tempo anchors and m-audio Torq DJ software

now that I've been digging firmly into digital DJing and my trusty 1200's are mostly gathering dust except for encoding (a sad sad day for the oldschooler in me), I must say I am really impressed with the tempo anchor function within M-Audio Torq.

the function is way deeper than I had originally understood, and it appears that the software calculates the BPMs from the first few anchors you place, allowing you to subtly move non-anchor grid markers forward, to the point where you almost don't need to do any more later in the mix. None of this will make sense to non Torq users, but color me impressed with this bit of software.

Yeah, I know traktor and ableton have more functionality, but this is what I'm using, and I dig it!

late pass for wax : stereo total

I'd never heard of these folks until I was digging in the crates mouse clicking on links for new music. shame on me, this is fun

nuff respect due

real bass heads, breakers and electro-rockers still rep to the fullest. in 2010. across the world.

Electro Showcase #67 January 2010

Download MP3 :: 55 m 08 s runtime :: 126 MB

Starting off 2010 with a bangin mix of funky electro bass music, DJ Mad Wax brings the goods with the 67th showcase. Hard to believe we're entering our 11th year here at Vocode - the mixes dont come flying as often as they used to, but each one's carefully crafted for maximum bumpin' pleasure for electro bass-heads everywhere! The mix as always is a free download from your friends at the Vocode Project, but if you dig a particular track on a mix, support the artists who break it down in the studio and purchase a cut! Crank it up, bass out and most of all, enjoy!

:: TRACKLISTING :: Purchase links at main vocode site lead to reputable online digital retailers

# Artist Title Label Purchase
1. AS 1 Tinman Boogie Solar One
2. The Exaltics 10 Million Light Years Solar One
3. Billy Dalessandro In The Red Sonic Culture
4. Steven Patton Xylophobia Pomelo
5. Exaltics What's Wrong Solar One
6. Automat Miuccia Full Panda
7. Steven Patton Social Decline Pomelo
8. Jacob Hanneman Paranoid Dream Full Panda
9. Anthony Rother Hot Chocolate Gigolos
10. Max Durante Next Prodamkey
11. Petr Passive Sun Shines In My Eyes Basserk
12. Oscar TG Vicious Red Robot
13. Microthol Binary Systems Trust
14. Debasser Jerk WIDE
15. La Rez Wo Kommen Wir Her Trust

ableton DJ version only

I would pay $99 for a "works-with-mp3" DJ version of Ableton Live. just sayin'. I think they're missing a market....

just get on down and rock

this is one of my favorite miami bass era records of all time. lots of classic samples in this one....

lessons learned....

I took a break from my multi-sampling adventures in order to prepare and play for a DJ gig, which I haven't done in quite some time due to fatherly duties/fixing up the house etc etc. I felt a rush diggin' for vinyl again, setting up and then jamming. But what I had in my head didnt quite work out, and all the records that I thought were party records clearly did not hit with the crowd. Because my entire life isn't consumed by being a DJ anymore, I've long left ego at the door, so I gave it up to the ipod and enjoyed hanging out with the party people.

What's the main lesson learned? that modern digital laptop DJs have it aces - since I was on vinyl, I had no recourse once my main breadwinner records didn't win (shown below); if I had a 500 gig drive with my entire music collection, I could have rocked the crowd. Ultimately, I enjoyed hanging out watching the girls dance and shooting the breeze with the homies much more than being up behind the "decks". I'm going to have to explore this turn of events, as I still very much love mixing music. (I finished the next electro showcase mix finally, tonight).

mad wax says "I knew I had to pack it in when these records didn't get people grooving"

nn-xt multi-sampling for beginners part two

I realize that the first and second post of my nn-xt multi-sampling tutorial so far has naught a mention of the nn-xt, which I swear is coming, but the second step after you've recorded/bounced your audio multi-samples is fairly critical.

It doesnt really matter what program you use, but you need to open and audio-edit each of your individual samples, mostly for trimming off the dead space at the end. After all, there's no point in wasting hard drive space is there?

I use the ReCycle program to do this with the loop in and out points, but that's mostly out of sheer laziness as I haven't bothered to install and audio editor on my laptop yet. did I mention I run an ancient laptop yet ;) the less programs, the faster it runs. Obviously, if you're using the DAW/piano roll method for multi-sampling, you could be fairly precise before you export each sample thus saving yourself a step.

nn-xt part three will finally go into depth about setting up proper patches, including screen shots, and for part four, I will go into how to use the nn-xt to re-create samples synth patches with movement.. I spent a few hours last night figuring it out. Funny that what pushed me back into making music was getting canned from my corporate job, but f--k me if the stress isn't gone, and the music/creative juices are back!

side benefit of multi-sampling....

something I noticed tonight is that by laboriously multi-sampling patch after patch, I'm getting to know the sounds better and am already ear-marking certain bits for use in tracks. because I'm not "producing" as the goal, but focusing on multi-sampling, I'm taking a much longer with each sound and as a result, learning a bit more than patch browsing, or finding just one that I like and getting lost into making a tune.

good times!

moby early underground

watching the moby drum machine video (shouts to reason patch a day for putting me up on it) got me reminiscing about my favorite moby CD. Before he sold 18 million records, dude was making straight up N.A.S.A music.

