236a High St, TW3 1HB Hounslow, Hounslow, United Kingdom
Thursdays The 24th Of August 2017
DJs On The Night:
DJ Young Ton (Choice FM)
DJ Sin ( Bombay Hott Radio / Star Radio London)
DJ Tijan UK (MTV/BSQLondon)
DJ Siggi bad Boy ( Bombay Hott Radio / Flames Radio UK)
Louis Ashok (Bad Boy Vegan)
Honey Nia (BkChat)
Performance On The Night:
Macini “Bad Gal”
Early Birds Tickets On Sale From The 11th August Online.
New York get ready… Chanel Clark is hosting an industry party and has roped in DJ Sin to drop the tunes. This is amazing as connecting the two cities music industries seems to be the right time. To get into this party. You have to be in the industry and if you are, get at Chanel Clark or DJ Sin for guestlist. Venue will be given to guest list names. Get ready for the lucky 7 Party on 7th July 2017. Sponsored by Eclec Mag, Cocktails with Chanel and Bombay Hott Radio.
Earlier this year at NAMM 2016, we saw the first public prototype of Pioneer DJ’s new festival-ready professional DJ system – what they’re calling the TOUR1 line. Today, Pioneer is officially making it clear that these aren’t just prototypes: meet the CDJ-TOUR1 and DJM-TOUR1, set to hit the market in August. Keep reading for details.
CDJ-TOUR1 + DJM-TOUR1 OVERVIEW
The TOUR1 lineup will be available starting in August 2016
CDJ-TOUR1 will cost $4,999; DJM-TOUR1 will cost $5,999
The units feature advanced sound quality ES9018 32-bit D/A converters that “deliver incredibly low noise and distortion” at 96kHz/24-bit output
Each unit has a fold-out screen in addition the normal displays
The screens are powered by built-in CPUs – and they can show a variety of waveform and browsing views, which seem to suggest a ton of new display options for future Rekordbox devices:
Some unique waveform displays on the TOUR1 screens
The layouts are very similar to the CDJ-2000NXS2 / DJM-900NXS2
The build quality and input/output ports on these units are significantly more robust – suggesting that these will be used exclusively by big festivals like EDC, Ultra, etc.
The full setup: four CDJ-TOUR1s and a DJM-TOUR1 (click to zoom)
An overhead of both units – click to zoom and see all of the details.
Pioneer DJ has sprung this announcement on us last-minute – so there’s not too much commentary in this article yet. Check out the feature sets of each unit below (note that these are directly from Pioneer’s press release):
CDJ-TOUR1 Key Features
1. Advanced sound quality for large-scale venues
The CDJ-TOUR1 features an ES9018 32-bit D/A converter, made by ESS Technology, to deliver incredibly low noise and distortion even at the super-high volumes needed for large-scale events. It can reproduce 96 kHz/24-bit high resolution sound and send it to the DJM-TOUR1 or DJM-900NXS2 through the SPD I/F digital out. FLAC and ALAC formats are supported and the power supply is separated from the main circuit board to further reduce unwanted noise.
CDJ-TOUR1’s 13-inch screen with an optional glare cover/ glowstick deflector
2. 13-inch fold-out touch screen for enhanced browsing and control
Use either the standard built-in 7-inch or the fold-out 13-inch LCD full-color touch screen. The larger screen shows more information to help you browse and select tracks faster. Plus, with its own built-in CPU, the screen offers the potential for other features in the future. Both screens feature the same information as the CDJ-2000NXS2, including:
Track Filter mode: use the touch screen to filter tracks by rekordbox information such as BPM, key or My Tags.
Keyword search: bring up the Qwerty keyboard to search for tracks by name.
Multi-colored Wave Zoom and Multi-wave view: see detailed waveforms or opt to see waveforms from up to four CDJs at the same time.
3. Lockable LAN port for secure connection
The CDJ-TOUR1’s LAN port has a NEUTRIK etherCON® connector featuring a latch lock, so compatible cables will stay in place no matter what vibrations or knocks are thrown at them.
