do with precision and everything to do with the use of a cheap fader. That said, it keeps the cost down. There is no need for a high quality fader in a unit like this and besides, how many people actually need a crossfader with Ableton? I’m sure over time the channel faders will loosen, but they feel well constructed and should last a long time before replacements become a necessity.

In fact, only two criticisms can be levelled at the faders. The first being the close positioning of the transport controls to the crossfader, something that could cause the Play or Stop buttons being accidentally hit during an intense mix. It must be said, however, that this never occurred during the test period.

The second is an irritating fader phenomenon that afflicts all MIDI controllers, not just the APC, although it is more keenly felt when using the APC due to the fact that it has 9 faders rather than the more usual 2 or 4. And that is that Ableton cannot detect the fader positions at start-up, you have to fully open a fader to engage it in Ableton and then move it to the desired position.

Sure it’s not a major niggle, but the irritating effect is heightened over time rather than diminished.

Device Controls

The lower set of dials to the right of the APC control the effects devices and software instruments loaded into the currently selected track. So if, for instance, you have the Akai 808 drum instrument loaded into the currently selected track you can control the 5 parameters offered by the Akai 808 instrument with the rotary dials of the APC’s device section. The dials are infinite rotation, but to help you keep track of your device’s setting each dial is surrounded by 15 LEDs. Turning the dial clockwise will illuminate the LEDs in a pretty green colour. Turning the dials anti-clockwise will turn them off.

Although there are 8 dials on the APC not all devices have 8 parameters in Ableton. Naturally, when that is the case some dials on the APC’s device section will be disabled. Similarly, some devices in Ableton have more than 8 parameters and you cannot therefore control some of them. In those cases the shift key can be used to select different banks of device controls, but to be honest it’s a bit awkward.

The rotary dials feel well constructed and lack the wobble of similar dials seen on the Ecler Evo 5 and the Korg Zero 8, giving the user confidence in their sustained use. The LEDs respond to dial turns quickly as does the corresponding parameter in Ableton.

As effects devices can be chained in Ableton there are two directional buttons just below the rotary dials that allow you to select the device you wish to control. There is also a button for switching the currently selected device on and off as well as a button for switching between clip and track view.

Physically, the buttons are hard-wearing plastic push buttons. They might lack a luxury feel and have something of the ZX81 about them, but can take a beating.

Track Controls

At the top right of the APC lies the Track Control section, which allows you to control the panning of eight tracks as well as the dry/wet controls for Sends A, B and C for eight tracks at any one time. If you have more than eight tracks you can use the bank select buttons to move horizontally amongst them.

This means that if you have 12 tracks running and your track control dials are currently assigned to the first eight tracks, pressing the right bank select button will assign the eighth dial to the ninth track and the first dial to the second track. The Clip Matrix is updated as you press the Bank Select buttons so you won’t get confused as to which dial controls what track.

Performance Controls

Dotted around the APC are a number of miscellaneous performance controls, such as the Play, Stop and Record buttons. Their names betray their functions and they work exactly as you’d expect. They’re unforgivably obscured, however, by the crossfader, to the point where you’re tempted to remove the damn thing in its entirety and just use the channel faders instead. To a lesser extent the crossfader also affects the use of a further set of illuminated buttons that control Live’s quantization, overdub and metronome functions.

Akai could argue that the APC40 is supposed to be used whilst performing, standing up, but most users will be seated at their workstations with the rest of their studio gear, meaning that most users will find the lack of space between the crossfader and these controls problematic.

Interaction with Ableton Live

The most striking and pleasing thing about using the APC is the speed with which the APC and Ableton interact. There is no lag between tweaking a control on the APC and something happening on-screen. Similarly, as soon as you tweak something in Ableton, such as an effect parameter, the APC has changed its colour scheme accordingly.

Ableton Live APC Edition

Ableton Live is much too sophisticated and feature-rich an application to cover in a review of another product, but it’s worth covering the general ethos of Live and the tools it provides. Put simply, Ableton Live is a Digital Audio Workstation (DAW) that also features some DJ functionality.

Included in Ableton Live are a set of instruments with which you can play and create the building blocks of a song – beats, rhythms and melodies, as well as a sequencer onto which you can record your musical efforts and use them to construct a song.

You can also ‘borrow’ audio from sources other than your own talent and include them alongside your own work. It also features audio and MIDI effects and a mixer – all standard DAW material – but what Live also gives you is a novel way of sequencing a track ‘live’ by triggering individual clips or scenes (entire rows of clips) through it’s Session View. This means that you can trigger a breakbeat, let it play for 8 bars, bring in the bass for 8 bars and then launch a scene of clips to kick off the song proper. After that you can exclude or include clips and scenes as you see fit, sequencing the song as you go along. It is the Session View that you use for DJing.

