DOCSLIB.ORG

Scratch Dj Equipment Guide V.1 February 2014 Index

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SCRATCH DJ EQUIPMENT GUIDE V.1 FEBRUARY 2014 INDEX Click on the page numbers to jump directly to that section INTRODUCTION 8 WHAT THIS GUIDE ISN’T & IS 10 EQUIPMENT INTRODUCTION & OVERVIEW VIDEO 12 SCRATCH DJ EQUIPMENT NEEDED 13 MY PERSONAL DJ EQUIPMENT HISTORY 14 MY SETUP 18 A WORD ON INEXPENSIVE EQUIPMENT 19 TURNTABLES 22 Introduction 23 Technics 1200 / 1210 mk II 26 Technics 1200 / 1210 mk 5 30 Vestax PDX 3000 mk II 32 Vestax QFO 35 2 Numark TTX USB 37 Super OEM Turntables 40 Audio-Technica AT-LP1240-USB 42 DJ Tech SL 1300 mk 6 44 Stanton STR8.150 46 Stanton ST.150 49 Reloop RP-6000 MK 6 50 Reloop RP-7000 53 Reloop RP-8000 56 Nearly new / Used / Second hand Turntables 59 MIXERS 60 Introduction 61 DJ Tech DIF-1S 62 Rane TTM 56S 65 Rane TTM57sl 68 Rane Sixty-One 71 Rane Sixty-Two 74 Traktor Kontrol Z2 77 Pioneer DJM T1 80 Vestax 05 Pro IV / 4 83 Ecler Hak 360 / 380 86 Rodec Scratchbox 89 Used / Second hand Mixers 92 3 CROSSFADERS 93 Introduction 94 Innofader 98 Mini Innofader 101 Pro X Fade 103 Used / Second hand Crossfaders 106 NEEDLES & CARTRIDGES 107 Introduction 108 Shure m447 109 Shure Cartridge Case 111 Ortofon Qbert 112 Used / Second hand Needles 117 How To Set up Your ToneArm For Skipless Scratching 118 SLIPMATS 119 Introduction 120 Butter Rug 121 D-styles Tablecloth v3 123 SCRATCH SOUNDS & SAMPLES 126 SCRATCH SOUNDS: VINYL 127 4 Introduction 127 Superseal 128 Other popular Scratch vinyl 130 Scratch Science 131 SCRATCH SOUNDS: DIGITAL VINYL 133 Introduction 133 Ultimate Scratch Samples 134 Even more Digital scratch samples 137 INSTRUMENTALS TO SCRATCH OVER 138 Introduction 139 Ultimate Beats for Scratch Practice 140 Even More Instrumentals 141 DVS 142 Introduction 143 Serato 145 Traktor 149 HEADPHONES 152 Sennheiser HD-25-II 153 AMP + SPEAKERS / POWERED SPEAKERS 155 5 A WORD ON CONTROLLERS 156 SUMMARY 157 EQUIPMENT LIST - BUYING CHOICES CHEAT SHEET 158 PACKAGES 160 Beginner 160 Intermediate 160 Pro 161 BUYING USED / SECOND HAND EQUIPMENT 162 Overview 162 Where to buy used equipment 162 General used / second hand buying tips 163 eBay specific tips 164 SCRATCH DJ EQUIPMENT THE PROS USE 165 EQUIPMENT MOST SCRATCH DJS USE 166 WHAT WOULD I BUY IF I WAS STARTING OUT? 167 CONCLUSION 169 6 DEDICATED EQUIPMENT REVIEW SITES 170 NEXT STEPS 171 STUDIO SCRATCHES RESOURCES & TOOLS 172 Ultimate Beats for Scratch Practice 172 Studio Scratches Beat Store 173 The Simple Guide To Scratching eBook 174 Short-E’s School of Scratch 175 Scratch DJ Equipment Page 176 OUTRO & THANKS 177 ABOUT THE AUTHOR 178 LET’S CONNECT - SOCIAL MEDIA LINKS 179 APPENDIX 180 7 INTRODUCTION This guide is the result of many people asking my advice on which equipment they should purchase when starting out scratching. I honestly find this more difficult to advise on than you might think, as I am definitely not a DJ equipment expert and am probably one of the least technical people you will meet! I have a scratch DJ setup that I am very happy with that I haven’t changed for many years and I love to keep things simple and minimal. I’ve always preferred to focus on the actual art of scratching and the practice that goes into it. That said, I am aware that I am not the only person that might feel overwhelmed by the constantly changing world of DJ equipment and choices available. High quality DJ Equipment won’t make an unskilled DJ better, but the right equipment and tools will most definitely make the practice of learning smoother and more enjoyable. Conversely, poor quality DJ equipment can really impact your learning and make the experience difficult and frustrating. In this guide, I have gone right back to basics, taken an unbiased look at what DJ equipment is currently available and researched what it has to offer. I approached fellow scratch DJs with varying levels of experience for input and finally combined it with my own 13 years of scratching experience in order to bring you the very best recommendations possible. I have aimed to make this DJ equipment guide as clear and simple as possible, so you can get the setup you need and then get on with the fun of scratching. 