4. Isolator feet, tilt screen and display shade adjust for any environment
Adjust the isolator feet to ensure a stable set-up on any surface and tilt the 13-inch screen to suit your preference or the lighting. Attach the display shade to protect from the sun’s glare when you’re playing outside.
5. Familiar layout and features inherited from the CDJ-2000NXS2
The CDJ-TOUR1 has the same layout and performance features as the CDJ-2000NXS2 to help you feel at home. Prepare your tracks in rekordbox as usual, adding Hot Cues, loops, tags, etc. – then load them to the CDJ-TOUR1 and trigger features including Beat Sync, Slip Mode and Hot Cue Auto Load.
6. Pro DJ Link enables even more features
Pro DJ Link lets you share one source across up to four players and unlocks a host of information and features such as Beat Sync and Beat Countdown.
DJM-TOUR1 Key Features
1. High quality sound components for a warm sound, in any large-scale environment
The DJM-TOUR1 is the world’s first DJ mixer to have an AES/EBU digital output, meaning you can connect directly to front of house, even over long distances, with no loss of sound quality.
It’s also the first DJ mixer to include a high-res word clock input, ensuring a high grade digital audio signal to front of house for precise synchronization and the best possible sound quality. And the power supply has its own dedicated circuit to further reduce unwanted noise, while power factor correction (PFC) reduces distortion across the frequencies.
Like the CDJ-TOUR1, the mixer features an ES9018 32-bit D/A converter for low distortion and a dynamic range of up to 129 dB. It also shares high quality sound components with its NXS2 counterpart, including a 96 kHz/24-bit sound card with a direct digital connection via SPD I/F port and USB port, 64-bit floating point mixing processing, enhanced dithering technology and a low-jitter clock – which combine to deliver an accurate, natural sound.
2. New fold-out 13-inch touch screen shows information from up to four players
Browse playlists and use the touch screen to select tracks for up to four CDJs connected via Pro DJ Link. You can also choose between horizontal or vertical multi-wave view – and the vertical view includes an RMS meter to help you monitor and control the volume for each channel.
The DJM-TOUR1’s screen showing four vertical waveforms
3. Lockable LAN port for secure connection and 5-port LAN hub
The DJM-TOUR1’s LAN port has a NEUTRIK etherCON® XLR connector featuring a latch lock to keep compatible cables secure. Plus, a five-port LAN hub means you can connect up to five players or laptops to the mixer.
4. Two independent headphone inputs for easy back-to- back cueing
Two independent headphone sections mean you and another DJ can cue tracks at the same time without hearing each other’s input. Each headphone input has its own volume control.
5. Aux input supports a range of sources
The Aux input is an XLR/TRS combination port, giving you the flexibility to connect your choice of external devices including drum machines, effectors, synths and samplers.
6. Tilting screen and display shade adjust for any environment
Tilt the 13-inch screen to suit your preference or the lighting and attach the display shade to protect from the sun’s glare when you’re playing outside.
7. Familiar layout and features mirror the DJM-900NXS2
The DJM-TOUR1 will feel instantly familiar as it shares its layout and robustness with other pro-DJ mixers including the DJM-900NXS2. Like its NXS2 counterpart, it features improved channel fader/EQ curves, high quality Sound Color FX, quantized Beat FX and an Independent Send/Return.
8. Built-in KUVO Gateway lets you broadcast set information to your fans
The DJM-TOUR1 is our first mixer to have a KUVO Gateway on board so you can easily connect to KUVO: our social platform that lets you broadcast information about what tracks you’re playing, in real time, to fans around the world.
These units are likely to be popping up in professional mainstage festival DJ booths this summer – would you be excited to play on a set of TOUR1 units? Let us know in the comments.
Last September, we saw a preview of the long awaited new Technics turntable. Those were only glimpses, but now the company has unveiled the finished product and it’s a thing of beauty.
In a new preview on Wired, Panasonic explained they will release two versions of the new turntable. First, the Technics 50th Anniversary ‘Grand Class SL-1200GAE’ will be released this summer in a limited run of 1200 units. Following that a non-limited edition Grand Class 1200G will appear before the end of 2016.
The full list of new features have now been unveiled via the Technics website – read the full specs below.
