DOCSLIB.ORG

Rane DJ Products Catalog

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rane DJ Products Catalog MP2014 New! Simply Silky-Smooth The MP2014 represents the perfect marriage of a high-quality rotary control-surface, with state-of-the-art digital signal processing and dual 16-channel USB sound cards. An essential assortment of analog and digital I/O supports mixing vinyl, CDs and USB streaming audio in any combination. Simple, elegant and easy to master. Rane DJ Products - 2 Different music genres require different filter and EQ Each PH/CD input can Two USB ports can connect two computers, configurations to properly deal with song content. be switched to Phono each supporting 3 stereo playback and 7 stereo The MP2014 allows DJs to adjust Filters, EQs and level or CD deck level. record channels. Play tracks to each input the Isolator to personalize the music. Channel and An AUX input on each channel and the USB Aux. Simultaneously record Isolator Filters can be stacked for truly amazing mixer channel is also each Deck pre-fader, post-fader, the Session In, isolation and manipulation of musical elements. available. the Mic, and the Main mix. The Isolator EQ on the Each input channel Main mix has powerful selects USB-A, USB-B, 3-band +10 dB to a PH/CD deck, or a full-cut 24 dB per 0 dB 0 dB 0 dB stereo line AUX. octave lters with fully • Deck 1 USB playback 225 2.8k adjustable crossover ISO channels 1-2. 135 380 1.7k 4.75k points. ∞ +10 ∞ +10 ∞ +10 • Deck 2 USB playback LOW 80 640 MID 1.0k 8.0k HIGH ACTIVE CROSSOVER CROSSOVER channels 3-4. 5 The Session Output 4 6 5 PH/CD 1 AUX 1 PH/CD 2 AUX 2 4 6 1A 1B 2A 2B 3 7 goes to S/PDIF and RCA 3 7 2 8 2 8 outputs for recording or 1 9 0 10 1 9 chaining mixers together. SOURCE SOURCE The Main Mix has a SESSION OUT MP2014 0 10 I II MAIN 16-segment stereo 5 5 MIC 4 6 4 6 Meter, XLR Main Outputs DUCK 3 7 3 7 LEFT RIGHT ON 5 2 8 OL OL 2 8 OL with a Level control and 4 6 OFF +10 +10 +10 The Mic input can switch 3 7 1 9 1 9 +7 +7 +7 TRS Booth Outputs with 0 10 0 10 2 8 to mic-level or GAIN +5 +5 GAIN +5 a Level control. wireless-mic line-level. 1 9 +3 +3 +3 0 10 | +2 +2 | +2 GAIN The DUCK switch +1 +1 +1 0 0 0 temporarily lowers the -1 -1 -1 FX -2 -2 -2 mix by 10 dB while OFF +6 OFF +6 HIGH -3 -3 HIGH -3 turning the mic on. -5 -5 -5 | -7 -7 | -7 BASS TREBLE 3-band +6 dB to full-cut -10 -10 -10 TONE -15 -15 -15 12 dB per octave tone -24 -24 -24 The Session In source lters on each input AUX OFF +6 OFF +6 MID MID 5 may be RCA, S/PDIF or 4 6 channel (with selectable 3 7 5 | | 4 6 300 / 3k or 150 / 6k Hz USB AUX playback CUE FX FX 2 8 3 7 1 9 crossover points in the channels 9-10. 2 8 0 10 1 9 BOOTH user control panel*). 0 10 OFF +6 OFF +6 SESSION IN LOW LOW PHONES MAIN Cue any input channels A sweepable Low-pass, SPLIT NORM or the Session Input with Low/High-pass, or the CUE switches and High-pass 24 dB per LOW HIGH the Headphone monitor. octave lter can activate RESONANCE FILTER FILTER FILTER CUE PAN MIX Pan adjusts the on each input channel, Cue/Main Mono Split or along with a central 5 5 4 6 4 6 5 Stereo Cueing. 1/4" Resonance control. 