OxyKon

oi, i have a question, what are we gonna do about decks? i doubt that hobberz is gonna let us use his in the HQ

http://www.stayz.com.au/accommodation/qld/cairns-barrier-reef/palm-cove/64494

put myself down as going, should be able to work out some money things before the event

Only 3 months to go guys, we should start planning soon

Nah nevermind i was in the wrong page look at the wrong post, still getting used to viewing on a mobile rather than use tapatalk

The layout on the 2nd page doesn't look right on mobiles

The layout on mobiles is pretty dope

What's this?! it's a midi fighter twister, the dj tech tools version of a machine, a drum sequencer, i've been wanting to get one for ages Is it just twisty knobs? And push knobs, it's like the midi fighter 3D but a drum sequencer so you can make music live

What's this?! it's a midi fighter twister, the dj tech tools version of a machine, a drum sequencer, i've been wanting to get one for ages

treated myself to an early christmas present

In today’s digital age where even CDJs have a sync button, it’s becoming harder for veterans to explain to younger DJs the benefits of learning to beatmatch manually (by ear). While I do believe that, for better or for worse, beatmatching continues to quickly lose relevance in the DJ realm, that doesn’t mean that I suggest writing it off. It’s no wonder that a lot of traditional DJs get their panties in a bunch about this subject, because it’s a skill they took weeks, months, or even years to master… and now “any Joe Schmoe” can press a button and have a computer do the hard work for them. Because of this, newer DJs often miss a lot of the subtle details and observations along the way. In this post, we’ll go over some reasons why new DJs might still be interested in learning this skill. I’ll also go over some tips on how to learn, if you don’t already know. What you won’t find is a lengthy diatribe on how it’s your duty, that’s what real DJs do, and how the sync button is ruining DJing. Practical Uses 1. You can play on anything. Knowing how to beatmatch manually gives you options. Someone throwing a vinyl-only gig? Show up at a gig where there’s no room for your controller (but they provide a pair of standard CDJs)? Impromptu party at a friend’s house and want to use their gear? What if your controller breaks or your laptop goes “tango uniform” the day of your set? If you know how to mix the good ol’ fashioned way, none of these will be a problem to you. 2. It helps you learn about rhythm. Beatmatching manually causes you to rely on your ear. You are forced to truly listen to what it is that you’re doing, rather than allowing technology to fill the gaps. Your ear begins to zero in on auditory cues, such as a distinct snare or hi-hat. You start to notice how the percussion is structured… the syncopation and groove of the rhythm. This, in turn, helps aid you with things like switching up genres and subtle mixing. 3. BPM counters and software are good, but not perfect. I’m one of those DJs that doesn’t beat-grid his tracks when playing digitally. The only kind of prep work I do has to do with library management, and occasionally, a cue point or two. This affords me the opportunity to be “lazy” in that when I buy 20 tracks, it takes me 5-10 minutes to “prep” them rather than making an evening out of it. 4. It allows you to mix to, from, or with other DJs. If you are reliant on one particular setup and the ability to sync your tracks, you might as well throw out the idea of an impromptu tag-team set with a fellow DJ. While it’s true that there are ways to electronically sync multiple DJ setups, it adds unnecessary complication, doesn’t always work, and doesn’t allow for you to play alongside a vinyl DJ. It’s much easier (and more fun) to be able to just mix back and forth and not worry about what media formats are being used. 5. You can mix songs with tempo variations without having to modify the source track or use something like Ableton to warp it. Not just songs that have an intentional BPM change, but also songs that aren’t perfectly quantized (such as mixing funk records with live drummers). The More Subjective Points I separate these more obscure ideas from the practical uses above, because they do not help you do anything technical and might not matter to every DJ. But, they are points worth mentioning all the same. It’s up to you to decide which of these resonate with you. 1. It helps you know your roots. You might also call this “putting in your time”. Beatmatching is one of the foundational pillars of DJing, and it doesn’t hurt to learn your craft from the bottom up. Learning to do it the original way really allows you to appreciate DJing as a culture and to understand where this whole thing comes from. (Learning to walk before you run, learning to add and subtract before using a calculator… etc.) 2. It earns you respect amongst your peers. Let’s face it… whether or not it matters to you, there’s an instant level of respect (especially amongst other DJs) when you can prove that you’re not entirely reliant on technology to do your mixing for you. 3. For many, it’s more fun. There’s something sexy about spinning wax, and having to really put your focus on what you’re doing. Many people like digging through crates and pulling out that next killer tune, and many people enjoy watching it. You get a certain tactile and intimate feel that you don’t get as much with software DJing. Some people enjoy flipping through a CD book and get a similar sense of satisfaction by playing this way. Sync buttons can lead to boredom. 4. It can be more rewarding. When you play a set of 20 songs on a Traktor rig with the sync button engaged, you’re not pleasantly surprised when the tracks… well, all stay in sync. There’s a sense of accomplishment and reward to be had by actually doing the work yourself. 5. It helps maintain a human element. Somewhat like comparing a live drummer to a drum machine, there’s something more “human” about manual beatmatching (not in just the feel, but in the output). Manual beatmatching is one way to help give your sets a live feel… to let your audience know that you are more than a large iPod. Tips For Learning Beatmatching is the one “big” DJ technical skill that usually takes the most time for people to learn. It’s going to be frustrating… it takes perseverance. But it’s worth making the investment. Try it a little each day and you’ll be surprised how quickly you can pick it up. You don’t have to have a pair of turntables to learn how to beatmatch (though, they are the most challenging). You can beatmatch manually using just about any all-in-one DJ controller by simply turning off your software’s “sync” function and turning your screen away, or on your CDJs by hiding any displays and BPM counters with a piece of tape. When matching two tracks, it helps to push the cued track’s tempo (pitch fader) up significantly faster than the track that’s already playing. That way, there’s no question of which track is playing faster than the other (and which way you need to adjust the tempo)… you can pretty much guarantee that the “incoming” track is faster and you need to start slowing it down to compensate. Source