The best way of getting round the concept of the Session View is to view it as a table with each column being a track and each row being a scene. Each cell within the table is known as a clip.

Tracks (the columns) come in two flavours: MIDI and Audio.

The full-fat edition of Live 8 places no limits on the number of tracks you can include in a set, but with the APC edition you’re limited to 16 – 8 audio tracks and 8 MIDI tracks, though that should be enough for most people, especially if you’re DJing with Live. The look and feel of the APC Edition of Live is exactly the same as the ‘proper’ version. If you’re familiar with Live then everything you need will be where you expect to find it.

The difference between the two editions is predominantly a case of limitations rather than omissions, such as the limited number of audio effects that can be used in a set and the limited number of VST plug-ins you can use. Examples of features that are missing include the import and export of video, the editing of drum, instrument and effects racks, as well as the transmission of MIDI data to hardware instruments.

Perhaps the most annoying limitation is the inability to import audio file types other than wav. If you only have your tune collections saved in MP3 or some other format you’ll have to convert them to wav before you try to import them into Live APC Edition.

The full list of differences can be found here. On the whole, though, the APC Edition of Live is a fantastic piece of software to be bundled with a piece of hardware as good and as affordable as the APC40.

If you already own Live you won’t need it, but if you’re new to Live you’ll find the APC Edition is a great learning platform and a cost effective springboard to the full edition via upgrades.

DJing with the APC40 and Ableton

The APC features everything you need to use Ableton purely for DJing and creating live remixes, except a soundcard. Songs are loaded into Live by dragging them on to a track, with each song occupying one clip within a track. This means that you can have a stack of songs in one track or a stack of the same song split up into loops so that you can use the APC’s Clip Matrix to launch individual sections of a track.

Once the songs have been loaded into their slots and analysed you can set their cue points or loop points within the clip view for that song. Each track can be assigned to either side of the crossfader or just routed straight through to the master output, just like your average mixer, with the curve of the crossfader being set to your individual taste through Live.

To play a song you just bash its Clip button and Live will start it at the appropriate point using quantisation. If, for some reason, it does start off-beat you can always hit the clip launch button again and it will rectify the problem.

EQs are assigned to a track as an audio effect as the Live mixer doesn’t have any integrated equalisers of its own, which is actually quite handy as this allows you to choose the exact type of EQ you desire. The EQs are therefore controlled by the Device Control section of the APC.

Effects are controlled in the same manner as the EQs. You select the effect you want from a list, give it a double-click and it appears in the detail view for the currently selected clip. Best of all, Live’s effects can be side-chained, which means that you can get some really warped audio coming out of your monitors.

Using the APC with Other Software

The APC is a MIDI controller and can therefore be tailored to work with other applications, such as Traktor.

Mapping the APC40 to your software of choice will, of course, be an idiosyncratic endeavour as everyone will have their own idea of how the APC can be put to best use. This also means it’ll take ages if you want to map all every control on the APC to every control in your software, but if you just want to configure a few controls to get you going and then configure more later you can be up and running in no time.

Of course, you lose the flashing lights of the APC when you use it with other software, but it’s still a good controller, nonetheless.

Conclusion

Should you buy one? Yes, if you want the ultimate all-in-one Ableton package. The APC40 is inexpensive for what it is and does. £379 for the APC and a fully usable edition of Ableton Live is a bargain.

There are some quality issues – notably the crossfader – and there’s no escaping the cheap feel of the hard plastic buttons, but in all honesty Akai seem to have chosen the right materials for the job. Akai could easily have shipped the APC with a non-contact, optical crossfader, but why when the APC isn’t intended for turntablists and the addition of such a thing would increase the price? That said, one way the APC could be improved on a practical level would be the inclusion of a built-in multi-channel soundcard, as on the Xone:4D, for those that may not have one.

So can an old-skooler use the APC40 without feeling pangs of guilt? If you’re into a linear, deck-to-deck style of mixing then the APC40 isn’t going to convert you to the dark art of Ableton DJing, but if you want to augment your sets with a bit of your own production or mash-up some tunes then check it out.

The APC40 combines all the tactile fun of traditional DJing with a new and exciting method of mixing music.

Ratings

Build Quality
Some of the controls feel a bit cheap but they are fit for purpose and don’t detract from what is a well built unit. Should prove reliable and long lasting.