4 6 3 7 3 7 3 7 jacks are on both top 2 8 2 8 2 8 plate and front panel 1 9 1 9 1 9 0 10 with an additional 3.5 0 10 0 10 LEVEL Real wood side panels MIX MIX mm jack on the front. make this mixer an CUE CUE PHONES I II instrument of beauty. *The user control panel supports MP2014 options and status with a USB 2.0 computer connection. Class compliant MIDI and Audio means no driver is required for Mac OSX. A high performance universal ASIO driver is included to run most DJ and DAW software in Windows. The bottom line: this mixer sounds fantastic with vinyl, CDs and music files. The dynamic range is 116 dB from line in to digital/USB out or digital/USB in to line out. THD+N is only 0.001%. All audio processing is 32-bit floating point with supported sample rates of 44.1 kHz, 48 kHz or 96 kHz. Unit size: 14˝ H x 11˝ W x 4.3˝ D [35.5 cm x 27.9 cm x 8.3 cm ](includes knobs) Rane DJ Products - 3 MP2015 It's the Rotary Mixer Revival Ultimate Club Mixer 2015 The MP2015 is a perfect marriage of high-quality rotary control surface, high-resolution digital Best DJ Product of 2015 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 in any combination, with pristine 30TH ANNUAL audio quality and massive headroom that's never been heard in a DJ mixer before. The MP2015 is supported in Serato DJ with the purchase of the Serato DJ Club Kit, which includes Serato DJ and the Serato DVS Expansion Pack. Purchase the kit from serato.com. Traktor Scratch certification allows control of 4 Traktor decks with vinyl and/or control CDs. It's also the first Traktor Scratch certified mixer with dual USB ports, allowing easy back-to-back DJ changeovers. Download Traktor software from native-instruments.com. CLUB KIT Upgrade-Ready Rane DJ Products - 4 Different music genres often require different filter and Each PH/CD input can be Two USB ports can connect two computers, EQ configurations to properly deal with song content. switched to Phono level, CD each supporting 5 stereo playback and 7 The MP2015 allows performers to adjust Filters, EQs deck level, or S/PDIF with 128 stereo record channels. Play tracks into and the Isolator to suit their needs. Channel, Submix dB dynamic range. An AUX 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 lters with 2 8 control and TRS 225 2.8k +5 ISO fully adjustable cross- +3 1 9 Booth Outputs with a 135 380 1.7k 4.75k +2 over points. ∞ +10 ∞ +10 ∞ +10 0 10 Level control. LOW MID HIGH +1 MAIN 80 640 1.0k 8.0k ACTIVE 0 CROSSOVER CROSSOVER -1 5 4 6 Each input channel -2 3 7 The Session Output PH/CD 1 AUX PH/CD 2 AUX PH/CD 3 AUX PH/CD 4 AUX -3 2 8 selects USB-A, 1A 1B 2A 2B 3A 3B 4A 4B -5 goes to S/PDIF and 9 -7 1 USB-B, PH/CD (1-4) 0 10 RCA outputs for re- -10 BOOTH -15 or a stereo line AUX. SOURCE SOURCE SOURCE SOURCE cording or chaining -24 • Deck 1 USB play- SUB SUB SUB SUB I II III IV MAIN mixers together. The 5 5 5 5 back channels 1-2. 4 6 4 6 4 6 4 6 FX LOOP AUX Session In source may 3 7 3 7 3 7 3 7 5 • Deck 2 USB play- SUB FX ON 4 6 SUB 2 8 2 8 2 8 2 8 3 7 be RCA, S/PDIF or back channels 3-4. 1 9 1 9 1 9 1 9 2 8 USB AUX playback 0 10 0 10 0 10 0 10 1 9 • Deck 3 USB play- GAIN GAIN GAIN GAIN DRY WET 0 10 channels 9-10. Send it SESSION IN back channels 5-6. | | | | | to the Submix channel 4 5 6 • Deck 4 USB play- 3 7 or the Main Mix with back channels 7-8. OL OL OL OL OL 2 8 +10 +10 +10 +10 +10 1 9 the SUB button. 0 10 OFF +6 +7 OFF +6 +7 OFF +6 +7 OFF +6 +7 OFF +6 +7 SESSION OUT HIGH +5 HIGH +5 HIGH +5 HIGH +5 HIGH +5 +3 +3 +3 +3 +3 3-band +6 dB to | | | | | MIC +2 +2 +2 +2 +2 The Mic input switches full-cut 12 dB per +1 +1 +1 +1 +1 OFF 4 5 6 DUCK 0 0 0 0 0 3 7 for line-level, mic-level, octave tone lters on -1 -1 -1 -1 -1 2 8 OFF +6 -2 OFF +6 -2 OFF +6 -2 OFF +6 -2 OFF +6 -2 1 9 and 48V phantom. each input channel 0 10 MID -3 MID -3 MID -3 MID -3 MID -3 GAIN The DUCK button and the Submix (with -5 -5 -5 -5 -5 | | | | | -7 -7 -7 -7 -7 temporarily lowers the selectable 300 / 3k or -10 -10 -10 -10 -10 150 / 6k Hz crossover -15 -15 -15 -15 -15 mix by 10 dB while -24 -24 -24 -24 -24 BASS TREBLE turning the mic on.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Rane DJ Products Catalog