https://soundcloud.com/ausdjforums/saturday-sessions-vol-63 Hey guys, here is my latest set, i originally DJ'd this at a party 2 weeks ago on a Saturday night, finally had some time to re-record it last night, 36 tracks in just over 1hr, hope y'all enjoy Track list: Blood Sugar - Pendulum Twerk (feat. Yo Majesty) [sub Focus Remix] - Basement Jaxx Rage - J Majik, Wickaman Time To Pretend (High Contrast Remix) - MGMT The Plan That Cannot Fail (Logistics Remix) - London Elektricity Everything Is Illuminated - Logistics Iron Heart - Netsky All I Need - Colourz Dream Come True - SKC Just A Thought Feat. Reija Lee - Grafix, Fred V LoveLine Ft Haz-Mat - Brookes Brothers, Haz-Mat High Technology - Davip, Encode Painkiller - Freestylers, Pendulum, SirReal Painkiller (Noisia Remix) - Freestylers, Pendulum, SirReal Voodoo People (Pendulum Remix) - The Prodigy N-Sphere - Allied Right Here feat. Foxes (Andy C Remix) - Rudimental, Foxes Night Vision - Technimatic Slingshot - Gridlok and Prolix Childhood Memories (Metrik Remix) - Rockwell, Sam Frank, Kito Stand Up - Dynamite MC, Friction, Camo & Krooked The Law - Tantrum Desire Soundboy - Hamilton Without You - Camo & Krooked Space Invasion - J Majik, Wickaman Galaxy (Future Engineers Re-Set) - Electrosoul System Relapse (Tantrum Desire Remix) - Shockone California Love (High Contrast Remix) - Dr Dre Caesium - ASC Deception - Noisia Hot Glue - Mefjus, Neonlight Push It Up (TC Remix) - Clipz The Cove - Crimsonik Elevate - Dexcell Lassitude (Sigma VIP) - DJ Fresh, Sigma Sooner Or Later (Dose Remix) - Fourward