Go listen to the entire album here

a taste here, proper old school classics!

nn-xt multi-sampling tips for beginners. part one

the subject line defines me, so I thought I'd share what I'm learning as I go. I'm going to spread this out across a few posts to zone in on certain key aspects.

For multi-sampling soft synths, I use a product called Chainer, which I've discussed before. Chainer's basically a mini-vst host, that uses a lot less resources than say a program like Cubase (perfect for those of us still stuck on ancient laptops).

It not only comes in useful for multi-sampling, but also multi-sampling layers of synths, as you could for example draw up instances of 5 different VSTs, custom design your own sound patch, and then export multi-samples for use at a later time, thus saving yourself CPU load. The program also lends itself to freeform play - there have been times when all I wanted to do was jam out, without running Cubase or the entire set up; Chainer allows me to just play with my pro 88 controller.

For multi-sampling, it couldnt get any easier. Once you've set up your VST synth (or synths), you drop down the file menu and click export. You set up the sample length and release times in milliseconds, select your export audio options (16,24 or 32-float), and which key's you want to sample. Depending on what sound you're sampling, you can get away with one key per octave, one every 3 steps, or even chromatic scales (although this would lend to large data sizes).

You also want to make sure the sounds you are sampling don't have tempo-tied LFO or filter movements, as these will become skewed and off-tempo once you drop them into your sampler. More advanced sample gurus will re-create these inside NN-XT or your sampler of choice using LFO's inside the sampler device. As I haven't figured that part out yet, I won't be discussing it now.

next: importing the samples into NN-XT and how to properly set them up for quality playback.

multi-sampling adventures with NN-XT

now that I have a lot more time on my hands, I've been digging deeper into my various software studio programs.

I've tried in the past (and failed) to multi-sample vst synths using Chainer and the NN-XT, and finally today I figured out why I was having problems with auto-mapping and root keys. It's always nice to hit that "breakthrough" point with a piece of software. I further started experimenting with setting sustainable loops, which is tricky because you have to fine-tune exactly to avoid clicks and pops.

What I REALLY want to accomplish is digging in the NN-XT to create arpegiation and movement within the samples. I've been busy dissecting the Virology refill to try to reverse-engineer the patches in order to create my own. Nerdy? for sure. but lots of fun!

Dr Dre... as DJ

before his long and storied career as producer extraordinaire, Andre Young was an up and coming DJ in killer Cali in the 80s. I posted and share one of his classic mixtapes over at the Vocode Project site a few years ago (one of the mixtapes he used to sell at the swap meets) and the good homie over at the incredible old school hip hop tapes blog just found another one, from when Dre was mixing the traffic show drivetime on the legendary KDAY AM radio.

This is a true gem, don't sleep.

Remixing without stems

This article about remixing tracks without having access to original production audio stems over at djtechtools was incredibly useful. Peep the whole article here

silver box

so I've been doing experimentation with a 303/909 emulation using Reason and a trigger finger to launch patterns/twist knobs.

I've posted a few times about two combinator 303 emulations posted up on the Reason forums, but last night I dropped in Peff's RB-333 refill combinator as a test. This is the refill that peff dropped so you could emulate the ReBirth sound inside reason easily, namely by using samples. I don't know much about the real sound of acid other than old records, and I dont have $1200 to spend on a vintage TB-303..but I will say that Peff's RB-333 refill screams and provides significant more audio pleasure than the Thor-based emulations do. Don't get me wrong, the Thor emu's are nice, but not as nice as that rebirth sound!

pesky midi control problems with the combinator

I've got a combinator set up that encompasses a 303 emulation with a matrix pattern controller, and a redrum. Other devices include effects and what not... my goal is to be able to record an entire sequence as I trigger the redrum patterns, matrix patterns and knob twisting. but when I hit record, the only bits that get recorded are the the main knobs on the combi (whatever I've mapped them to) - any ideas?

on chopping loops

There's something anti-septic about sample libraries; I find the whole process underwhelming even though I understand it's usefullness, especially if you've got a creative lull: somebodies loop can kick-start the old creative juices. But to be completely honest, you'd be better of nicking loops from records and chopping them yourself.

my last post about the next electro showcase mix got me thinking about how I used to put together mixtapes.

During my active DJ years, I released 3 professional mixtapes, with full on artwork and production, and probably 10 or so gray-blank tapes, with runs of 50 or so, all hand-dubbed. In retrospect, I wish I had spent more energy and effort during this time on pro mixtapes to build my DJ business, but I was a very different person at 23 versus now.