8 My hope is that it empowers you to do just that. Enjoy this guide! - Emma Short-E 9 WHAT THIS GUIDE ISN’T & IS I just want to clarify what this guide isn’t and is so you know what to expect and to aid your understanding: THIS GUIDE ISN’T... • An in depth technical review of each item of DJ equipment. There are plenty of specialist DJ Equipment sites that do that. • An exhaustive look at every single piece of equipment on the market. • A look at non-vinyl midi controllers or CDJs. THIS GUIDE IS... • Designed to show you the main equipment options that the majority of established vinyl scratch DJs use and could confidently recommend. • Mine and other scratch DJs honest opinions and general consensus. • A comprehensive summary and high level overview. • A quick start guide. • Designed to make it simple for you to choose your setup. • A starting point to give you the knowledge you need to do your own research and discover your own preferences. 10 PLEASE NOTE... I am not affiliated with the companies represented in this guide or sponsored by them in anyway. I am independent. I do not receive any payments from these companies to feature their products. I clearly state where I have and haven’t used the equipment covered. Where I haven’t had hands on experience of using the equipment, you can trust that I carried out thorough research, utilising reviews, personal views / recommendations from professional DJ friends and took the overall approach of: “if I was new to scratching, what would I do if I had to buy equipment without being able try it out”. Trying out equipment is not always possible for most of us, myself included. All prices are a rough guideline only and often change, so please do your own research. I have included the LOWEST prices I could find for the USA and UK using Google. Known issues are stated where I have encountered them. Issues do happen from time to time with the manufacture of electronics, but I want to make them clear and known so you have all the information. I cannot be held responsible for your DJ Equipment purchasing decisions. Please do your own research and make up your own mind. Phew, that’s the explanations out the way, and now... onward to the guide! 11 EQUIPMENT INTRODUCTION & OVERVIEW VIDEO Before we begin exploring the options, let’s take a look at each element of a scratch DJ equipment setup. This is my equipment overview video that I think you will find useful to watch before you dive into the full written guide (click link below): Click here to watch my “Equipment You Need for Scratching” video 12 SCRATCH DJ EQUIPMENT NEEDED As mentioned in the previous video, here is a list of the equipment you need to begin practicing scratching in comfort and with minimal frustration. SCRATCH DJ EQUIPMENT SETUP • A direct drive, high torque turntable. • A 2 channel mixer (the crossfader needs a sharp cut in and preferably curve adjustment). • Needles & cartridges. • Slipmats. • Scratch samples / sounds vinyl records. • Instrumental music source - a second turntable, iPod or computer. • Headphones or amp & speakers / powered monitor speakers. ADDITIONAL OPTIONAL NEEDS • Digital Vinyl System (DVS) for scratching with mp3s and playing instrumentals. This setup is suitable for the complete beginner, all the way up to the pro DJ. At the heart of our scratch DJ equipment needs lie a few minimal and simple key features. We really don’t need lots of effects and additional features to enjoy the art of scratching. The equipment listed above is everything that will be covered in this guide. 13 MY PERSONAL DJ EQUIPMENT HISTORY In this section I give you an overview of my personal DJ Equipment history so you can see my choices and also avoid the mistakes I made and benefit from my experience. PHASE 1 - EARLY 2000 SoundLAB Direct Drive decks - I bought these mainly for mixing, for which they were OK, but once I got into scratching, there was simply no way these could stand up to the task at hand. SoundLAB Mixer - Again, this was fine for basic mixing, but once I got into scratching it was game over. It was just not built for scratching. The only redeeming factor was the punch out buttons I could use instead of the crossfader for transforms. There was no cross fader curve adjustment and new crossfaders would break in a single day. I call this period of time my “Instant frustration” phase! PHASE 2 - SEPTEMBER 2000 I upgraded my mixer to the Vestax 06 Pro A when I started scratching and the faders in my Soundlab mixer would break in a single day. This new mixer was... AHHH BLISS! It opened up a world of possibilities. Watch my scratch tutorial videos to see this mixer in action. Throughout the time I owned this mixer (9 years) I prologned its life by upgrading the crossfader a number of times: 14 CROSSFADERS I USED IN MY VESTAX 06 1. Standard PCM fader that came built into the mixer 2. Penny and Giles (around 2002) - At this time, DJs were modding the Vestax faders with credit cards and spacers to reduce the cut in time, but I wasn’t really set up to do that technically.
Recommended publications
  • You Stay Dj Khaled Sample