All New Design for Redefining the Direct Drive Turntable:
Twin-Rotor Surface-Facing Direct Drive Motor
Direct Drive Motor Controller
High Sensitive Tonearm
Brass-Top Turntable Platter
Technics Definitive Design:
Inherited SL-1200 Series
Heavy Aluminium Top Plate
33 1/3 rpm, 45 rpm, 78 rpm
Variable Range Pitch:
Dimensions & Weight:
W: 453 mm (17-27/32 inch) H: 170 mm (6-11/16 inch) D:372 mm (14-21/32 inch)
Approx. 18 kg (39.7 lbs ) *Tentative *Height including dust cover
Akai Pro, one of the leading performance controller manufacturers have introduced their new Ableton Live controllers for the musician, composer, and mobile performer: APC40 II, APC Key 25 & APC Mini.
Cumberland, RI, USA—March 11, 2014. Akai Professional (akaipro.com), a leading innovator of music performance and production equipment, announces three new Ableton Live controllers— the APC40 mkII, APC Key 25, and APC mini. In 2009, Akai Professional partnered with the creators of Ableton Live, a powerful performance and production software environment, and introduced the original Ableton Performance Controller. With the debut of the APC40, Akai Pro raised the standards for controller design and revolutionized Ableton Live software and hardware integration. Akai Pro now unveils the reimagined APC40 mkII along with two compact Ableton Live controllers—APC Key 25, and APC mini.
Akai Pro’s flagship Ableton Live controller, the new APC40 mkII, incorporates five years of user feedback into its design for extended functionality, countless musical capabilities, and improved workflow. The APC40 mkII features a 5×8 RGB LED clip-launching matrix, assignable A/B crossfader, 8 rotary knobs, 8 channel faders, and a send button for quick access to send busses. Included with the APC40 mkII is a suite of software, samples, and loops for out-of-the- box electronic music production: Toolroom artist launch packs, Prime Loops sample packs, Hybrid 3 by AIR Music Technology, and SONiVOX Twist give users endless music production possibilities with hand-selected samples & loops and high-definition virtual synthesizers. The APC40 mkII is USB-powered and supports plug-and-play.
Akai APC40 MKII
APC Key 25 is the first controller designed for Ableton Live that is equipped with a high- performance keyboard. Uniting the power of a clip-launching panel with a keyboard interface, the APC Key 25 couples real-time control of Ableton Live with traditional composition tools. The controller includes 25 synth-action mini keys, a 5×8 clip-launch matrix with tri-color visual feedback, 8 control knobs, USB power, and plug-and-play connectivity. The APC Key 25 comes mapped to Ableton, but can also be used as an all-purpose MIDI controller.
Akai APC Key 25
APC mini is the most portable all-in-one Ableton controller solution with Akai Pro build quality. Engineered for the mobile musician or producer, APC mini concentrates the essential features of the APC40 mkII into a space-saving design. An expanded 8×8 multicolor clip-launching grid, 8 channel faders, and a compact chassis provide unprecedented hands-on control over Ableton Live with a small footprint. The APC mini is also USB-powered and supports plug-and-play.
Akai APC Mini
APC Series Highlights:
Ableton Live integration—seamlessly integrates 1 to 1 with Ableton Live
USB-powered and class compliant—no power adapter required
Ableton Live Lite—industry-leading music creation software from AbletonTM included
￼￼￼￼￼APC40 mkII Highlights:
5×8 RGB LED clip matrix—launches clips with visual feedback
8 channel faders, 1 master fader, and 8 device controls—map to Ableton Live directly
Intuitive layout—￼￼revised knob layout with in-line controls for smarter workflow
A/B crossfader—￼can be assigned on the fly for dynamic mixing
Send button—￼press and hold Send and use the Track Selects to choose one of 8 sends
Music production content—Toolroom artist launch packs, Prime Loops sample packs,
Hybrid 3 by AIR Music Technology & SONiVOX Twist
APC Key 25 Highlights:
Ableton Live controller with keyboard—25 synth-action mini keys
Tri-color clip matrix—launches clips and multicolor lighting displays clip status
￼￼8 assignable control knobs—hands-on-control of any Ableton Live parameter
￼￼Octave Up, Octave Down, and Sustain—expands keyboard range and expression
Music production content—Toolroom artist launch packs, Hybrid 3 by AIR Music Tech & SONiVOX Twist
APC mini Highlights:
Tri-color clip matrix—8×8 grid launches clips and multicolor lighting displays clip status
8 channel faders & 1 master fader—provide hands-on-control of Ableton
Compact construction—portable design for mobile performers and producers
Music production content—Toolroom artist launch packs & Hybrid 3 by AIR Music Tech
Akai Professional Product Manager Dan Gill notes:
“The APC40 was the original performance controller designed for Ableton Live and has become an essential instrument for Ableton Live users. Now we are able to deliver three new APC instruments for musicians, composers, and mobile performers that allow comprehensive, hands-on control of Ableton Live in any performance or production environment.”
