Buck_Choi

good read. dennis you mind if i repost them back up here? ill source you. ?

just like a season finale... stops at the best bit =p and we have to wait a month or two!

there's laws against power boards?

i listen too

true that brother.

yeah.. that would be good.. Thanks for the post, if you do have any information or anything we as Australians can do to insure or try to avoid these situations it would be much appreciated if you post up Thanks.

Good thanks Dj dennis. ^.^ ill put a note above that its only related to US laws

By Nisus One of the greatest things about digital DJing is the opportunity to incorporate a multitude of performance tools into your sets. Not being limited to the turntables as an interface has opened the door to a wonderful world of controllers full of knobs and faders. While controllers have given us the power to mangle and mix sound, they have also put us back in touch with the instrumentality of live music performance. DJing is a musical gateway drug. It makes sense that once you get used to using a controller as an instrument, you might want to start using the plethora of sound-producing instruments in a similar way. In this article, I look at integrating actual hardware synths into Traktor. Watch out though; before you know it, you’ll be wanting to play Phrygian dominant scales in your sets like Moldover. DECKS, EFX AND A 909 Using Trakor in a four-deck layout is a perfect complement to many four-channel club mixers such as the Pioneer DJM-800 or the Allen & Heath Xone:92. Traktor has the ability to run audio through any of its decks and also send MIDI. Right below the big deck letter is a little drop-down triangle that you can click and select “Audio Through”. In my sets I do this on Deck D. Running audio through a deck gives you access to Traktor’s awesome internal effects, which you’ve hopefully mapped to your controller. Once you have audio through, you need to go into preferences and click on “Input Routing” Input Channel D and select your inputs. In my case I’m using the Audio 8 interface, so I selected Input 7 and 8 for Input Channel D. While you are in preferences, click on “MIDI Clock” and check the box “Send MIDI Clock”. There’s a MIDI Clock Sending Offset field below that, which we’ll go back to in a minute. Back in your main layout in the top left corner where your effects section is, there’s a little metronome icon. Clicking on that will show you the Master Clock settings. You will see four buttons: Man, Auto, Int and Ext. Click “Int” and set your tempo. Click the big “Play Pause” button under the MIDI Clock “Sync” button. It should glow a glorious blue. If you haven’t yet, now is the time to plug in your MIDI cable from the MIDI Out on your Audio 8 (or other audio/MIDI interface) into the MIDI In on your piece of hardware. I am also connecting the audio out from my synth to the audio inputs 7 and 8 on my Audio 8 interface, which are assigned to Channel D in Traktor. Somewhere in your hardware synth will be a MIDI Clock setting that allows you to send and receive MIDI Clock data. Find that and set it to external or slave mode. If you are using a Mac, you need to go Applications>Utilities>Audio MIDI Setup. Drag that app to your dock, because it’s nice to have quick access to it. Open the app and click Rescan MIDI. Your device should light up On with the fun! Load a track, start it playing and click the MIDI “Sync” button. Your hardware should jump into action and be sending sound through Deck D. Wonderful, right? Your hardware audio input could be a drum machine, a synth or anything with a MIDI port and audio outputs. There are some really great mod kits to add MIDI to your circuit-bent toys, so don’t sleep on the many possible devices you can sync to Traktor. Now back to the MIDI Clock Sending Offset in the MIDI Clock preferences. Here’s what you do: Click the “Tick” button in the MIDI master clock window. It sends out through channels 7 and 8 by default, so those need to be plugged in or set to your headphones. Open preferences and click “MIDI Clock.” Now comes the part that relies on your O.G. beat-matching DJ skills. You need to align the tick with your synth or drum sounds. I recommend you pick a quick, mid-range sound on your hardware. Slide the MIDI Clock Sending Offset bar until you hear the two tones align in time. Press the Sync button and move the slider; repeat until correct. The end. This should help you get on your way to incorporating instruments within your DJ sets. You can play along live or you can sequence patterns within your hardware. And this is only the beginning. – Nisus http://www.djtechtools.com/2009/11/27/sync-external-hardware-to-traktor/

give this a read it may help http://ausdjforums.com/modules.php?name ... pic&t=3022