Features and Implementation
Everything on the APC serves a purpose and is easily accessible, bar the buttons in the crossfader area.

Value for Money
£379 isn’t pocket money cheap but it is fair considering the quality of the controller and the software.

Bottom Line

If you need a realistically priced environment controller for Ableton Live, the APC40 should be top of your shopping list.

Good alternatives

Ohm 64 – The wooden, home-brew feel of the Ohm 64 lends it a unique charm that the APC could never possess.

Xone:4D – if you have the money you could get the ultimate A&H mixer/controller, but you’d be missing out on the APC’s Clip Launch matrix.

Novation Launchpad – solely for launching clips, but if that’s all you want to do it is cheaper than the APC.

Fresh from the boys at Pioneer…. More news to follow!
PIONEER IS IN THE MIX WITH LATEST DJM MIXER
Revolutionary DJM-2000 Features 5.8-inch Multi-Touch Screen, Advanced EFX and MIDI Control

LONG BEACH, CA (March 10, 2010) – Pioneer Electronics (USA) Inc. Professional Sound and Visual Division, is again front and center of the DJ scene as a technology leader with the introduction of the DJM-2000 professional mixer providing new generation digital DJs the ability to creatively produce outstanding performances at an entirely new level. A perfect companion to Pioneer’s CDJ-2000 digital media players and compatible with any player in the market, the DJM-2000 is marked to be the pinnacle of mixers with technological advances that include the industry’s first 5.8-inch multi-touch1 screen effects, Evolved Beat Effects, Pro DJ Link and MIDI controls.

“At the heart of DJing is the mixer and it’s absolutely essential to have the best product in your arsenal when you’re entertaining hundreds and even thousands of club goers. I’m confident that the DJM-2000 will be marked as the ‘go to’ audio mixer in the industry,” said Matt Dever, vice president of professional sound and visual division for Pioneer Electronics (USA) Inc.

Performance Driven
For those DJs looking for a serious mixer that can greatly enhance their performance capabilities, Pioneer’s DJM-2000 will deliver incredible audio features and audio effects.

# Mixer Layout
The DJM-2000 inherits a larger foot print than its predecessors to accommodate a sectioned layout of features as well as cosmetically match the latest Pioneer CDJ series of digital media players. On the top center section of the mixer resides its EFX capabilities to give DJs a bounty of digital effects. Located on each side of the middle section is its audio mixing controls for connection of up to four digital or USB sources. Across the middle section, Pioneer added new INST FX (Instant Instrument FX) functions which allow DJs to further alter and create more sound effects. And, at the bottom center of the mixer is a large LCD touch display that provides DJs a window for remixing beats and adding effects with the ease of a simple touch of the screen.

# Industry First Multi-Touch Panel
A first in the industry for audio mixers(*1), the DJM-2000 incorporates a full-color 5.8-inch LCD multi-touch panel for adding audio effects. Users can simultaneously manipulate the displayed controls on the panel by touching different areas of the screen. Three different performance modes are available including;

* Frequency mix – Enables more precise mixing within seven frequency ranges. For example, users can enhance the bass region within the music they’re mixing.
* Sidechain remix – DJs can create seven different dynamic audio effects with touches and movements on the screen.
* MIDI mode – Allows the user to assign various controls displayed on the LCD screen to control DJ software via MIDI. Four types of MIDI modes are available for more performance flexibility.

# Evolved Beat Effects
A section of the mixer resides an Evolved Beat Effects adopted from earlier versions of the DJM series of mixers to generate a multitude of sound effects. Numerous buttons were added for selecting multiple effects and beat parameters for additional performance capabilities. Further manipulation of the sound effects can be made using the Effect Frequency knobs that changes the low, mid and high frequency bands of the music. Turns of the knobs enhances the effects to each frequency band, i.e., an echo added specifically to the vocals of the music or a doubling of the hi-hat rhythm, providing incredible performance options.

# Instant Instrument FX
The INST FX (Instant Instrument FX) provides six additional audio effects that include Noise, HPF, LPF, Jet, Zip and Crush. Each of the effects can be induced into the channel with a turn of the Filter knob. Additionally, the Parameter knob allows the effects to be fine tuned.

# Live Sampler
A cool feature of the mixer is its Live Sampler capability which allows the sound from a microphone or from the MASTER(*2) output to be recorded directly into the mixer. The “sampled” sound can instantly be transferred via LAN cable to a CDJ-2000/900 for scratching.

