May 2011

News: Carl Cox To Release New Album On A Pioneering New USB Format

Carl Cox 1

Carl Cox is to release his forthcoming album “All Roads Lead To The Dancefloor” on a pioneering USB format.

This is the first time an album has been released in this way. Buyers of the USB will initialy receive Cox’s new album. However over the next year buyers will be able to access more and more new material through the USB.

The USB will cost £20 and for that buyers will receive:

‘Phase 1′ – On August 1st, which will initially feature 12 new tracks, including tracks that will be on the final album, B sides and other exclusives.

‘Phase 2′ is to be released on September 26 – buyers of the USB will receive the second single, a dubstep mix of Nexus, complete with remixes and video. The complete album follows on October 17, with third single Chemistry, plus remixes and video coming on October 31.

‘Phase 3′ continues throughout the rest of the year and into 2012.

The USB will be updated with ongoing live footage of Cox and his band, on what will be the DJ’s first live tour. Expect lots of priority access to Cox’s video interviews, tour rehearsals, album remixes and mix sets recorded live from Space, Ibiza.

The USB interface works essentially as a website home page but most features will not require the USB to be connected to the web.

Buyers of the USB will be able to stream and download the album and will also have access to the entire Intec Digital catalogue for a year, as well as access to Cox’s last four Global radio shows, exclusive videos and Carl Cox news.

The interface will allow new content to be added to the USB sticks. The content will be added when the user plugs the stick into their computer; the stick will automatically connect to its CMS location and update.

With all the issues surrounding piracy and illegal downloading we reckon new pioneering ideas like this are great for the music industry. It makes total sense to pay an initial sum at the beginning of the year and then have access a large database of material which is updated throughout the year.

The big music companies should take notice, nice one Coxy!

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Ableton: Three days to save 33% on all upgrades and instruments

As you’ll no doubt be aware, here at, we try and bring you details of all the latest deals currently in the digital djing and music production world.

Well this time it’s Ableton and for a very short time, you can save 33% on all Ableton upgrades and instruments. Act before June 2 and save yourself some cash!

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Making of “The Prodigy – Smack My Bitch Up” in Ableton by Jim Pavloff

Regardless of whether the Prodigy is your type of music or not, if you’re in to Ableton and making music, then watch this video.

Not only does is deconstruct “smack my bitch up” but shows you how you to use Ableton’s effects to create some professional sounds.

Over a million views on YouTube says it all, check it out here:

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Video: DJ Setup in About 10 minutes for Akai APC40 & Ableton Live

DJ Setup APC40 AND ableton Live

DJ setup with Akai APC40 & Ableton Live courtesy of Music Software Training

A nice little video showing how to set up your APC40 for DJing with Ableton Live. Learn how to midi map the APC40 with Ableton and set up a rack of effects.

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Interview: The UK House Legend Steve Mac

Steve Mac House Legend

Article courtesy of Sounds To Sample

The UK house music legend talks about his analogue-packed studio, offers up an EQ tip and explains why the artist should always read the contract.

He has remixed for the likes of Michael Jackson, INXS, Jamiroquai, Junior Vasquez, David Morales, and Roger Sanchez, released records with Paul Woolford and Todd Terry and has also scored a UK Top 20 single. Now the UK house stalwart takes to the S2S hot seat.

What is the prognosis for the music industry: terminal decline or steady recovery?

It’s not in decline or recovery. The music industry will always be here but there’s no denying it has changed beyond recognition in the last ten years. Long gone are the days of the local record shop and many of the bigger music stores are on their way out too – the main market place for music is online.

While it might be easier for people to get their music out there I think the flip side has been that it’s become harder for artists to get paid. One search of Google and reams of music show up for free on blogs and torrent sites – it’s almost impossible to keep up with where the music is being illegally shared. This is just other thing that the industry will have to come to terms with. On a personal level it means I have to work that much harder to make a living.

Does the industry these days dictate that artists need to be both creative artists and businessmen in equal measure?

It does help if you know the ins and outs because there are a lot of sharks out there that will take advantage if given half a chance. Always make sure you know what you’re signing and try and follow a few basic rules like not signing your music away for life and making sure that the master rights always come back to yourself.

As an international touring artist who can regularly find themselves on different continents in the same week, how do you strike a balance between your touring schedule and time in the studio?

I take time out of touring throughout most of the winter to spend time in the studio making new music. However, now the summer is coming and I have an album to promote I will be out on the road a lot more!

Overall I’d say I ‘m more of studio person, as that’s where I spend most of my time, but I still love the buzz of the party and playing my records on an amazing sound system.

Who’s currently rocking your world as a producer and why?

Sirusmo, I find what he is doing very interesting. Musical and clever.

What one piece of kit or plug-in can you not live without?

I have so much kit so it’s difficult to say because I don’t like to be without any of it!

I use a lot of vintage analogue outboard gear – I’ve got a rack of Neve 1084 originals that I use on just about everything I produce. I also have a stack of Urei compressors, 2 1176 Revision A and a Revision D – the A is amazing for vocals and tracking.

Recently I’ve just started tracking all my sounds through my Studer ½ inch tape machine and it gives bottom end like you wouldn’t believe! It’s a long process but for me the results justify the extra effort and time.