    You Stay Dj Khaled Sample

    You Stay Dj Khaled Sample Tracey never toughen any giro alchemize injuriously, is Ruben scratch and pawky enough? Showerless Erny sometimes veryspread-eagle irremeably. his barney fervently and inshrined so routinely! Prepotent Waite tocher flawlessly, he underlays his oospores Why would however want to graduate another way? Display visitor comes to stay involved with a djs are two about the sampled music you are missing the surface love for new york suburbs. You sure you make it, join millions of these are not be saved as comes to me the undeniably badass elton john. We sample to. It gives the khaled stay in! Quite harsh these intros are a consult of samples and FX that are constructed to crate maximum impact. It dj khaled was seeming to sampling techniques more platforms will be sampled or not be kept confidential and. Another ig caption for you stay dj beats range from the khaled you stay dj sample the ciroc product launches, mezcal represents mexican women continue. Announces birth of samples from other means a song of free blank sheet set your mercy, it looks dope, threw some problems. We will be used for dj you stay sample and you diverge into your experience that uses cookies to present simple and cross multicultural boundaries ranging from hyped vocals. Hemnani produced every single track track with Manwarring. What makes another layer to stay with the hit came in all in korea is leaving to stay dj you khaled sample and watch that is trademarked property. Hov not remain much have anything, either. Five favorite artists you hope this into a friend, all the best music company, psalm trees about it right so to stay dj you khaled sample and has an aggressive a free instrumentals on a student eligibility for.
  • Turntablism and Audio Art Study 2009

    Turntablism and Audio Art Study 2009

    TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community.
  • Rane DJ Products Catalog

    Rane DJ Products Catalog

    dj 2015 catalog MP2015 New! Welcome to the rotary mixer revival. The MP2015 represents a perfect marriage of high-quality rotary control surface, state-of-the-art digital signal processing and dual 24-channel USB sound cards. This assortment of analog and digital I/O supports mixing vinyl, CD, S/PDIF and USB streaming audio content in any combination, with pristine audio quality and massive headroom that's never been seen in a DJ mixer before. Rane DJ Products - 2 Different music genres often require different lter and Each PH/CD input can be Two USB ports can connect two EQ congurations to properly deal with song content. switched to Phono level, CD computers, each supporting 10 playback The MP2015 allows performers to adjust Filters, EQs deck level, or S/PDIF with 128 and 14 record channels. Play stereo tracks and the Isolator to suit their needs. Channel, Submix dB dynamic range. An AUX into input channels 1-4 and the Session In. and Isolator Filters can be stacked for truly amazing input from RCA jacks can be Simultaneously record decks 1-4, Submix, isolation and manipulation of musical elements. assigned to any input channel. Session In and the Main mix. The Isolator EQ on The Main Mix has a the Main mix has 16-segment stereo powerful 3-band +10 LEFT RIGHT Meter, XLR Main 0 dB 0 dB 0 dB 5 dB to full-cut 24 dB OL 4 6 Outputs with a Level +10 3 7 +7 per octave filters 2 8 control and TRS 225 2.8k +5 ISO with fully adjustable +3 1 9 Booth Outputs with a 135 380 1.7k 4.75k +2 crossover points.
  • Scratching Resources