# Pro DJ Link
When used specifically with Pioneer’s CDJ-2000 or CDJ-900 turntables via Pro DJ Link, the DJM-2000 becomes an even more powerful musical tool. The mixer incorporates four Ethernet ports in the back of the unit allowing up to four of the most recent CDJ turntables to be connected (via LAN cables) while sharing only one music-filled SD card(*3) or USB storage device. In addition, up to two laptop computers pre-installed with Pioneer’s music management software rekordbox™ can be interfaced with the DJM-2000 via LAN cables, in cases that two DJs are transitioning for their individual performances.

# Link Monitor
When linked with the CDJ-2000 player, the mixer informs the DJ of its connected status. The JOG rings of the turntable changes in color based on the current on-air(*4) status or channel number connection, providing quick visual indications to the DJ

# USB interface
The DJM-2000 features a USB audio interface(*5) that allows direct computer connection without the need for an external sound card. Up to four audio sources can be assigned to each channel providing even more flexibility. For additional convenience, the MASTER output can be connected directly to a computer for recording(*6) of performances.

# Sound Quality
Continuing the prestigious reputation of Pioneer mixers, the DJM-2000 provides excellent sound quality. By utilizing balanced hybrid op-amp and a perfectly balanced output circuit in the analog processing stage, Pioneer managed to significantly decrease induced noise resulting in a dynamic range of 107dB with 0.004% THD for an extremely clean and powerful sound.

Additional features of the DJM-2000 includes:
• Switching 3-Band EQ/Isolator – Equipped with a switching 3-band EQ (+6dB to -26dB) and 3-band Isolator (+6dB to -?dB) on each channel
• Digital In – Permits audio signal of each channel with no deterioration in sound quality
• Fader Start Play – Connection with CDJ player(s) with PRO DJ LINK or control cable allows the mixer to start the turntable by switching faders
• Talk Over – Lowers the volume of the music when a connected microphone is used
• Peak Level Meter – Displays input levels at a glance
• Cross fader Assign function – Allows the flexible assignment of the input on each channel to the cross fader
• Fader Curve Adjust function – Allows changes to cross fader and channel fader curves

# Specifications

No. of Channels
• Audio: 4-channels
• Mic: 1-channel

Input Terminals
• CD/LINE×6?RCA?
• PHONO×2?RCA?
• DIGITAL IN×4?COAXIAL?
• MIC × 1 (On top, XLR & 1/4-inch general-purpose phone×1)

Output Terminals
• MASTER OUT×2?RCA×1?XLR×1?
• BOOTH OUT×1?1/4 inch PHONE?
• HEADPHONE MONITOR OUT×1?On top, 1/4 inch PHONE?
• REC OUT×1?RCA?
• DIGITAL OUT×1?COAXIAL?

Other Terminals
• SEND×1?1/4 inch PHONE?
• RETURN×1?1/4 inch PHONE?
• MIDI OUT×1?5-pin DIN?
• CONTROL×2??3.5MINI JACK?
• USB-B Port × 1
• LINK Terminal × 6

Sampling Rate 96 kHz
D/A Converter 32 bit
A/D Converter 24 bit
Frequency Performance 20 Hz ?20 kHz
Total Harmonic Distortion 0.004% or less
Signal/Noise Ratio 107 dB ?LINE?
Headroom 19 dB
Power Source AC 120 V ?60 Hz ?
Power Consumption 42 W
Max External Dimensions 16.9 in (W)×16.1 in (D) ×4.3 in (H)
Weight 18.7 lb

The DJM-2000 will be available in June 2010 with a suggested retail price (MSRP) of $2,999.

Pioneer offers a complete line of professional DJ Equipment through its Professional Sound & Visual Division. Its DJM series of mixers has become an industry standard at clubs, studios, mobile rigs and homes around the world, known for its high quality sound and reliability. For more information, visit www.pioneerprodj.com.

Pioneer Electronics (USA) Inc. is headquartered in Long Beach, California, and its U.S. Web address is www.pioneerelectronics.com. Its parent company, Pioneer Corporation, established in Tokyo in 1938, is a preeminent manufacturer of high-performance audio, video and computer equipment for the home, car and business markets.

Contacts:
Jaed Arzadon, 310-952-2451 or jaed.arzadon@pioneer-usa.com
Dave Arevalo, 310-952-2745 or david.arevalo@pioneer-usa.com

*1 – Current as of March 10, 2010, according to Pioneer research.
*2 – Final sound from mixing.
*3 – SD cards are only compatible with the CDJ-2000.
*4 – Only the CDJ-2000 can indicate on-air status.
*5 – Compatible with Windows or Mac. When using Windows, three sources or more can be assigned only when using ASIO compliant software.
*6 – CD-ROM included. The USB audio interface function can be used after software is installed on the computer.

