Just announced on Sept 4th, the merging of Serato’s DJ softwares has begun – bringing DVS support to Serato DJ with the launch of a new version of the program, 1.5. The announcement comes in tandem with three new pieces of gear: the Rane Sixty-Four mixer, a Pioneer DJM-900 SRT Serato DJ Edition, and the Pioneer DDJ-SP1 controller.
As many industry experts predicted, developing three different programs (Scratch Live, DJ, DJ Intro) would serve only to frustrate and bog down Serato’s development cycle – and that a unification between them would be inevitable. Today we get to see the complete plan:
October 2013: 1.5 Release – Vinyl and CDJ control added to Serato DJ for the new mixers
December 2013: 1.6 Beta – Beta DVS support for Sixty-Eight, Sixty-Two, Sixty-One, SL2, SL3, SL4
February 2014: 1.6 Release – Full DVS support for above mixers + soundcards
Serato is bringing their trademarked NoiseMap DVS technology from Scratch Live into Serato DJ, meaning that you’re not going to need new timecode CDs/vinyl, and that it will continue to be the same reliable engine that DVS users have grown highly accustomed to performing under pressure.
End Of The Line: Of note, the Rane SL1 and Rane 57SL will not be receiving DVS support – apparently the technology in the soundcards in each is too limiting to be supported in Serato DJ.
Watch Serato’s CEO Sam Gribben detail more information about the future of Serato Scratch Live, Serato DJ, and more in the video below:
Dan White (Via DJTechTools.com)
Skrillex is taking his inspiration from Kanye West these days.
The electronic music DJ and producer spent a little time with West, sharing a plane flight from Los Angeles to Las Vegas where each was to perform two years ago, and came away with an invitation to collaborate and an even deeper understanding of the possibilities in front of him.
“It was cool to see Kanye surrounded by all these creative people constantly on computers, approving stuff, coming up with ideas – the constant machine that Kanye was in the middle of,” said Skrillex, whose real name is Sonny Moore. “And it reminded me a lot of my crew. We have so much going on 24-7 and we’re always on our computers, we’re all approving stuff and going back and forth with ideas. And to see him do it on a massive level is really cool. He’s just so involved with every aspect of his career.”
The 26-year-old Grammy Award winner has decided to emulate that model, and has begun building a creative center in downtown Los Angeles he calls The Nest. Eventually the goal is to have a space for friends – musicians and producers and members of his record label, OWSLA, but also other creatives in the visual and fashion world – to use as a hub, much in the way West keeps scores of satellites in orbit around him. Skrillex’s first official album, “Recess” is one of the most complex examples of this way of thinking. It was recorded as he toured the world and unfettered by corporate rules. His record label, Atlantic Records, had almost no input before it received the album, and is working mainly as a distributor and promoter.
“All the creative comes from us sitting together and vibing out,” Moore said in a phone interview of his collaborators and business partners. “I’m making music and they’re working on other artist stuff and we just kind of have this synergy going on that really bypasses the steps of having to deal with a label and having to clear something through them, and hopefully they’ll get out there and sell the record. It doesn’t have that (old label system) vibe. It’s a whole different way of being. It’s pure, you know?”
Instead of taking a seven-figure advance, Moore recorded “Recess” in much the way he’s produced previous records – on the fly all over the world. As he played shows for a growing number of fans, he’d selectively invite new collaborators to join him as he made stops in New York, Los Angeles, Canada and the United Kingdom. While in South Korea, he hooked up with G-Dragon and the YG Entertainment crew at the suggestion of Diplo and the result was “Dirty Vibe.” He caught up with old friend Chance the Rapper at a show in Seattle and they banged out “Coast is Clear” overnight with a full band.
“Recess” is the first formal release Moore has put out under the Skrillex moniker since 2011′s “Bangarang” EP. He spent much of 2013 occupied with touring as Skrillex and with his band, Dog Blood. He scored Harmony Korine’s “Spring Breakers” and worked on music obsessively. “Recess,” it turns out, is just the initial salvo in 2014.
“This album is kind of like the first wave of a lot more stuff to come, just (songs) flying out left and right kind of thing,” he said. “That’s kind of what to expect: spontaneous releases. … There’s so many other collaborations that I can’t really say yet but that have been left over from the record, that I’m going to release soon that are so dope. I’m excited for the new stuff to come out that no one’s heard yet.