    Scratching Resources

    AAFP CLAW FRIENDLY EDUCATIONAL TOOLKIT SCRATCHING RESOURCES The best method to advance feline welfare is through education. Many cat caregivers are unaware that scratching is a natu- ral behavior for cats. The AAFP has created the educational resources below to assist your team in educating cat caregivers about why cats need to scratch, ideal scratching surfaces, troubleshooting inappropriate scratching, training cats to scratch appropriately in the home, and alternatives to declawing. Veterinary Professionals Claw Counseling: Helping Clients Live Alongside Cats with Claws (In-depth Article) This comprehensive article provides more detailed information to help you counsel clients on why and how to live with a clawed cat. It provides information about why clients declaw, short and long-term complications, what causes cats to scratch excessively and on unfavorable locations, and how to work through inappropriate scratching situations. See next 7 pages for full size print version. American Association of Feline Practitioners Claw Friendly Educational Toolkit CLAW COUNSELING: Helping clients live alongside cats with claws Submitted by Kelly A. St. Denis, MSc, DVM, DABVP (feline practice) Onychectomy has always been a controversial topic, but over offers onychectomy, open dialogue about this is strongly the last decade, a large push to end this practice has been encouraged. Team members should be mindful that these brought forward by many groups, including major veterinary discussions should be approached with care and respect, for organizations, such as the American Association of Feline themselves and their employer. It is also extremely important Practitioners. As veterinary professionals, we may be asked to include front offce staff in these discussions, as they may about declawing, nail care, and normal scratching behavior in receive direct questions by phone.
  • Cue Point Aesthetics: the Performing Disc Jockey In

    Cue Point Aesthetics: the Performing Disc Jockey In

    CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE By Benjamin De Ocampo Andres A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Sociology Committee Membership Dr. Jennifer Eichstedt, Committee Chair Dr. Renee Byrd, Committee Member Dr. Meredith Williams, Committee Member Dr. Meredith Williams, Graduate Coordinator May 2016 ABSTRACT CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE Benjamin De Ocampo Andres This qualitative research explores how social relations and intersections of popular culture, technology, and gender present in performance DJing. The methods used were interviews with performing disc jockeys, observations at various bars, and live music venues. Interviews include both women and men from varying ages and racial/ethnic groups. Cultural studies/popular culture approaches are utilized as the theoretical framework, with the aid of concepts including resistance, hegemony, power, and subcultures. Results show difference of DJ preference between analog and digital formats. Gender differences are evident in performing DJ's experiences on and off the field due to patriarchy in the DJ scene. ii ACKNOWLEDGEMENTS First and Foremost, I would like to thank my parents and immediate family for their unconditional support and love. You guys have always come through in a jam and given up a lot for me, big up. To "the fams" in Humboldt, you know who you are, thank you so much for holding me down when the time came to move to Arcata, and for being brothers from other mothers. A shout out to Burke Zen for all the jokes cracked, and cigarettes smoked, at "Chinatown." You help get me through this and I would have lost it along time ago.
  • Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry

    Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry

    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research.
  • Digging in the Crates: an Ethnographic Study of Djsʼ Work Ahmed Y