So the white sheet has been pulled back, and American Audio’s monster MIDI controlling VMS4 has been laid bare. This 4 deck beauty blends analog and digital in one slight oversized box as well as a heap of other goodies too.

The video gives the best overview in one bitesized 2 minute chunk, but most interesting is the emergence of a new version of Traktor. I’m guessing that a new 4 deck version of Traktor LE is coming, but still seems to be in the stages of delicate negotiation right now so no info is available. But the rest of this unit is out in the open, and it’s quite some piece of kit.

Tom says $499(usd) in the video, but the official web page says $699. I’m sure this mixup will be sorted soon, hopefully in the favour of the lower price tag.

Thanks again to Skratchworx.com for the news!

Thanks again to the crew at DJTECHTOOLS.COM
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Over the years we have managed to crank out a surprising number of Traktor FX tutorials, many of which teach fundamental FX tricks that can be used with any controller or software. NI recently asked me to film a few of my favorites for the release of the new X1 controller. We were happy to oblige, and all 4 FX tutorials, along with a comprehensive list of our other FX video tutorials, can be viewed after the break.

PART 1- UPGRADE YOUR BEAT MASHER

PART 2- FREEZE TRANSITION

PART 3- LOOP SYNTH

PART 4- JUGGLE SAMPLE

ADDITIONAL WATCHING

Here are a few of the other Traktor FX tutorials we have posted over the past few years:

Dynamic Build Ups

Using White Noise as an Instrument

The Original Freeze Video

Crazy Drum Fills

Full Performance Tutorial

Scratch and Pitch

Going wayyy back to a time when I look young and Traktor looks old:

Playing with Filters and Phase

Rocking Digital Doubles

Filter Basics

Full legal section disclosure thingy

As some of you may know, online writers are required to disclose if companies in their articles provided any free equipment or money to them. NI paid me (Ean) as an artist to create some cool FX videos that show off Traktor Pro and the X1. DJ Tech Tools did not get paid in any way to post them on this site – and never takes any money from manufacturers to post articles. We are not promoting or endorsing the products used in these videos, but feel the information contained within might be helpful to all of our readers. Our main interest is in creating a community of really talented DJs; the equipment that you use to get there is totally up you!

It seems the whole DJing and production world is looking for the ultimate Ableton hardware controller, and Vestax are the latest to rise to the challenge with their VCM 600 Midi controller.

Ableton is a killer piece of software that allows a DJ to add more production techniques to his sets, but it has a few major drawbacks. For example, it’s impossible to use Ableton to its full potential in a live performance due to the amount of navigating involved between clips. And when glued to a laptop, it’s easy for DJs to look like they’re just checking emails rather than orchestrating the crowd.

This is where hardware controllers come into play, but so far very few take full advantage of Ableton and the ones that do aren’t exactly intuitive for DJs moving over from vinyl or CDs to digital laptop systems.

The Vestax VCM 600 is a dedicated hardware controller for Ableton. The first thing we notice when lifting it out of the box is that it’s heavy — not in the hippy sense, but in the excess baggage charge kind of way. And it looks like the bastard offspring of a DJ mixer that’s had a one-night stand with a studio console after the Vestax labs were shut for the night.

The control surface layout is complex for someone who’s more at home with a DJ mixer, but not intimidating, and it’s really obvious where all the important bits, like the channel faders, EQs and master faders are located, so DJs will be up and mixing in no time once the Midi controller is rigged up.

Appealing
Pretty much everything about the VCM 600 will appeal to DJs using Ableton for live performance. It’s a Midi controller with no in-built soundcard so an audio interface is required, but think of it as six-channel mixer with the ability to control more channels via the bank switches.

Each channel has a three-band EQ with kill switches, two sends, a mute, a cue (sort of) and some extra bits for controlling Ableton. The additional controls on each channel start and stop clips, swap between the channel views in Live and also provide resonance and frequency control. It’s important to keep in mind that these controls are only the defaults supplied by Vestax but can be mapped to pretty much anything easily and quickly in Ableton using the Midi learn feature. And the VCM can be used with any other Midi enabled software such as Cubase, a VJ system or even a lighting rig.

Lots of buttons and knobs have been set aside for filters or anything else the warped mind of a DJ might wish to control, while the nearby loop controls are a great size and nicely spaced.