Jason Nocito (via Billboard)
This Saturday, Southern California’s #1 nightclub experience returns to the legendary Yost Theater. We’re celebrating the 6 year anniversary of IMKING Clothing and wil be featuring very special guest DJ sets from DJ Spryte & DJ Angle. If you’re in the Orange County area this weekend make sure to stop by. RSVP @
Why didn’t he just become a dentist? In the video series ‘My Son The DJ’, DJ’s talk with their parents about the (night)life behind the decks.
Luke lives in airports, uses Skype when he wants to see his wife, and brings his kung fu teacher along on tour. It’s the life of one of the world’s most famous DJ’s. In this video you will see Luke spending some time with his parents, find out where his musicality came from and learn how he managed to keep both feet on the ground.
David Miller (via Jagerland)
Conversations about acquisitions happen all the time, so maybe the story about Twitter and SoundCloud discussing a deal was more of an interesting leak than a close call. In the past two days, we’ve learned that there were conversations between the two, there was a deadline for exclusivity of talks, and that it passed with no deal.
Re/code, which first reported the conversations Monday, said Tuesday that Twitter walked away from the deal. But it was clear that SoundCloud’s price would be high, perhaps too high for Twitter to justify. And indeed, the Wall Street Journal reported that Twitter decided “the numbers didn’t add up,” and backed out.
Few know who leaked word of the conversations, but where will news of the no-deal lead? For starters, a lot more people are now acutely aware of what a good acquisition target SoundCloud would be for a larger media company, and the analogy of the Google/YouTube deal is fresh in people’s minds. People are guessing what the price would be — $2 billion? More? And if there were indeed a period of exclusivity that Twitter enjoyed, it’s over now, so other bidders are now theoretically in the mix.
Berlin-based SoundCloud is a popular service that would have helped Twitter solve a growth problem. It could neatly add a music function to a social network, or augment any of numerous other media properties — at least, ones that are able to part with a couple of billion dollars’ worth of cash and stock.
As for Twitter, the SoundCloud conversations are a reminder of the past failure of its Twitter Music service, and an indicator that it’s still trying to find a way to incorporate music as a key element of its platform. If its talks with SoundCloud were indeed serious, that’s a sign that it would rather buy than build something new — and with a depressed stock price, it may have to shoot for a less expensive option in the near term.
Paul Bonanos (Via Billboard)
“The thing is, I lost my hearing in my left ear two years ago,” says Swedish House Mafia alum Steve Angello to the room at the EDMbiz conference in Las Vegas last year. He’d just been asked about the YouTube upload titled, Steve Angello – How To Fake Your Fans, which showed him DJing without headphones at Dance Valley in The Netherlands. “I couldn’t hear for almost a month and thought I was going deaf,” he went on. “I’m always in planes working with my headphones on really loud. So I taught myself how to DJ without headphones.”
In the recent episode for his Size TV video series, the Swede returns to the topic that stirred up so much controversy. He continues to tour with his self-taught method. “If you’re a guitarist, you can play tight,” he tells the camera in a quiet moment. “If you’re a drummer, you play tight. The only thing you’ve gotta do as a DJ is to press that button at the same beat as the other track, which is not the hardest thing in the world, because people do it every day. You just gotta be synched. The CD player tells you which BPM your record is. If you know that one track is 125 and the other is 128, you just put the pitch three BPMs up. Then you’re good to go. It’s not that hard if you know your records, and it’s definitely not hard if you re-edit all your records so you know the exact timing of things.”
While his SHM mates Sebastian Ingrosso and Axwell have struck up a new collaborative project, Departures, Angello is busy forging his own path. After a mainstage slot inside the Owl at EDC Las Vegas, his Summer Love tour is now focused on Europe, building up to Tomorrowland in Belgium. He’s also presenting a Size Matters tent at select festivals with his label protégés. “If you think about it, people don’t even dance anymore,” he muses in the video on the new wave of EDM fans. “They’re jumping. And that’s awesome. But there’s a gap where [funkier music] used to be.”
The Size TV episode peaks with Angello’s set at Green Valley in Brazil, where the DJ has been known to play some marathon sets in the past. His record is 11-and-a-half hours in 2010. As he told inthemix of the hallowed club: “When I’m in Brazil, I do 11-hour sets. That’s what I really love to do. Last time I was at Green Valley, I broke the record for playing the longest: I think I started at 1am and stopped at 2pm the next day.” Watch the Size TV Episode Six below.
Jack Tegoning (via In The Mix)