I was abe to find one with english subs pretty easily, it's deff worth watching this doco, i'm prob gonna watch it again this weekend cause it's that awesome

On a recent live stream on his Twitch channel Deadmau5 explained some of his thoughts that lead to the Twitter beef with Skrillex over Halloween weekend. The video started as a review of the film The Zero Theorem, but a fan comment sparked the discussion of Justin Bieber and Skrillex. As always, Joel pulls no punches, laying into Bieber and the whole world of pop music. We transcribed some of the most relevant pieces of his rant below, but check out the full video yourself. Let us know what you think in the comments. Transcript from the video is below: Source

As we head into the last month of 2015, we thought it would be interesting to take a look at a few of the best innovations on DJ gear in the last few years – and why they should become ubiquitous. From built-in USB hubs to highly playable cue buttons, we hope to see a more widespread adoption of these features on DJ equipment in 2016 and beyond. Dual Headphone Outputs What’s the most commonly lost item for DJs everywhere? It’s got to be those pesky 1/8″ to 1/4″ headphone adapters – from leaving them behind in mixers to dropping them into the depths of your gear bag, they’re incredibly easy to lose. A lot of newer DJ gear (like the above pictured Pioneer DJM-S9 mixer – watch our review here) has finally started to reflect the hard truth that the headphone industry isn’t going back to 1/4″ jack plugs anytime soon. We’ll still need adapters for older mixers and controllers, but the pure convenience of having both ports on new gear is something that every DJ can be happy about. Built-In USB Hubs We constantly get emails asking us what the best USB hub for DJ gear is. The truth is that the best USB hub is one that you don’t have to remember to bring with you! Native Instruments has lead the charge in this territory, with integrated USB hubs on the Kontrol Z2 mixer and more recently the Kontrol D2 – both of which make since as NI wants to support DJs being able to easily plug in their accessory/modular hardware. As we start to see Rekordbox DJ develop, maybe we’ll see integrated USB hubs on Pioneer gear as well? Dual Soundcards Rane was the first company to put two soundcards in a DJ product five years ago with the Rane Sixty Eight. While that mixer didn’t receive very widespread adoption, putting two soundcards on gear that is likely to be shared by multiple DJs either in a collaborative B2B setup or just simply when handing over control of a setup to the next DJ. Rane has continued to put dual soundcards on most of their high-end mixers, and it seems that Pioneer standard on their high-end products, as it is present on the DDJ-SZ controller and new DJM-S9 mixer. Built-in Mix Recorders (via USB) Anyone who has had a chance to play around with the Pioneer all-in-one XDJ-RX rig has likely noticed one of the most convenient features is the ability to plug in a second USB stick and send the Record Out output directly into a WAV file on the drive. This is a pretty obvious move for an all-in-one unit, but what if we started seeing it on digital mixers and controllers as well? Many DJs have a hard time remembering to bring their audio recorders and set them up properly (clear space on your SD card, the levels sound good, plenty of battery left), so why not cut out the recorder entirely and let DJs just hit a single button on the mixer? Highly-Playable Cue Buttons This was actually one of the needs that lead to the Special Edition modification of the Vextax VCI-100 way back in the beginning of DJ Techtools. In a nutshell, the plastic buttons on the VCI-100 were far too difficult to use with any predictable response because of their stiffness – so Ean drilled out holes and replaced the buttons with arcade buttons to make them fun and playable. We’ve seen a widespread adoption of pads on DJ controllers – but not all of them are as playable as arcade button controllers, or Maschine and Akai pads. Wouldn’t it be great to have a cue button on every piece of DJ gear that feels great and is easy to play along with the beat to? Maybe we should start replacing the cue button on CDJs with arcade buttons! Universal MIDI Sync Live performers and DJs who use multiple pieces of MIDI-syned hardware or software deserve a reliable way to ensure their equipment stays synchronized. There’s a number of ways to do it now – but wouldn’t it be nice to just have a simple and reliable synchronization across devices and platforms? Right now it looks like Ableton hopes to solve this problem for many performers with their new Link platform (now in Beta) – it would be amazing to see something like this become industry standard for synchronization. Soucre