-Will Freeman Picture this: Your playing at a local club when everything starts to go very wrong. A patron trips over a loose speaker cable knocking over the entire speaker cabinet that injures several people in its fall. Adding to the melee, those same speakers knock over several tables with candles on them and now the place is on fire. Your gear is destroyed, the club is destroyed, people are injured and your not getting paid. What now? Well under normal circumstances you would be screwed. However if you had dj insurance many of these problems would be covered and you would still be in business. Today we take closer look at insurance policies for djs that will protect your investments from extreme scenarios like the one above to the more common place dj mishaps. CONFUSED? DON’T BE. Trying to pick the right insurance for a mobile/club dj can be time consuming and confusing, so we are going to show you what to look for in a policy and breakdown some of the jargon used by insurance companies. These companies would prefer you be confused so the settlements fall in their favor but we like our readers nice and educated! Here are some of the key features you need to look for: General or public liability: You will be required by most private events to have this (night clubs have their own). It covers damage to the venue and patrons in the case of an accident or emergency. This usually is around $1,000,000-2,000,000 in coverage. Inland marine coverage: This covers the cost of your damaged or stolen club gear whether from the club or the van (provided there are signs of forced entry, the car was locked and there is am alarm on the vehicle). However this does not cover your equipment if it is seized and/or damaged by the police or any other government agency. Commercial crime coverage: This covers if a club decides not to pay you or if an employee of either you or the club steals your gear. Friendly Tips Proof read your policy: Make sure you claim the correct number of (DJ) setups, and the true value of your equipment because if you under estimate you will only be covered up to the amount you applied for. Save some $$$: Insurance companies recommend that you join one of the many global or national DJ associations for a discount on your coverage. Short-cutters beware- If all your seeking is the discount then the numbers dont work out. Most dj assosiations charge around $200 a year and you only receive $100 discount from the insurance companies. The following information only relates to US Law, so please do more research and do not go by the below, if any handy information is found please post in this thread! Thank You! POLICY BREAKDOWN We used a sample single dj setup with a value of $5000-7000 to asses these figures. Here are a few of the more popular policy options and their prices. NASEP (National Association of Special Event Planners) offers insurance through RV Nuccio: Commercial Crime Coverage : $50 (up to $5000 in coverage, more coverage is available for purchase as needed) General/Auto liability: $150 Administration charge: $100 Inland marine coverage: $100 All this is added put your total cost at $300 per year. Wedj.com offers insurance through G.A. Mavon: Administration charge: $44.95 (You have to become a member of the site to use their insurance and this is the lowest membership you can purchase at the bronze level) General liability: $195 Inland marine coverage: $150 (and will cover up $15,000 dollars in damage) Bringing you to around $389.95 per year. GMEA (Global Mobile Entertainers Association) offers insurance through Mang Insurance: Administration charge: $125 (You have to become a member of the Global Mobile Entertainers association in order to qualify for this insurance) General Liability, inland marine coverage: $500 Bringing you to around $625 per year. CONCLUSION (Conclusion by Ean Golden) While Dj insurance is clearly a must for mobile djs who have significantly increased liability- its actually a very good idea for club djs as well. Many friends of mine, including myself , have had laptops ruined in nightclub environments due to theft, drinks and fighting patrons crashing into booths. All of us assumed, incorrectly, that the club would cover these losses (they wont) so a $300 a year policy that protects your most important $2500 investment from being stolen or damaged is almost a no-brainer. The fact that it also protects you from an increasingly litigious general public, is the icing on top. http://www.djtechtools.com/2009/12/29/dj_insurance_mobile_club/

hmmm.. considering getting one.. although i wouldnt mind a few cue points and what not on it.. im sorry to go off topic but are you using your own mapping? or the default.. if you can create a thread on the controller put in your own thoughts and find a few reviews youtube clips so we can discuss ^.^ because i was looking in getting one! thanks

ooo the x1. how is that, i was considering getting one..

^.^ my rents just got back from america and europe. and they got me these Sennheiser PX 200-II. :] not me.. just because his asian.. RACISTS! http://www.headphone.com/headphones/sen ... 200-ii.php http://www.headphone.com/rightbetweenyourears/?p=902 my 2cents in no particular order.. - Comfortable - small and compact - doesnt go that loud.. - length is pretty good too. just opened it.. and testing them now.. its all that i can come up with now. i also find this pretty cool how they slip into each other when folded

i Heart Chrome ^.^

hmm. does it happen when your track is playing and you press the sync button? and im going to say it before someone else does =p but really i dont mind... try to stay away from the sync button and learn to beatmatch .. unless your working about 4 decks same time. different Story

http://www.ausdjforums.com/modules.php? ... topic&t=18 this is close enough ^.^ post whatever you have in there ^.^ even if its a dog!

thanks .. i noted the site i got it from =p try to find it ^.^ its not hard

Welcome good place to start! Where are you situated and how did you find this forum? What gear you have? What type of music do you like let us know more about you..how long you been djing for?