    2014 EU catalog Rane is pleased to announce that our products which previously included Serato Scratch Live software are now fully supported by Serato DJ software. DJs currently using Serato Scratch Live with supported Rane hardware have the option to migrate to the new and improved Serato DJ free of charge. If you’re familiar with Scratch Live, the transition to Serato DJ is easy and intuitive. Serato DJ provides support for DVS (digital vinyl system), iZotope FX, Sync, Slip Mode, more Cue points, jump-to- loop, an improved 24-slot sampler and Classic Vertical Mode with two decks. takes advantage of the high performance, ultra-low latency Rane ASIO and Core Audio drivers. Both programs share New in Serato DJ compatible song libraries, the same • Includes FX powered by industry general workflow and deck layout. leaders iZotope, enabling you to Serato software combined with Rane manipulate your songs and add another hardware is the ultimate solution for dimension to your mix. Additional professional DJs, using your turntables iZotope FX Expansion packs can be or CDJs with Serato Noisemap™ discs purchased to grow your arsenal of FX. Horizontal Stack Mode with four decks on to control Serato DJ. This intuitive • Always a controversial subject, sync the SL4, Sixty-Four or Sixty-Eight. DVS replicates the traditional DJing is finally here for DVS DJs that want it. experience for “real feel” usability. With Hit sync to get tracks in time quickly, unparalleled performance, sound quality allowing you to do other things instead Optional plug-ins Serato Remote and Serato Remote and stability, you’ll know why thousands of moving the pitch slider.
    [Show full text]
  • 1 Becoming a Radio DJ
    TEAM LinG - Live, Informative, Non-cost and Genuine ! © 2004 by Thomson Course Technology PTR. All rights reserved. SVP, Thomson Course No part of this book may be reproduced or transmitted in any form Technology PTR: or by any means, electronic or mechanical, including photocopying, Andy Shafran recording, or by any information storage or retrieval system without written permission from Thomson Course Technology PTR, Publisher: except for the inclusion of brief quotations in a review. Stacy L. Hiquet The Premier Press and Thomson Course Technology PTR logo and Senior Marketing Manager: related trade dress are trademarks of Thomson Course Technology Sarah O’Donnell PTR and may not be used without written permission. Marketing Manager: All trademarks are the property of their respective owners. Heather Hurley Important: Thomson Course Technology PTR cannot provide Manager of Editorial Services: hardware or software support. Please contact the appropriate Heather Talbot manufacturer’s technical support line or Web site for assistance. Senior Editor/Acquisitions Editor: Thomson Course Technology PTR and the author have attempted Mark Garvey throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the Associate Marketing Managers: manufacturer. Kristin Eisenzopf and Sarah Dubois Information contained in this book has been obtained by Thomson Course Technology PTR from sources believed to be reliable. Developmental/Project/ However, because of the possibility of human or mechanical error Copy Editor: by our sources, Thomson Course Technology PTR, or others, the Brian Proffitt Publisher does not guarantee the accuracy, adequacy, or Technical Reviewer: completeness of any information and is not responsible for any Chad Carrier errors or omissions or the results obtained from use of such information.
