lloydc

sounds like a routing issue (if it's not the fader assigns)

all i think he wanted to do was have a 6M piggy back IEC cable and also cable tie an XLR cable to it, so essentially he'd be running one cable. am I fluent in the language of sol dios? or am I missing the point?

like a double adapter, but built into the plug

I own one of these cables that you are after sol... sorry I can't help you though, I flogged it from my old job

wait, kettle cord = iec plug?

good work mitch

awesome stuff... how come you're doing this for free?

yeah since you have traktor, buy the X1!! I can't recommend it highly enough. No mapping required, just plug the thing in and you're ready to rock and roll

what street said, I want some more too

At the request of one of our members, I am posting this to give you guys who are new to this kind of thing and don't understand what is meant by the term 'phrasing'. -taken from djtechtools.com Phrasing the perfect Mix One of your main challenges as you mix music is figuring out how to take two totally different songs and make them sound as if they were designed to fit together. Maintaining the musical pace and feel in a mix is a very important facet of DJing that everyone, beginners to advanced, need to understand. All forms of music have an ingrained pattern of rhythm, tension and release that the dancers naturally follow and expect to hear. When those patterns are broken in a mix, it can seriously throw off the groove. Using those patterns to your advantage, however, will keep the dancefloor rocking early into the morning. 8-16-32 Most Western music is built using phrases of 8, 16 and 32 counts, which I am going to refer to as the “rhythmic structure.” The brain naturally expects these patterns, so as a rule you need to always keep each song’s rhythmic structures in sync with each other. The rule can be broken for creative effect, but it’s important to learn the rules of the road before you start breaking them. To match up rhythmic structure, you need to identify the individual characteristics of each song you are working with. That’s the easy part because every song contains audible clues that basically yell, “Hey, everyone, this is a new part!” These clues might include a new instrument that starts playing, a big crash, a drum fill or even just a significant change in the drum patterns. Electronic music loves to steadily add and subtract different parts every 32 counts, making it easy to recognize and work with those changes. The general rule of thumb is to always start the new song at the beginning of a phrase in the outgoing track. Usually, that’s a fairly simple affair; it’s just a matter of training your ears to recognize the changes and patiently wait until the right time to start your mix. Most songs faithfully follow the 32-count rule, so as long as you get both songs’ 32-count rhythmic phrases in sync, then the tracks’ production takes over to help make the mix work for you. Occasionally, however, songs may make use of shorter phrasings, especially in hip-hop and pop songs, where an 8- or 16-count intro is more common. In those cases, you will need to time when you start the song so that the songs’ parts line up, or you can use loops to extend the intro and give you a longer mix. As an example, we’ll look at a typical hip-hop/pop scenario. THE POP PHENOMENA Almost every pop song has a short nonlyrical intro, a verse and then a chorus. Generally speaking, you always want to mix “out of the chorus” so that the audience gets the big musical payoff and then you are into a new song afterward. Because the intro is usually the only part of the songs without lyrics, you are basically stuck mixing intros over the chorus all night. Most intros are 16 counts long, while the typical chorus will last for 32 or 64 counts, so you can’t start an intro right at the beginning of the chorus. If you did that, your verses and chorus will start slashing with multiple people singing and/or rapping at the same time. It’s essential to time it so that the first verse of your new song starts right as the old chorus ends. Timing it that way will make such a “quick mix” feel completely natural and will seamlessly blend together the musical structures of each song. Your alternative is to use cue points and loops to extend an intro over the top of a chorus and then effortlessly drop into the new song at the right time. I am going to call that rule “respect the chorus” so it reminds you to always pay attention to how you’re mixing in relation to the chorus of a song. This rule applies just as much to electronic music as it does to pop songs. Most good underground tracks give you a sense of having a chorus or a peak moment of a track; that’s what makes them good “songs” and not just random collections of notes and beats. It goes without saying that you would not want to cut off any tune before that big payoff, so even in the most minimal of tracks always respect the chorus. That does not mean to mix only during the intros or outros of a track either because that leads to a dip in the energy and a really boring mix. When mixing vocal music in the way I’ve discussed, the new track’s verse takes over for the old track’s chorus and carries the listener into the new song seamlessly. In the same way, you can use the musical parts in instrumentals by timing the start of a big part of your new song with the end of the peak moment in an outgoing track. Do all that while also bumping up into the next musical key to give the transition an extra lift, and you will be considered an official DJ maestro. To give you a clear example here are 2 versions of the same mix, try and see what was different about each and tell me what was wrong with one of them in the comments: THE WRONG WAY THE RIGHT WAY

smart play lists are my best friend in itunes. I've set up play lists so that I never ever have to drag and drop songs into a play list, ever again. For example I've got an 'electro' play list where every track that is 320kbps and has 'electro house' in the genre section of the ID3 tag, will automatically be put into that playlist. The only hard thing I have to do is check the genre is correct when it gets added to itunes. There are shit loads of criteria for smart play lists, so you can customise accordingly.

welcome pal

welcome mate

you've come to the right place mate, welcome

it does seem like a brotherhood can't wait to join

wazza confirmed this.. not sure why serato wouldn't change the BPM counter i assume this is with timecode sol? are you in relative or absolute mode?

after checking the features comparison between different versions (including the download version), you get an extra CD with samples and presets with the signature edition. You don't get those samples with the download version. I did read somewhere that they are pretty ordinary, and you're best off buying a sample pack from somewhere else to get started. May have been jonny that said that? Store Dj doesn't have it in stock, but they can order it for you. I will be doing this, but might hold off till xmas incase santa is feeling generous

after owning a DDM4000, i wouldn't recommend it. I've had a few mixers in the past, and currently using a Denon DNX1600... however it doesn't have the digital out that you mentioned. dnx1600 = tops in every aspect, although you didn't mention your budget, so not sure if this fits?

yeah, i think it will be my next purchase EDIT: apart from a case of beer this afternoon

an interesting little video, have a look

^thats right it's like the loop masters site

turns out i'm already following you... mine is http://soundcloud.com/holepunch

my aim is to make some mashups/bootlegs/edit first up, followed by remixing then worry about my own productions later down the track. i figure this is the best way to do things, and learn the program as well. can't wait to get FL

mixed in key is the shiznit. every track I download gets analysed with mixed in key

i'll be using it as a computer