Whether or not a mix was slotted for pro release or not, I used to spend months planning and selecting tracks, and really worked hard to create mixtapes that would stand the test of time and stay in people's tape decks. And this was during a time when you actually SPENT your own money to produce a mixtape, there was a lot less competition because honestly, who's going to man up enough to expend the effort and money necessary? it wasn't too many people back then; I imagine its even harder to stand out now in these days of easy hosting and link-sharing.

To dial down to a particular mixtape, I had for years planned on doing a 3 part mixtape that would showcase the sounds of frankfurt trance, one of my "get misty-eyed and reminisce" periods of music. It's not a lie when I tell you that I work on this project for over 3 years, constantly scrapping tracklistings, weekends of recording (there wasn't any digital editing - if you f--ked up the mix, you had to start all over).

Ultimately, I gave up on the project - I just couldnt get it done and finally accepted it.

Then one evening 2 years later after I gave up, I walked into my apartment, opened a bottle of something smokey, hit record on the mini-disc player and put on the first record. 2 hours later, I had the mix down 100% perfect and the way I wanted it.

go figure

are we really in a musical movement lull?

I can't tell if I'm stuck in a rut because of my age as I change in my 30s, or if there really is a glut in terms of musical movements right now. but I've got a good feeling about 2010. I also predict some wicked music coming out of berlin when the hipsters stop moving there.

living the future

I'm amazed and dismayed at the same time - we're living in the future, and there's some crazy s--t and technology, but the stuff I thought we'd have for sure by now we don't.

To keep this post music related, if the iSlate/iPad or whatever really does push through, is it going to take over the Lemur market? if there ever was one? how long before bonafied virtual turntables are in the DJ booth instead of the laptop? now THAT would be enough to turn even the most luddite DJ on!

mobile technology....from 4 years ago

when my mobile device died a year ago, I went digging into the boxes for the spare I'd bought when my wife still worked for a major cell carrier. You see, we had some deep discounts on all sorts of items, from plans to buying phones.

I'd bought a Motorola Q, which at the time, was a hot device to have. At least for business folks, anyway. I got it up and working, but its interesting looking at the 2010 web through the 2006 device/software, as they the device wont support updates to modern software.

This comes into play with all sorts of programs, from checking out twitter (no cool apps, just the mobile web page version) to being stuck in one place for 5 hours, like yesterday and wishing I had some mobile music software to bang out beats while I wait.

The real question now is: do I use that Christmas giftcard for "interview" shoes, or buy an iTouch and get mobile beat production going ;)

next showcase mix is almost ready.....

I'm just about ready to record the next electro showcase mixtape for the Vocode Project. It's funny, such a different approach with digital DJing than with vinyl, but when it comes to showcases I'm still very careful with how to mix, and to build a set and a story rather than just madly slapping on tunes.

Posting this week barring any hiccups

DJ'ing exclusively in the box (and some of the problems that arise)

I dont DJ that often any more, and even though my last really active year was 2005, it still feels as if I spent a lifetime playing records. In any case, when I do DJ (most often doing a mix for the vocode project), I do it almost 100% in the box.

By that I mean, I use software exclusively - no control CDs/vinyl, no controller, no midi, just the software program.

Once you assign quick keys on the laptop, the only thing you wind up missing really is knob twistin'. But the one item that drives me crazy about this set up is the problem tracks. Those are the tracks that drift by design from the producer, so you can't set up a rigid beat structure. I mostly do breaks and electro mixes anyway, so the grid is often effed up, but I usually nail it... I've got one of those tracks right now and I'm just about ready to can it out of the mix after spending so much time trying to nail it.

with turntables and vinyl, you could ride the pitch. In fact, back in the day before DJing became as easy to do as it is now, one of the signs of a true-school DJ was someone who could ride both pitches and keep old disco records in the mix (with two live drummers drifting) - ah.... those were the days :)

what about that unique sound?

Im chillin in -18 degree temps (no puns) and working on the next electro showcase. one of the tunes in particular is clearly inspired by the sounds of the infamous Drexciya, inspired being the keyword, as its not an emulation.

Clearly this producer is dope, and the tune is kopfnikken, but just doesnt quite get that wierd funky drexciyan underwater sea warrior vibe that saturates the catalogue of james stinson.

What is it about certain producers that gives them that unique sound, I wonder? I dont have any deep insights to share, just a question as I dig deep into this mix and knock back the golden nectar of the monks.

technoBox from Audio Realism

I certainly don't have the money currently to cop any apple products, but this application from Audio Realism is almost enough to make me strongly consider an iTouch. Check the video below, and find out more info on their page



I know we all geek out about new technologies, VSTs and ever more complicated ways to do things, but sometimes creativity will smack you in the head and hang out in your crib for days when you smoke a l'il something or drink a little something, and jam on pattern-based devices!