Djing is not just picking the next song, but planning how your songs will flow for the entire night. This essential skill will mean less stress and regular work. There are 2 critical time-lines we will look at in this article that you should keep in mind when planning a night: the drink line and the tempo line. Understanding and playing with these principles will mean happier dancers and happier owners! The Drink Line- Build it, Use it! We would all like to think our dj skills reign supreme, but lets keep the egos in check and share a short moment of honesty. Alcohol keeps the dance floor pumping. You can use that knowledge to help your dance floor and make sure the club does well at the bar. The trick is to respect “the drink line”. The basic timeline of an average DJ would start off light, build itself towards a peak, and slowly drop towards the end of the night. This will work, but the more nuanced and professional djs deftly work in some breathing room for drink breaks. In the chart above, the dj has programmed 2-4 sections through the night where he intentionally allows the energy to drop moderately. Then after a 15-30 minute lull, the energy picks right back up and thanks to a fresh round of shots, goes to new heights! Programming in a few intentional breaks in energy does a few critical things: 1) Provides a clear opportunity for drink breaks helping the bar 2) Gives the dancers some breathing room and down-time 3) Provides you the chance to play a few great tracks that might not exactly be hits 4) Using the illusion of juxtaposition creates a sense of gradual energy building. 11 can start to feel like 7 if there is no reference point. Like it or not- the club is not a non-profit entity. Club owners invest time and money into their institutions to bring in a profit, so if you want to keep your job as a resident dj, it’s wise to keep that in mind when planning sets. Don’t sacrifice your artistic integrity, but keep in mind when the club does well so will you. THE TEMPO LINE Just like the drink-line, the tempo line is also used to build and maintain energy throughout the night. It could coincide with your drink line but may also follow a totally different track. Here are 2 very common tempo lines that will pay solid dividends: The builder should be fairly obvious but it’s amazing how few people actually gradually build tempos throughout the night. Over-zealous openers start the night off right at 130pm and leave headliners with no-where to go. If this happens to you- reset the clock! Let the track run out, start the set at a lower BPM. There will be some temporary energy loss but way more room to work with through the set. The loop is more common with mixed format sets where lots of different BPMs are expected. This is my favorite style to mix with because tempos changes can give huge boosts of energy to the dance floor. I typically work 2-3 tempo cycles into the mix throughout a 4-5 hour set. During a tempo cycle, the BPM can go all the way up the tempo range, loop around the “horn” (180) and then double back down to 90. The timing of the lower BPMS is very important and should be used sparingly. A good time to give dancers a break by dropping the tempo is around 2AM when everyone enjoys a good drunken slow dance. The tempo’s and times above are not by any means correct, but used more as an example of the cycle. UNIVERSAL AUDIO Some of these principles certainly apply more to venues where drinks are no longer served after 2AM. Others, like the tempo line can apply to any venue if the unique needs and circumstances of the local dancers are considered. These principles should serve as guidelines but ultimately its your eyes, ears, and judgment that will make the best call for the dance floor. That is, after all, why they pay us the big bucks! The idea for this article came from Jules Etro but was re-written for clarity- Thanks Jules! http://www.djtechtools.com/2010/07/25/the-time-line-of-a-dance-floor/

do a few searches on youtube on dj'ing, i think in the beginner section of this forums have heaps of youtube videos on teaching and the like, even check out some 10 minute mixes see if you like what they doing, and if you are willing to put in the time to learn. you might even be lucky enough to maybe meet up someone from ADJF and they can give you a firsthand taste of their gear and just a crash course ^.^

wow bad luck on the HDJ1000's i can give rep to the A&H xone xd53's Great Headphones ^.^ kinda big for my head but thats not their fault

Welcome try to get your hands on some DJ software. how did you find this forum? and will come in handy for a few people here, with power supplies and the like.. ^.^ hope to have you around here, ask plenty of questions and pretty much all will be answered within time ^.^

Welcome see if you can get your hands on some dj software such as virtual dj, traktor or mix miaster

this happened to me too when i first got my mixer.. but its stopped happening.. haha i dono what i did or what happened. but it stopped ^.^ could be because it was new.. but overall no clue ^.^

Welcome. post in the intro section, as for gear depends what music you like. if dance/house music go the CDJ's if the rnb hiphop, go the Technics 1200's