The faders and pots have a good quality feel, while the crossfader is of the light-as-a-feather variety, which can be a bit of a nightmare because it’s easy to accidentally brush it in the wrong direction. A curve adjustment for the crossfader can be set-up however needed.

An interesting quirk is that the VCM 600 is lacking a designated cue button. The solo button, however, doubles as a cue, just like in Ableton, and it’s been placed in a slightly awkward spot, right below the mute button, so there is the potential for mis-triggering while in the heat of the moment.

Amongst the VCM 600’s best features are the tempo control slider and nudging buttons. The tempo control slider is basically the same as a pitch control on decks or CD players and the nudge buttons behave exactly like the nudge feature on CD mixers, making mixing into and out of vinyl and CDs nice and easy, complemented further by a fine tune knob to get your beat mixing tight as you like.

Choosing between clips — what Ableton calls tracks or audio loops — is taken care of quite neatly using a knob located below the pitch fader and the play buttons on each channel. This means less time spent hunched over a laptop and more time with hands in the air or where they need to be — on the control surface and wowing the crowd.

Installation
Ableton Live users not using the new version 8 or the latest version of 7 will find the install process a bit fiddly. A whole heap of manual midi mapping and assignment of buttons and faders on the VCM to the corresponding buttons on Live is required before you can start mashing up those beats. But with newer versions of Ableton Live installation is easy, as all of the controls are mapped to the VCM 600 automatically. And it even comes with a simplified version of Live 7 for instantaneous start-up.

Overall, the VCM 600 is pretty damn cool and offers lots of control and performance enhancing features and that’s what makes a set more fun both for the DJ and the party animals on the dancefloor. For instance, the EQ kill switches are cool as fuck and light up when in full kill position — great for those fancy bass blasting EQ tricks that rock the discotheques.
Powered by USB direct from your laptop, the unit is fantastic for ‘on the road’ applications or for showing off on the plane on the way to the gig, but it is a little bit heavier than the average laptop and there’s no way it will fit into any laptop or record bag.

Its all-metal construction is solid and the build quality is so sturdy it feels like it could take a full-on battering, and keep on going. The faders and knobs are mix-friendly and the layout is clean, user-friendly and for the most part intuitive despite a huge number of controls.

In a nutshell, the VMC 600 is a cracking piece of kit, which is in a league of its own at the moment. There’s no other product on the market in its price range that has the same number of features and similarly satisfies the needs of the Ableton DJ.

Currently Available through Lightsounds.com

Hiroshi Watanabe (aka Kompakt producer Kaito) isn’t a name that springs to mind when thinking of DJ pioneers, but Watanabe San has been making a big noise in Japan and has been pushing the boundaries of DJing in the most tech-obsessed city in the world, Tokyo. It’s no big surprise, then, that Vestax turned to him when it came to designing their new TR-1 Traktor Controller.

The TR-1 is their latest piece of shiny new DJ equipment, a controller designed with one thing in mind — controlling Native Instruments’ DJing software Traktor.

The design philosophy behind the new hardware DJ controller is emulating the feel and fine controls DJs are used to having at their finger tips. Working with someone who actually stands in a dark DJ box night after night, like Watanabe, makes a lot of sense. Most products are designed in brightly-lit labs and meeting rooms, so it is little surprise to see so many that ALMOST work brilliantly in a club environment.

The TR-1 is a four-channel controller that allows access to pretty much all of the features in Traktor without needing to reach for the mouse. Smooth long throw 60mm faders and nice feeling pots all make for a great time while DJing, even if the TR-1 is missing a cross-fader. The knobs used on the TR-1 are great, the grip is excellent and they are spaced well, so there is no chance of accidentally moving the knob next-door, while tweaking knobs madly in the middle of a set. Another simple, but effective feature, is that every time a knob or slider is adjusted, a little data light flashes in the top right hand corner of the unit — an important visual aid.

The TR-1’s control panel is laid out like a two-channel mixer, with effects and various other controls to the side. Each channel has the same set of controls. Four-channel control is via switches at the top of each channel, which select the current channel being controlled; this is a clever way of squeezing extra channels into the same sized box, and makes a lot of sense for a unit that is designed to be portable.

This should make moving over from traditional DJing formats like vinyl and CD even easier.

Each channel has a fader for volume and pots to control EQ (Low, Mid and Hi), a Pan pot and a filter control. At the top of the fader, we find a cue button for each channel sitting either side of a four-way switch (sort of like a joystick), which is used to browse and load tracks.

To the left and right of the faders, in a mirror image arrangement of the Traktor screen on the computer, are buttons to control features such as Loop, Key, Sync, Cue Forward and Back, and set Cue Point. Also located in this area is a large button which toggles play and pause as well as buttons for FX 1 and 2.