One great unit I use on the mix buss is the SSL buss compressor – they call it the magic button. It just glues the mix together like nothing else. In fact I have 3 of them as I use one for the mix, one for drums and one for backing vocals.

Analogue kit is still fundamental to what I do in the studio. I’ve got about 17 analogue synths, I still mix on a big analogue desk, I track through tape and I EQ mostly on outboard gear. That said, I’m a fan of plug-in technology and I’m not an analogue purist – get the best of both worlds because they’re both completely different and they both have lots to offer.

When building a track how do you normally work? Do you start with the drums and build from that?

Drums always come first. I like to mess around on a drum machine for a few hours to try build a good rhythm. I feel that if you get a good beat then your track is half way there and a good rhythm gives you musical ideas.
Sometimes I use my old Emu SP-1200 which just has a sound like nothing else. But lately I have been using Native Instruments’ Maschine. It’s so cool. I build all my drums with one shots. Sometimes I like to sample records, it just gives you another feel, but I also like to make my own drum sounds with synths. I have an Arp 2600 which is just brilliant drums, you can get one hell of a kick drum out that synth!

Any advice on monitoring? Quiet? Loud? Do you prefer flat and boring speakers, headphones or big, phat and chunky monitors? Do you reference on multiple systems?

I like a bit of both depending on where I’m at in the mix. I go loud when I’m working on the bass – that’s when I want to really feel the track. Then I’ll lower the volume for the more detailed mixing.

I own a few pairs of speakers, I have a pair of boring flat Yamaha ns10s which I love to mix on. The great thing about them is they sound crap so If you get a good mix done on those you know it’s going to sound good almost anywhere. I also have a big, big pair of Genelecs and some smaller Aura Tone Genelecs.

What are the biggest barriers new producers face?

Dance music is becoming a bit like the X Factor, everybody thinks they are a DJ or record producer in the digital age. It’s the market saturation that results which is the biggest barrier for new producers. That said, I think if you’re good and have something special, people will find out about you sooner rather than later.

What three pieces of kit / software could you not mix without?

Sony Oxford EQ, L1 limiter and Sound Toys effects.

The oxford EQ is just an all round good sounding digital EQ. It’s a workhorse and the cut frequencies on it are great.

I love the L1 for over pushing and distorting everything, you get a great sound out of the L1 using it like that.

The Sound Toys FX bundle contains some of the best plug-in effects I have ever heard. The guys making these use to work for Eventide, the analogue FX company.

If you could give one piece of advice to yourself when you started out in music, what would it be?

Listen to the people around you and learn from them

What do you find hardest to get right when making a track?

The mix down, it takes longer than making the record in some cases but in a way it can be the best part of the process, but it can also be the worst when its going wrong!

I always try and get the frequencies right on the sounds in the first place, and I try and set the levels as I go.

My best mix secret is cutting with EQ. Most people add on the bottom and the tops, I cut them. It makes more space for the entire mix. The mastering engineer will only cut the frequencies anyway but if its already done, your mix will be much louder. For instance, when you get a sub bass, it’s good to put an EQ cut on it (everything under 45), because you can’t hear that those frequencies anyway. This should tighten up your mix, and doing the same on the high frequencies can really help too.

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Video: Traktor Kontrol X1 FX Tutorials

Videos courtesy of Native Instruments


Four great Traktor Kontrol X1 FX tutorials to take your dj skills to the next level.

Laying down a nice tight mix is one thing but adding different FXs can really change the sound of your mix sets and really make them stand out from the crowd. Just slapping any old FX on a track doesn’t necessarily work, you need to practice as certain effects will only work well on certain sounds.

Check out the videos below they’ll help you to learn when to drop certain effects and how best to use them. Enjoy!

Traktor Kontrol X1 FX Tutorials Part 1/4: Beat Masher

Traktor Kontrol X1 FX Tutorials Part 2/4: Freeze Effect

Traktor Kontrol X1 FX Tutorials Part 3/4: Loop Synth

Traktor Kontrol X1 FX Tutorials Part 4/4: Juggle Sample

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Video: How To Synchronize Traktor and Maschine

Video courtesy of Native Instruments

How to synchronize traktor with maschine

A handy video showing you how to connect Traktor to Maschine. The video shows you around the ‘controller manager’ and ‘midi clock’ areas in the ‘Preferences’ box. Watching this video will help you to develop your understanding of how to set up and connect other systems and equipment with Traktor, not just Maschine.

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DJ Koze – “Resident Advisor Podcast 145″

A top mix from DJ Koze which takes you on a nice little journey of electronica, house and techno.

DJ Koze - "Resident Advisor Podcast 145"

Tracklisting according to Discogs

1 Mount Kimbie – William
2 Soulphiction – What’s Your Name
3 Moodymann – Freeki Mutha F cker
4 NSI – David Hassell
5 Lowtec – I Remember
6 Syncom Data – Beyond The Stars (Speedy J Remix)
7 Ben Klock – OK
8 Modi (2) And Fegiz – El Solitaire
9 Missing Link, The – 911
10 Lazy Fat People – Low Profile
11 AntonZap* – Pm Please
12 When Saints Go Machine – Fail Forever (dOP Remix)
13 Lowtec – Untitled
14 Animal Collective – My Girls

DJ Koze website

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