The APC40 mkII, APC Key 25, and APC mini will be available in Summer 2014, distributed worldwide with the following street prices: APC40 mkII ($399.99 USD), APC Key 25 ($129.99 USD), and APC mini ($99.99 USD).
Akai Professional will unveil the APC40 mkII, APC Key 25, and APC Mini at Musikmesse, Hall 5.1, Booth B45, March 12-15 in Frankfurt, Germany. For more information, visit: akaipro.com/messe2014.
Things to think about when you’re going from studio to stage
There’s lots to consider when taking your tunes out live, and it can initially seem daunting. There are so many different ways to approach translating DAW-produced music into a live hardware-based scenario – with or without a computer.
If you are considering changing/tweaking your setup and are going to be taking your music out live, consider both how your gear might work for you in the studio and also in a live capacity, either on its own or with a band. For example, if you can have one set of equipment that works for both studio productions and gigs, you could end up saving yourself a lot of cash; but, on the other hand, you might not want to take your studio kit out live in case it gets damaged.
When choosing a hardware setup that you want to work in the studio but with live gigs also in mind, always choose gear that’s sturdily built, as flimsy kit doesn’t hold up well to the rigours of touring (though on the flipside, it’s usually cheaper to replace). Similarly, don’t skimp on sound quality, and always invest in sturdy flight casing to protect your setup.
Also, think hard about what you need the equipment to do – will you need one central piece/brain such as a drum machine or sequencer flanked by effects, or several pieces of gear MIDI sync’d and dedicated to specific tasks such as basslines, drums, chords, leads etc? Will you be setting your own monitor levels using a desk, or relying on in-house engineers for setting monitor levels?
Make lists of gear you want to use live, draw diagrams of live setup scenarios and routings, and make a budget to stick within (including wiring/looms, stands etc). This all helps you to visualise your setup.
Keep it simple
Try to keep things as streamlined as possible, as the more complex your setup, the more cabling and stands needed, plus the more time you’ll need to set up the gear. In particular, with festival gigs, soundchecks are usually very short (or non existent!) and you might just get a ‘line check’ to test your gear is working and that the monitor/front of house sound engineers are getting signals from your equipment.
Another important consideration is the weight and portability of your gear. Hardware setups are inherently more weighty than just a laptop and interface, and once your gear is flightcased it can become quite unwieldy. Also, the heavier the gear, the more you’ll get charged if you’re flying about all over the place, so keep this in mind, too.
As much as we all want to stand out on stage with unique and sometimes flashy set-ups, also try to buy gear that most hire places are likely to carry. This way, if your hardware setup is looking too costly to travel with, you can hire the gear abroad (if budget allows) then put your sounds on a USB key or laptop and load them into the hired gear when you get there – then you can travel light.
Finally, once you have established the gear you’ll be taking with you and/or the gear you want to hire, send on a stage plan with a clear list of what you need to the gig promoter so that any specific gear can be sourced if it isn’t readily available. Specify everything in as much detail as possible down to what stands you’ll need, onstage positioning, how many outputs you’ll be needing, and what effects you’ll be using. Also, make sure you specify high-quality monitoring (mono, or preferably stereo) plus high-quality DI boxes.
If you’re planning on playing live, choose your gear carefully.