The Move Control Section allows precise manipulation over the four channels’ loop parameters. A simple button selects between channel A, B, C or D, while another button, Value, then lets the length of the loop be tailored to suit, from 1/32 of a beat to eight bars. Once again, the emphasis is on ease of use. The Mode button allows the loop start and end points to be adjusted, and in conjunction with the Move button, the loop can then be placed around the track.

The FX section is also a relative joy to use. Four knobs and four buttons activate the desired effect, which can be turned on or off at the push of the corresponding button. How much effect is added is determined by how far left or right the knob is turned — simple.

The influence of Hiroshi Watanabe can be seen in features like the lovely long Tempo faders and the placement of the Bend buttons at the bottom (just where you want them). At the top of the fader is a knob to control the key of that channel.

The master section is also designed well. A knob rather than a fader takes care of the master level, which saves space and avoids potentially knocking a fader while your fingers are darting around. Next to the master level are the monitor mix and the monitor level knobs.

The TR-1 is sturdy and well built, as well as being small enough to fit into a laptop bag. The control surface is well spaced, and packs a lot of control into a small space without feeling cluttered. All in all, the TR-1 gives control of 160 parameters and the shift button allows customisation of controls in a very neat way.

There are a few things missing from the TR-1 like a cross-fader, the ability to switch master tracks manually, and no built-in soundcard. But this is a great product. The TR-1 offers control of a computer-based programme, whilst putting performance back into the hands of the DJ. By mimicking everything that would normally be done on screen and with a mouse makes for a fast, easy, hands-on way to control your tracks and sets. The art of the digital DJ has evolved and the time is definitely now.

This unit is currently available exclusivly through Lightsounds in Australia.

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After a short period of sort-of-but-not-really teasing their new and immensely long awaited MIDI controller, Native Instruments are happy to officially announce the Traktor Kontrol X1. Geared very specifically at Traktor users, this also doubles as a regular MIDI controller for other applications too. Indeed, it comes with Scratch Live compatibility out of the box. Imagine that.

UPDATE: UK Price £179 and £35 for the bag/stand.

One of my real problems with MIDI is the plug and hope architecture. We live in an age where things should just work rather than be told what to do. So getting something like the Kontrol X1 that shouldn’t need any bullying to get to play nice with my software is a real draw. One day, I’ll do a proper write up of my own auto mapping idea too – it’s a corker.

Anyways, full info follows:

Native Instruments Announces TRAKTOR KONTROL X1

Compact professional two-deck DJ controller gives intuitive control
over essential functions of TRAKTOR and Serato Scratch Live™

Berlin, November 3rd, 2009 – Native Instruments today announced TRAKTOR KONTROL X1, a highly functional performance controller that gives DJs immediate hands-on control over vital aspects of their performance. Designed by the team behind the groundbreaking TRAKTOR DJ platform, the compact KONTROL X1 offers an unprecedented level of integration with the latest TRAKTOR generation for maximum performance and ease-of-use, and can also efficiently control any MIDI-compatible DJ software on the market.

TRAKTOR KONTROL X1 provides DJs of all styles and genres with a highly efficient and intuitive way to control loop, cue, effect, track selection and transport functions of their system. The unit accommodates the two most common digital DJing paradigms – it ideally complements a typical timecode-controlled TRAKTOR SCRATCH setup consisting of a hardware mixer, turntables or CD decks, and also excels as a selfcontained controller for DJs who play beat-gridded tracks with the
TRAKTOR software and mix externally. Two X1 units can also easily be combined into a four-deck setup that controls all decks and effect units of TRAKTOR PRO or TRAKTOR SCRATCH PRO simultaneously.

The functionality and layout of TRAKTOR KONTROL X1 was carefully engineered and fine-tuned based on extensive artist feedback and usability testing in order to combine a versatile feature set with maximum ease of use. The unit is equipped with precise and durable high-quality buttons, knobs and encoders, complemented by dynamic colored backlighting for additional visual feedback. The X1 integrates with the TRAKTOR software through a dedicated high-resolution protocol, resulting in a level of precision and responsiveness beyond what regular MIDI-based controllers can provide, and allowing for true plug-and-play operation with no setup or specific configuration required.

TRAKTOR KONTROL X1 has been specifically designed for heavy-duty usage in performance environments. Its compact casing is both robust and lightweight for high portability, and the special vertical form factor makes the unit fit seamlessly within a typical club setup. The optional high-quality carrying bag for the X1 doubles as a versatile stand that conveniently raises the controller surface to match the height of typical DJ mixers.