    Digging in the Crates: an Ethnographic Study of Djsʼ Work Ahmed Y

    Digging in the Crates: An Ethnographic Study of DJsʼ Work Ahmed Y. Ahmed, Steve Benford, Andy Crabtree Mixed Reality Laboratory University of Nottingham, Nottingham NG8 1BB, UK {psxaaa, sdb, axc}@cs.nott.ac.uk ABSTRACT Contemporary DJing provides a salient site to explore the An ethnographic study uncovers the work of nightclub DJs, interplay between traditional physical and emerging digital which extends far beyond the act of mixing tracks to also forms of music and so inform future music technologies. It encompass collecting music, preparing for performances, should therefore come as no surprise that there is already an and promotion and networking. We reveal how DJs value established history of DJ-related research. A previous study vinyl and digital formats in different ways, acquire music of DJs performing in nightclubs revealed how they draw on through ‘crate digging’, prepare physical and digital crates various cues to adapt their performances to the dancers of music before gigs, and how these underpin improvised [11]. Other studies have explored DJs’ varying attitudes selections during their performances. We document how towards new digital technologies [10] and the changing DJs interact with promoters, venues, dancers and other DJs, notions of DJ practice that have arisen as a result [15]. revealing an etiquette that governs how they select and Novel technologies have been developed to partially or share music, and manage an ongoing tension between even fully automate DJing such as Mixxx, which employs revealing and hiding metadata so as to maintain a automatic beat matching so as to free up the DJ’s time to competitive edge.
  • Cats: Destructive Scratching

    Cats: Destructive Scratching

    CATS: DESTRUCTIVE SCRATCHING Why Do Cats Scratch? It’s normal for cats to scratch objects in their environment for many reasons: To remove the dead outer layers of their claws. To mark their territory by leaving both a visual mark and a scent - they have scent glands on their paws. To stretch their bodies and flex their feet and claws. To work off energy. Because scratching is a normal behavior, the goal in resolving scratching problems is to direct the scratching onto acceptable objects and provide appropriate outlets. Training Your Cat to Scratch Acceptable Objects 1. You must provide objects for scratching that are appealing, attractive, and convenient from your cat’s point of view. Start by observing the physical features of the objects your cat is scratching. The answers to the following questions will help you understand your cat’s scratching preferences: o Where are the objects located? Prominent objects, objects close to sleeping areas, and areas near the entrance to a room are often chosen. o What texture do they have – are they soft or coarse? Carpeted? o What shape do they have – are they horizontal or vertical? o How tall are they? At what height does your cat scratch? 2. Now, considering your cat’s demonstrated preferences, substitute similar objects for her to scratch (rope – wrapped posts, corrugated cardboard, or even a log). Place the acceptable object(s) near the inappropriate object(s) that she’s already using. Make sure the objects are stable and won’t fall over or move around when she uses them. 3.
  • American Music Review the H

    American Music Review the H

    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIII, Number 2 Spring 2014 DJ Kuttin Kandi: Performing Feminism Ellie M. Hisama, Columbia University As a turntablist, Pinay, poet, feminist, and activist, DJ Kuttin Kandi challenges the sexism manifested in hip hop and popular music by collaborating with other women in her performances, publishing open letters about male-dominated lineups, and speaking critically about controversies such as Day Above Ground’s 2013 song and video “Asian Girlz.”1 In his recent book Filipinos Represent, Anthonio Tiongson Jr. suggests that hip hop DJing provides a site for Filipina DJs to negotiate gender conventions, sexual norms, and familial expectations.2 Kuttin Kandi’s performances are a form of critical authorship that actively engages a politics of the feminist body and are grounded in feminist collaboration. A long-time member of the New York-based DJ crew 5th Platoon, Kandi was the first woman to place in the US finals of the prestigious DMC USA competition in 1998.3 She has toured throughout the US and internationally, performing with distinguished musicians including Afrika Bambaataa, Kool Herc, Black Eyed Peas, MC Lyte, the Roots, dead prez, Immortal Technique, and Le Tigre. Kandi has been deeply in- volved in cultural advocacy and grassroots political organiza- tions, having worked with Filipino American Human Services and Gabriela Network to fight the sexual exploitation of Filipi- nas, police brutality, and sweatshop labor. While living in New York, she taught the art of turntabling and DJing at the Scratch DJ Academy, and taught spoken word and poetry to high school students at El Puente Leadership Center in Brooklyn.
  • The Freesound Loop Dataset and Annotation Tool