    [Show full text]
  • Mt-Djing: Multitouch Djing Table
    Mt-Djing: Multitouch DJing Table Pedro Lopes Dissertation for the degree of Master in Information Systems and Computer Engineering J´uri Chairman: Professor Doutor Jos´eManuel Nunes Salvador Tribolet Adviser: Professor Doutor Jo~aoAnt´onioMadeiras Pereira Co-adviser: Professor Doutor Alfredo Manuel dos Santos Ferreira Junior Jury Member: Professor Doutor Nuno Manuel Robalo Correia October 2010 Acknowledgements As DJ history itself, this thesis has been a long journey, full of turning points and milestones. The astonishing number of people I would like to acknowledge shows how numerous were the dark alleys and obstacles I had to transpose during this last year. Firstly, to my father and mother for outstanding support, not only through this work but for the two decades before. To my advisor and co-advisor, Prof. Jo~aoMadeiras Pereira and Prof. Alfredo Ferreira Jr., for strong belief on Mt-Djing from square one. Moreover I kindly acknowledge the contribution of my colleague Diogo Mariano, whom I thank for all the support given, endless brainstorming sessions and late work nights. A word of appreciation to Ricardo Jota and Bruno de Ara´ujo,for the interest and support to this work, shown in the form of the many conversations exchanged upon this subject. Other colleagues have their place within this thank-you note, namely Tiago Ribeiro and Guilherme Fernandes, for their help in reviewing and discussing the contents. And at last, but (definitely) not least, to all DJs and accompanying group, that took the time and effort to contribute so much to this work - that ultimately is theirs more than it is mine - specially: Pedro Farinha, Pedro Sousa (aka Alfredo Carajillo), Jo~aoGomes (aka Mush Von Namek), Igor Sousa and Nuno Moita.
    [Show full text]
  • Mixtapes and Turntablism: Djs’ Perspectives on Musical Shape
    Empirical Musicology Review Vol. 8, No. 1, 2013 Mixtapes and turntablism: DJs’ perspectives on musical shape ALINKA E. GREASLEY[1] University of Leeds HELEN M. PRIOR[2] King’s College London ABSTRACT: The notion of musical shape is widely used by performing musicians, but most studies have focused on classical performing contexts. This paper extends this research to DJs performing on turntables, chosen in light of existing evidence from a questionnaire study suggesting that shape may be a useful concept for some DJs. This paper presents an interview study investigating the use and understanding of musical shaping by three professional DJs with varied backgrounds. Interpretative Phenomenological Analysis was used to analyse the data. Findings suggest that DJs do use the notion of shape implicitly when planning and executing their sets, and that playing sets without any shaping involves playing the music badly. DJs reported using the idea of shaping to modify a track while it was playing; to help control the transition between tracks; and in relation to the overall trajectory of a set. There was evidence that participants understood musical shaping multi-modally, through gesture and visual representation as well as sound; and results show ways in which DJs draw on heuristics to signify complex combinations of technical devices that create a particular musical shape or sound. The findings are considered in relation to existing work on performers’ use of musical shape as well as work on the practice of DJs. Submitted 2013 January 15; accepted 2013 July 23. KEYWORDS: musical shaping, DJs, mixtapes, turntablism, scratching INTRODUCTION THE notion of musical shape is widely used by performing musicians, but has only recently become more common as a focus of study.
    [Show full text]
  • Aalborg Universitet Towards an Open Digital Audio Workstation for Live
    Aalborg Universitet Towards an open digital audio workstation for live performance Dimitrov, Smilen DOI (link to publication from Publisher): 10.5278/vbn.phd.engsci.00028 Publication date: 2015 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Dimitrov, S. (2015). Towards an open digital audio workstation for live performance: the development of an open soundcard. Aalborg Universitetsforlag. (Ph.d.-serien for Det Teknisk-Naturvidenskabelige Fakultet, Aalborg Universitet). DOI: 10.5278/vbn.phd.engsci.00028 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: April 30, 2017 THE DEVELOPMENT OF AN OPEN SOUNDCARD THE DEVELOPMENT OF FOR LIVE PERFORMANCE: AUDIO WORKSTATION AN OPEN DIGITAL TOWARDS TOWARDS AN OPEN DIGITAL AUDIO WORKSTATION FOR LIVE PERFORMANCE: THE DEVELOPMENT OF AN OPEN SOUNDCARD BY SMILEN DIMITROV DISSERTATION SUBMITTED 2015 SMILEN DIMITROV Towards an open digital audio workstation for live performance: the development of an open soundcard Ph.D.