Beyond TRAKTOR, the KONTROL X1 can be used to efficiently control any MIDI-compatible DVS, DJ software or music performance application. The optional MIDI mode of the controller can be engaged on the fly via a dedicated button on the unit. The X1 also comes with a carefully designed set of parameter assignments for the Serato Scratch Live™ system, matching the relevant features of the software to the controller in an ideal way without any individual setup effort. A special Serato Scratch Live™ overlay for the X1 is also available.

TRAKTOR KONTROL X1 also ships with TRAKTOR LE, a basic version of the TRAKTOR PRO software that provides two decks with essential looping, effects and mixing features, turning X1 into a complete entry level solution for digital DJing. Owners of TRAKTOR LE can upgrade to the full-featured TRAKTOR PRO software for a special discounted price at any time.

Pricing and availability

TRAKTOR KONTROL X1 will be available in February 2010 for a suggested price of $229 / 199 €. The carrying bag / stand for TRAKTOR KONTROL X1 will be available for $49 / 39 €.

Further product information and press material

Additional information on TRAKTOR KONTROL X1 is available at www.native-instruments.com/traktorkontrolx1.info

And all being well, I’ll get to fondle one for a short time on Thrsday and will return with pics and maybe even video. And you just know I’ll take some killer studio shots of this too in due course. Flashy blinky lights make me grab my camera…

THANKS AGAIN TO SKRATCHWORX.COM FOR THE WRITE – UP.

Ill Ill Ill Video…

Having got through the BPM coverage, it’s now time to get back to the business of news and reviews again. Teasing me badly are the new Pioneer CDJs and the putting together of the preview feature. I was going to do it all in one lump, but I figure it’s easier to trickle the material out as you’re probably somewhat hungry to hear my thoughts on this new shiny stuff. First up is Slip Mode, something that had me scratching my head as to what exactly it was. Watch the video and then you’ll know.

Essentially, it allows the current track to keep playing underneath while you pause, scratch or spinback on the platter. When you release, the track picks up exactly where it should as if it had kept on playing. It’s quite simple, but instantly understood when you try it for yourself.

It’s certainly a new feature to me, and one that will allow users to come up with some new creative ways to rock a crowd. Imagine the fun that could be had spinning doubles of the same track – perhaps offbeat as well to create new ideas for old sets. Of course, it’s also open to abuse in that a DJ could sequence a string of tracks on a USB key – all slam mixed together and only needing a spinback at the right point to appear like they’ve been mixed. I doubt however that a DJ who is in the market for such aspirational products like these is that type of DJ anyway.

This is the puzzling thing about the feature – why isn’t it on the 2000? This is one reason why I made the previous statement about which unit to get isn’t as straight forward as you might think. I’ve just filmed some scratching, juggling and drumming and will edit that into a 2 minute clip later this week. All you need to know for now is that the difference in feel between the 900 and 2000 is minimal, and that just like the older CDJs, both are extremely capable scratchers.

I’ve currently got the decks LAN’d up via an older wireless router and talking to each other happily. The next thing to get my head round is cueing and looping and how the units differ, which I feel will be another key feature that will make a decision one way or another for potential buyers.

Taken From Skratchworx.com

Many years ago, in a time before email, intranet and even wordprocessors, business survived on inter-office memos. In my employers case, memo pads were issued, and one particular guy took great delight in utilising these triplicate copy pads to the max. It came to a head one day when he actually sent a memo about a memo he was going to send next week. Needless to say, the scorn I heaped upon him did at the very least stop the ridiculous amount of pointless paper spewing from his tiny office. And I was immediately reminded of this when Serato yesterday posted an announcement… errr about an announcement they are going to make in January.

Here’s what they say, or don’t as the case may be.

ABLETON AND SERATO
At the BPM show in 2008, Ableton and Serato announced a creative partnership. One year later, we’re hard at work to make our products play nice together, and we’re gearing up for a big unveiling on January 14, 2010, at the winter NAMM show in Aneheim, California. Keep your eyes peeled on www.serato.com and www.ableton.com for more news.

We’re not letting the cat out of the bag just yet, other than to say if you own Ableton Live, and any of the DJ products that use Serato software, get ready to unleash your creativity in 2010!

So while I often refer to the announcement as alleged and mythical and generally mock Serato for the somewhat pre-emptive money shot, I know it’s very real and will probably be everything you want it to be. Exactly what it is will have to wait until January 2010.

Taken From Skratchworx.com