    The Freesound Loop Dataset and Annotation Tool

    THE FREESOUND LOOP DATASET AND ANNOTATION TOOL António Ramires1 Frederic Font1 Dmitry Bogdanov1 Jordan B. L. Smith2 Yi-Hsuan Yang3 Joann Ching3 Bo-Yu Chen3 Yueh-Kao Wu3 Hsu Wei-Han3 Xavier Serra1 1 Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain 2 TikTok, Lodon, United Kingdom 3 Research Center for IT Innovation, Academia Sinica, Taipei, Taiwan [email protected] ABSTRACT tronic music. Currently, large-scale databases of audio of- fer huge collections of audio material for users to work Music loops are essential ingredients in electronic mu- with. Some databases, like Freesound 1 and Looperman 2 , sic production, and there is a high demand for pre-recorded are community-oriented: people upload their sounds so loops in a variety of styles. Several commercial and com- that other users can employ them in their works. More munity databases have been created to meet this demand, commonly, these collections are commercially oriented: but most are not suitable for research due to their strict li- loops are available to paying costumers, either through a censing. We present the Freesound Loop Dataset (FSLD), subscription service (e.g. Sounds.com, 3 Splice 4 ) or by a new large-scale dataset of music loops annotated by ex- allowing customers to buy packs of loops (e.g. Loopmas- perts. The loops originate from Freesound, a community ters, 5 and Prime Loops 6 ). database of audio recordings released under Creative Com- Despite the number of loops available on these mons licenses, so the audio in our dataset may be redis- databases, the technologies used to analyse and navigate tributed.
  • Pro Mixer Vmx1000usb/Vmx300usb

    Pro Mixer Vmx1000usb/Vmx300usb

    DJ Mixers PRO MIXER VMX1000USB VMX300USB / VMX200USB VMX100USB VMX1000USB: Professional 7-Channel Rack-Mount DJ Mixer with USB/Audio Interface, BPM Counter and VCA Control Professional 7-channel ultra-low noise DJ mixer with state-of-the-art phono preamps Awesome XPQ stereo surround effect 3-band kill EQ (-32 dB) with EQ on/off The VMX1000USB, VMX300USB, inputs for announcements, an impromptu switch on stereo channels, VMX200USB and VMX100USB DJ Mixers rap, or any other vocal nuance. But this Gain control and precise level are built to connect directly to your new generation’s USB connectivity meter per channel computer and take your music straight enables you to access your MP3 library or into the digital realm. In an instant, digitize your own creative mix, putting it Automatic talkover function these mixers allow you to record and directly onto your computer. If it can be with separate Depth and play any digital music file with your PC clicked, spun or spoken, the new VMX USB Sensitivity control or Mac computer with no setup drivers series can mix it! required! You also get a massive software Balanced Main and additional A VMX For All DJ’s zone outputs bundle to transform your computer into a full-fledged music production and Whether you’re a stunt DJ Subwoofer output with adjustable editing studio. throwing multiple elements into x-over frequency and level control Live Large With More Mediums! the mix, or keeping it real simple, for separate bass amplification there is a USB-ready VMX mixer for VMX300USB: Professional 3-Channel Like the trusty DJ mixers of yore, you.
  • Manual Important Safety Precautions

    Manual Important Safety Precautions

    DJLab 2.1 Complete DJ System 3. 5 0 0.5 3. 5 0 0.5 USER’S MANUAL IMPORTANT SAFETY PRECAUTIONS 1. Read Instructions – All the safety and operating instructions should be read 14. Servicing – The user should not attempt any service to the appliance beyond before this product is operated. that described in the operating instructions. All other servicing should be 2. Retain Instructions – The safety and operating instructions should be retained referred to qualified service personnel. for future reference. 15. Ventilation – Slots and openings in the cabinet are provided for ventilation and 3. Heed Warnings – All warnings on the appliance and in the operating to ensure reliable operation of the product and to protect it from overheating, instructions should be adhered to. and these openings must not be blocked or covered. The openings should 4. Follow Instructions – All operating and use instructions should be followed. never be blocked by placing the product on a bed, sofa, rug, or other similar 5. Water and Moisture – The appliance should not be used near water - for surface. This product should not be placed in a built-in installation such as example, near a bathtub, washbowl, kitchen sink, laundry tub, in a wet a bookcase or rack unless proper ventilation is the manufacturer’s instructions basement, or near a swimming pool, and the like. have been adhered to. 6. Heat – Appliance should be situated away from heat sources such as 16. Attachments – do not use attachments not recommended by the radiators, heat registers, stoves, or other appliances (including amplifiers) that product manufacturer as they may cause hazards.