    [Show full text]
  • How to DJ: Skills, Attitudes and Basic Mixing Techniques Introduction
    How to DJ: Skills, Attitudes and Basic Mixing Techniques Introduction This page covers some comments and opinions on the basic skills and attitude of a DJ. How does a typical audience behave ? What they expect and how they react. Afterward we give a set of recurring, but wrong, ideas about 'DJ-ing'. The Audience The audience is the most important of all. They are the final judge of what you're doing. A party without people is no party. It is as simple as that. People can be at a party for a number of reasons They are there because they are organizing the party. People can come for social contact. To take pictures of the room (I hate the Japanese tendency to run around with half a ton of lenses and photo machinery) To drink & forget their problems. As the night goes on, people will become drunk or stoned (or both at the same time :). Dirty Trick: If you throw salt over the floor before people come in then the audience will drink more later on the evening. To dance and have a good time. These people are the ones which will be your judge. People can also be there because they came along with other people. These people aren't expecting anything. So don't expect anything from them. So, a party is not that difficult at all. Nevertheless some DJ's have quite a strange picture of what's going on at parties. Some Recurring Misconceptions A number of DJ's have the tendency to act as if they are god.
    [Show full text]
  • 48900 $99995 $59995 $77995 $39995
    240 DJ Turntables 800-416-5090 www.bhproaudio.com TECHNICS #TESLDZ1200 $ 95 TECHNICS #TESL1200MK2 SL-DZ1200 779 $48900 SL-1200 MK2 Designed from the ground to bring the look and feel Since 1978 the of a classic SL-1200 turntable into the digital SL-1200 MK2 realm, the SL-DZ1200 features a familiar has built a feeling direct-drive motor with a solid reputa- 10” spinning platter. Playback and tion for being scratch CDs, MP3s, and AACs on a an incredibly disc or in the SD memory card slot. durable piece You can sample and loop a portion of of equipment the music playing quickly with in and that promises out pads, and even edit and overlap the samples. to keep the music • Same quartz crystal direct-drive as the classic SL-1200 playing • (4) illuminated cue pads • Forward/reverse instantly play backwards on the beat no matter • 12.8 lbs, 43/8” x 1239/64” x 13” • Change tempo with changing pitch what you throw at it. Its heavy aluminum body and thick • Adjustable brake and start up times rubber base make it impervious to vibration. The platter • Central display shows BPM, elapsed + remaining time, song data itself is an integrated component of its direct-drive motor, increasing its resiliency and making speeds more accurate. • Accurate quartz locked pitch adjustment 16%(+/-8) NUMARK #NUX2 $ 95 • High torque/low speed motor, starts and stops in 0.7 X2 999 seconds • Variable pitch, 33 1/3 and 45 RPM The X2 has answered the call for an • Cartridge not included • Industry standard DJ turntable integrated DJ deck featuring both a • Dust cover, headshell, rubber platter mat, and 45 professional vinyl turntable, and a CD/ RPM adapter included MP3 player with looping and scratching • Cartridge and stylus (needle) not included capabilities.
    [Show full text]
  • The Institutionalization of Hip-Hop Djing Education
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository CONTINUING THE QUEST FOR LEGITIMACY: THE INSTITUTIONALIZATION OF HIP-HOP DJING EDUCATION Megan Ross A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in Musicology in the Department of Music. Chapel Hill 2015 Approved by: Mark Katz Andrea Bohlman Chérie Rivers Ndaliko © 2015 Megan Ross ALL RIGHTS RESERVED ii ABSTRACT Megan Ross: Continuing the Quest for Legitimacy: The Institutionalization of Hip-Hop DJing Education (Under the direction of Mark Katz) Since the early 2000s, many hip-hop DJs have taken on teaching roles in educational institutions, whether in secondary schools, universities, or for-profit ventures. This thesis explores this development as part of an ongoing quest for legitimacy within hip-hop and the broader world and also as a response to the increasing dominance of digital technologies. Teaching offers DJs the opportunity to preserve their foundational values of innovation, experimentation, and personalization. Their approach tends to be fundamentally multimodal, emphasizing the use of sight, sound, and touch to demonstrate the artistry necessary to becoming a DJ. There are many benefits to formal education, such as bringing about gender equality in the field, as well as concerns related to standardization and authenticity of pedagogical methods based on informal learning traditions. My study is more broadly relevant to popular music institutionalization, authenticity debates in hip-hop education, and informal and formal approaches to learning music.
    [Show full text]
  • Scratch Dj Equipment Guide V.1 February 2014 Index
    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
    [Show full text]