Serato Gets A Brand New Controller: Reloop Terminal Mix 4
Article Reposted From http://www.digitaldjtips.comReloop has today officially announced the Terminal Mix 4, a controller for Serato. It represents the European company’s first foray into Serato controllers, and pretty much gives the game away as to where Serato is going with its software at the same time.
The unit seems very similar in build and appearance to the company’s Jockey 3 controller for Traktor, but in packing in a full four-channel mixer and lots of extra buttons, shares a little in common with the Vestax VCI-400 too.
It has a high-end feature set, which includes “intelligent kills” (any kills are good in our book); per-channel filters; crossfader curve and assign; six-inch aluminium jogs; fader start; simultaneous control of four cues and four sample decks per side; and the promise of performance modes (a slicer like Twitch is mentioned in a forthcoming “software update”. More on this in a sec…).
Looping benefits from having a ecent number of controls assigned to it, meaning easy loop readjust and movement while performing a loop, and the effects sections have the standard four knobs and four buttons. You can adjust software views from the hardware unlike most Serato controllers too. There are 14-bit hi-res pitch controls.
We don’t know how many external inputs the unit can handle, or how many microphone channels it has, but we can see from the picture that it has both booth and master outs.
As we noted with the overlay that comes with the Numark N4, manufacturers are stopping putting “Serato Intro” on their products and just writing “Serato”. this Reloop controller confirms this trend.
As we know, Serato Intro is up until now two-deck control only, and so we have to assume that Serato is about to offer either a four-deck upgrade path for Intro; rebrand Intro and Itch as LE and Pro, just like the other manufacturers; or have some other mechanism for controllers like this to have true four-deck support.
Reloop are staying tight-lipped about this saying only that “Terminal Mix is a four-deck controller including Serato DJ Intro” when I questioned them, but I just can’t see Reloop launching a high-end style controller with software that can only utilise two of its four channels – and leaving “Intro” and “ITCH” out of the press release and off of the unit is the giveaway.CLICK ON READ MORE
The Flying V was born on a field of battle that still rages: Gibson verses Fender. In 1957 Gibson’s then-president Ted McCarty wanted some new six-strings to tussle with Leo Fender’s popular Stratocasters. Sure, the Les Paul was already making history, but McCarty wanted more contemporary reinforcements with some eye-candy appeal. After all, the Les Paul had debuted in 1952 during the height of the Korean War. It was a new era.
So Gibson’s design gurus came up with patents for both the Flying V and the Explorer. They were modern looking instruments during a period when Americans were enjoying peace and prosperity, and more leisure time than ever before. And they smacked of the day’s yen for progress. Scientists had elaborated on technology from World War II and Korea to make great leaps in rocketry. Satellites began to circle the Earth. Science fiction novels and movies were the rage.
The aerodynamic charms of both models, but especially the “swept back, forward looking”—as Z.Z. Top’s Billy Gibbons has put it—Flying V made it seem like personal jet packs were just around the corner.
The prototype Flying Vs were mahogany and deemed a bit too heavy and a bit too costly to compete with the Strat. So the first models to leave Gibson’s original factory in Kalamazoo, Michigan, during 1958 were made of the lighter and more readily available korina wood. Their sales didn’t break the sound barrier. According to Larry Meiners’ thoroughly enjoyable Flying “V”: The Illustrated History of This Modernistic Guitar, less than 100 were ordered by dealers in ’58 and ’59.
It would take another decade-and-a-half before the Flying V would have the last amplified laugh, but early sales were so slack that in 1960 the model was struck from Gibson’s catalog. Dave Davies of the Kinks tells a story about buying an original-production V from a Los Angeles guitar shop in 1964 at the fire-sale price of $60. The V’s suggested retail at the time was $247.50. Today a ’58 or ’59 V fetches between $120,000 and $145,000.
Ad From http://www.guitarcenter.comThe SR-16 drum machine has been used by plethora of songwriters, live performers, and remix engineers, making it one of the most popular drum machine on the market. The reason is simple: it features a great selection of 233 realistic, natural drum sounds, offered both in dry form and sampled with Alesis’ incomparable digital reverbs. Alesis’ exclusive Dynamic Articulation feature enables a drum sound to change its tonal content as it’s played harder for truly realistic performances. The SR-16 also features 50 preset patterns that were actually played in by top studio drummers, not just programmed and quantized.
With the SR-16, you’ll find enough built-in rhythmic variations (with A, B, and two Fill sections) for composing complete arrangements, and you can create and save your own customized patterns and songs. Plus, the SR-16 also provides complete MIDI implementation, a footswitch input, flexible programming, and editing features and velocity-sensitive pad buttons. Plus, it’s so easy to use that you’ll be up-and-running and composing new music in minutes. Whether you need a songwriting partner or an accompanyist for live performance, you can find it in the SR-16.
Songwriting Tips - Tapping into the creative process or waiting for the cosmic two by four
Reblogged from http://jeffsongwriting.blogspot.com/?