On December 10th the famed London nightclub successfully appealed the council's proposed licensing conditions, which included sniffer dogs at the door and ID scans for all customers. Now, the club has made a brief statement: "We feel that this statement reflects the opinions of many businesses operating within the night time industry in regards to these conditions. Everyone at fabric is delighted with the outcome and are very much looking forward to resuming our positive, long standing and solid relationships with both Islington Council's licensing department and the borough's police to ensure a safe and welcoming environment for our club goers and local residents." The club also pointed to a statement made by fabric's lawyers, Woods Whur, who revealed that the case took a year of planning. They say that District Judge Allison, who oversaw the case, ruled that "the use of a drugs dog could undermine the licensing objectives in a number of unintended ways, including causing drugs to remain in circulation that would otherwise have been confiscated under fabric's thorough search procedures." The judge also dismissed the ID scan option pushed by the council. According to Woods Whur, Judge Allison said that "there was no evidence that the premises had issues with underage entry/sales; that to deploy it at fabric would adversely affect the length of the queue, with possible public order consequences; and that it would create problems for the significant number of non-UK customers who would not necessarily carry photo ID." Source

Streaming giant Spotify has maintained a solid lead over competition partially through its ‘freemium’ tier- users who pay nothing can still use the service with occasional audio advertisements, while paid premium-tier subscribers enjoy an ad-free experience. In an abrupt change of announced policy announced in The Wall Street Journal, however, not all music will be available to the freemium tier in the future. The reevaluation was sparked by recent actions of two of the most commercially influential artists this decade- Taylor Swift and Adele. In 2015, Swift made headlines by yanking her catalogue from Spotify, explaining her rationale in an editorial. Music should not be available for free, declared Swift, and Spotify’s freemium tier has cheapened the value that society puts on music. The symbolic move jumpstarted conversations, but didn’t result in much tangible change. The impetus to evolve came with the release of Adele’s smash-hit 25 less than a month ago, which the R&B songstress embargoed from streaming services and in doing so sold 3.5 million copies in its first week, breaking a 15-year record. The staggering numbers give some strong physical evidence that streaming services hurt album sales. Spotify revealed in private talks that in the future, some artists will be permitted to release albums to premium users only, while others will temporarily withhold their music from the freemium tier. Artists and record labels are no doubt ecstatic – in addition to increased royalty payments, the industry giant’s change may prompt a domino-effect to its smaller competitors. Spotify currently has 20 million subscribers who pay about $10 monthly, and 80 million freemium users. Those numbers may very well shift when the service implements changes, but there are some potential unintended consequences as well — Spotify may find itself in a different kind of trouble if it offers some artists special treatment over others. Source

Was able to get a copy of this doco, is definitely worth watching, you can be a die hard fan of the duo but still know next to nothing about how they made their names known in the house scene. I give it a 10/10