Some days an experience triggers a song and it just comes out. Many of these are experiences that I could do without. How many heartache, got hit by a train songs have we heard? It’s like this cosmic 2 X 4 hits you on the head providing all the content and emotion needed for writing a song. The challenge is tap into the creative process, whenever you want, even if everything is going great, possibly ducking that 2 X 4.
I was in a class on the creative process the other night. Just learning something new sparked creativity. Here are some other thoughts.
· Creation is going on all the time. New ideas and thoughts are everywhere. At times you are either drawing things in or pushing them away. (Ernest Holmes). The challenge and opportunity is being open and receptive to new ideas.
· “Nothing is more dangerous than an idea when it is the only one we have” (Emile Chartier)? “The best way to get a good idea, is to get a lot of ideas” (Roger von Oech). The number of ideas and your ability to generate new ideas is unlimited.
· In the presence of some people or experiences we are inspired, uplifted to great things. From where do your ideas flow?
· There are infinite perspectives on an idea or experience. People have been writing about love for thousands of years and can still find a unique perspective.
These are great concepts, so how do I use them in songwriting?
· To get inspired, I need to have lots of new experiences. This means getting out of the house, going to the mountains, being around interesting people, reading a good book…
· When I write, I often write one verse, go for a walk or do something else. The next verses come when I can tap into that stockpile of ideas hidden within the clutter in my mind.
· Take a concept or word and find multiple meanings. Here’s one example, I took the word “Cup.” Some of the ideas were - full or empty, large or small, cold or hot, steamy, hot chocolate, open or with a lid, right side up or upside down, cracked, water/beer/wine, part of a set, dusty, lipstick on the rim, spots left by the dishwasher, ….
The last point inspired me, now off to do the dishes.
March 4, 1966: John Lennon's "Beatles Are More Popular Than Jesus" Controversy Begins
(Re-Blogged From http://www.guitarworld.com)Forty-six years ago today — March 4, 1966 — the London Evening Standard published an interview with John Lennon of The Beatles. It was written by Maureen Cleave, a reporter who was friendly with Lennon and the other Beatles.
Most of the story was a fascinating portrait of Lennon’s home life, full of tidbits like this:
John swept past the objects in which he had lost interest: ‘That’s Sidney’ (a suit of armour); ‘That’s a hobby I had for a week’ (a room full of model racing cars); ‘Cyn won’t let me get rid of that’ (a fruit machine). In the sitting room are eight little green boxes with winking red lights; he bought them as Christmas presents but never got round to giving them away. They wink for a year; one imagines him sitting there till next Christmas, surrounded by the little winking boxes.
But a little later in the piece, this happened:
Experience has sown few seeds of doubt in him: not that his mind is closed, but it’s closed round whatever he believes at the time. ‘Christianity will go,’ he said. ‘It will vanish and shrink. I needn’t argue about that; I’m right and I will be proved right. We’re more popular than Jesus now; I don’t know which will go first — rock ‘n’ roll or Christianity. Jesus was all right but his disciples were thick and ordinary. It’s them twisting it that ruins it for me.’
Although it took a few months for the more reactionary bits of the American South to find out about Lennon’s comments, they heard about them, alright, especially since excerpts from the piece were being published around the world.
Deranged knuckleheads started hoisting “Ban The Beatles” signs and burning Beatles albums, even establishing pickup points where “Beatles trash” (including records, photos and other memorabilia that would’ve been worth a lot of money today had they not been destroyed by deranged knuckleheads) could be dropped off, stomped on — and burned, of course.
That spring and summer, the original London Evening Standard piece grew more notorious as the storm of controversy escalated. Lennon was forced to apologize, which he did at a Beatles press conference that summer during the band’s final tour.CLICK ON READ MORE
This is a stereo digital recorder from Tascam, the company that wrote the book on do it yourself recording. This digital recorder features an adjustable stereo pair of condenser microphones that configure in either an XY or AB pattern, and two xlr ¼” combo jacks, allowing you to use both the mics and the inputs simultaneously for four track recording! You can record to either MP3 or WAV formats on the included 2 GB SD card (and use up to a 32gb card), and transfer your audio to computer via USB 2.0. There’s a great overdub feature to record narration, singing, or instruments over your existing recording. Other features include a switchable low cut filter, both manual and automatic gain control, and an analog limiter.
Recording your performances is so important these days. Besides listening back to critique your performance so you can pinpoint where you need to improve, content is king, and you need to be able to regularly post recordings on your social media. You can use the onboard condenser microphones, or the XLR ¼” combo jacks to record from another sound source like the front of house soundboard at your next gig. Using external condenser mics? No worries, the DR-40 supplies phantom power. There’s also an auto gain control and an analog limiter so you don’t have to worry about setting the level or going too hot and ruining the recording. There’s even built in EQ and reverb so you can craft a mix on the fly all from the DR-40. Brilliant!