downloaded and plan on playing at a party i'm DJ'n tonight

2015 has been a barren year for Daft Punk disciples, with the duo presumably off polishing their Grammys and enjoying life. (They could be secreted away in desert bunker rehearsing a surprise live tour though, right?) Last night, December 10, 2015, fans who hastily signed up for a Showtime 30-day free trial got to enjoy the US premiere of the Daft Punk Unchained documentary. As the only encounter we’re likely to have with the robots in the near future, the English-subtitled version of the movie has been keenly anticipated. The good news: its 88-minute running time is stacked with standout moments. Don’t come expecting the kind of artsy surrealism of the duo’s own film Electroma, though—Daft Punk Unchained is a straightforward outing from director Hervé Martin-Delpierre. The doc tracks a chronological path from the early days of Guy-Manuel de Homem-Christo and Thomas Bangalter through to their Grammys haul in 2014, with recurring talking heads from friends, collaborators, and journalists. Within that conventional structure, there are still surprising turns and maybe even some new revelations for diehard followers. Here are five things Daft Punk Unchained does right. There’s incredible rave footage from the Daft Punk vault. You can trawl YouTube for grainy uploads of early Daft Punk shows, but the doc adds valuable context. The story begins with video of Thomas and Guy-Man as teenagers in the band Darlin’, playing to a largely lifeless crowd. Once the guys discover dance music and start playing out, the early 90s footage is a real trip. We see acid house dancefloors, a fresh-faced Daft Punk tweaking hardware onstage, and bug-eyed ravers moving with the strobes. Over footage of Bangalter at the Wisconsin festival Even Furthur (sic) in 1996, Todd Edwards describes how the DJ improvised a bassline with a mixer plug. If you loved the duo in their gritty, unmasked youth, the first 20 minutes of Daft Punk Unchained are a gold mine. The best talking heads weren’t in the trailer. Daft Punk Unchained enlists a roll-call of big names to wax lyrical about the robots. You saw a few of them in the trailer, including Random Access Memories collaborators Pharrell Williams, Giorgio Moroder, and Nile Rodgers. Then there’s Kanye West at the Louis Vuitton Foundation show earnestly reflecting on what it means to be a punk. However, the standout moments come from more peripheral players. Whether it’s genius filmmaker Michel Gondry painting while he talks or Stuart McMillan of Slam remembering the raw power of the first Daft Punk tape, there’s real insight on the sidelines. Then there’s friend Serge Nicolas recalling the duo’s attitude to heightened states in the 90s: “I remember Thomas saying he did not like [drugs], because using ecstasy made you lose your critical faculties. And that was it. He hates nothing more than losing control.” We weren’t going to get that soundbite from Kanye. We get robot revelations. If you’re the kind of fan who considers making a Daft Punk helmet for Halloween each year, there’s a lot here to fuel your obsession. Thanks to the lucid recollections of former manager Pedro Winter (aka Busy P), we hear how Thomas and Guy-Man were captivated by the Millennium Bug hysteria in 1999. On January 1, 2000, they were reborn as robots after a “studio accident.” Robot fanatics will savor the trip to the warehouse of special effects guru Tony Gardner, who helped create the iconic headgear. The complexity of their creation is a long way from the makeshift motorbike helmets the guys wore in Michel Gondry’s “Around The World” video. There’s plenty of pyramid. The game-changing arrival of Daft Punk’s pyramid live show—coming soon after the lukewarm reaction to Human After All—is discussed from all angles by a succession of talking heads. Dance music journalist (and Beatport News contributor) Michaelangelo Matos gives a dramatic account of that mythical first show at Coachella 2006, while Busy P admits how little he knew about the duo’s grand plans. Perhaps the most telling story, though, comes from Skrillex, who had his mind blown by the Daft Punk concert at the LA Sports Arena in 2007. Hearing Daft Punk play live “mashups” of their biggest hits was as impressive to him as the production. The influence of that show on America’s EDM explosion can’t be underestimated. It’s not all about the greatest hits. Daft Punk Unchained gives almost equal attention to each of the duo’s albums, culminating with the highly secretive, highly expensive creation of Random Access Memories. However, director Hervé Martin-Delpierre also makes sure to touch on Daft Punk’s other projects. In one of the doc’s highlights, we hear from Japanese anime and manga icon Leiji Matsumoto, who collaborated with the duo on the animated film Interstella 5555: The 5tory of the 5ecret 5tar 5ystem. There are also diversions into the TRON: Legacy soundtrack, which paired Daft Punk with an orchestra, the inspiration of the 1974 film Phantom of the Paradise on their work, and the creation of Electroma. These vignettes might be too fleeting for the Daft Punk purist, but it’s good they’re in there. While 88 minutes could never capture the full story of dance music’s most discussed act, Daft Punk Unchained does a valiant job. Now guys, it’s time to come out of that bunker. Source

I know 10 Pretty obvious what genre they're catering to

Lol thanks m8, my address has since changed so hit me up in chat or pm with the details

Yeah but you know how much this place means to me aswell, I'll be back into things within the coming weeks as my other priorities have been getting easier, im down to help this place get going again

Trap is its own genre all together, that will be a month soon enough