Routine: E.A.S.Y. – Shiftee and Enferno Collaboration On Maschine MK2, Turntables, Kontrol Z2

If you follow either DJ Shiftee or DJ Enferno on Twitter or Instagram, you are well aware of the “fued” brewing between the two DJs. DJ Enferno was claiming that “Scratching is cool but turntable only routines are relatively easy” which led to the birth of a battle staged for 11AM EST this morning to settle the beef. In reality, the fight was all staged to build up anticipation for a collaboration project between the two DJs called E.A.S.Y. This project is tailored to bring a new perspective to change how people perceive live DJing and performance. Watch the video below and read more about the paradigm shift that E.A.S.Y. is trying to make.

Shiftee + Enferno: Changing the View on DJs

It is no doubt that DJ culture has become more popular in the last few years. With events such as EDC and Ultra, people are being drawn into the aspect of seeing a DJ just like they would pay to see their favorite rock band. However, a stigma has also been created where DJs are seen as “button pushers” and can’t possibly be on the same level as “real” musicians. If you didn’t catch it, the video above pokes fun at the SNL skit “When Will the Bass Drop” which is a comedic take on the notion of DJs just being button pushers. E.A.S.Y. performs a clever, live remix of the song and seamlessly transitions into their original, “Fly Away.” While the collab video is a parody of the skit, it also raises a beautiful point that is starting to be lost with the influx of DJs and over hyped electronic festivals. DJing is not the act of pushing play and putting your hands in the air. DJing is an art and takes skill on multiple levels.

The video showcases their next level turntablism skills and musicianship, but also highlights their stylistic direction and future bass wig wearing ability.

E.A.S.Y.’s debut could not have come at a better time. DJing is a living practice of music just like any other instrument and needs to be protected from mediocrity and over-commercialization. I can only hope good things for the duo because there needs to be distinction in what a DJ is and what a DJ is not. We are not button pushers. We are practicing musicians in an art form that takes the same level of dedication and musicianship as any other instrument does.

To Drink or Not To Drink (While DJing)

Let’s drag out the white circle-shaped elephant in the corner. The nightlife industry is in large part designed to at the very least, enhance, and at worst, facilitate the consumption of mind-altering substances. Everything from alcohol to drugs and beyond is on the menu nightly. As DJs, it’s almost guaranteed that you will come in contact with this fact at some point. So the question is (as the infamous D.A.R.E. shirts posited) – should you just “say no”?

As we attempt to walk this razor line delicately, some disclosures and context.

1. This is not an “anti-” anything article. We are pro-being smart – and will not carry a moral position on this one.
2. My goal is to provide some advice and techniques for young DJs to use when navigating this sometimes tricky landscape of being “cool” while staying smart.

ALL ABOARD THE BOOZE TRAIN 

Have you ever seen a DJ booth and not spied a drink nearby? The answer is probably not and the reason simple: most dj’s are usually shy or a little bit nervous, and a few drinks will provide a quick shot of confidence.

Cerebral cortex: In this region, where thought processing and consciousness are centered, alcohol depresses the behavioral inhibitory centers, making the person less inhibited; it slows down the processing of information from the eyes, ears, mouth and other senses; and it inhibits the thought processes, making it difficult to think clearly. (Source: How Stuff Works)

This much needed inhibition decrease is the first thing to occur after a drink, but it’s short-lived and the longer-term effects (slower thinking and reaction time) stick around for a much longer. Further drinks start to impair motor function and response time but no longer provide any inhibition benefits. 

Before reaching for a drink to relax yourself pre-set, consider that there might be more effective ways to get the same results.

• Plan out your first four songs and rehearse the mixes so it’s less stressful and almost guaranteed to work
• Watch this TED Talk on “superman poses” that reduce cortisol (stress response hormone) and increase testosterone (confidence-related hormone)
• Set up your gear in advance or have a setup process that is rock-solid so plugging isn’t a stressful pre-set experience

While DJing drunk can feel like a lot more fun, you have to ask – I am really doing a better job?

UNDERSTANDING YOUR CROWD

(Photo Credit: Scott Rennie)

Here are two common arguements for being more liberal in substance intake while at the DJ helm:

“The crowd is off their head, so it’s nearly impossible to really play what they want or be in the same place without going there to a certain extent. If you have never done any drugs, then it’s impossible to understand and therefore “play” to a crowd that is in that experience ” 

For me, the second assumption holds more weight, but doesn’t work out logically. If you have taken acid in the past, then you probably have a pretty good idea what the guys on acid are feeling like right now. It’s not really essential for you be on acid in order to play a set, although that could certainly result in some very interesting moments.

At the most basic level, DJs are given responsibility to make smart musical decisions for an event.

• What is the best track to play now?
• How loud should it be?
• What BPM is appropriate?
• Who am I playing to?

It becomes very hard to make good judgment calls when your decision-making centers and motor skills are seriously impaired. As the previously cited article notes, various parts of the brain are affected with more alcohol. The first drink largely limiting inhibition (generally not a bad thing) but further drinks resulting in mostly negative effects.  So, if you must drink, then just be smart and keep it in moderation.

MODERATING PLEASURES 

If you do find that drinking greases the wheels of creative song selection, then we invite you to imbibe like a professional, not an amateur – you are in fact get paid to party after all. Here are five tried and true techniques for going the distance without running into the ground.

1. Drink an energy drink instead (like Red Bull or similar). All of that taurine and caffeine will put you at the same energy level as the crowd without the fuzzy mental focus.
2. Pair each alcoholic drink with 1-2 glasses of water. By replacing your fluids through the night, you not only avoid the hangover but will keep significantly more mental focus.
3. Pop an Activated Charcoal pill before the gig. This might allow you to drink more without getting nearly as drunk – it also is great at avoiding a hangover by absorbing many of the chemicals that name you feel like a loser in the morning. (Read more about this on WebMD)
4. Do as the sober folks do and drink faux cocktails. Cranberry, soda in a large glass with a large lime is the perfect fake cocktail that will keep your hands occupied for a long time.
5. Fake Shots! Bartenders love this one. They have water shots ready to go or a special bottle to pour from. This will keep all of your friends and that liver happy at the same time.

If nothing else – then please consider your ears and the effect of booze on your perception of noise.

Increased drinking reduces your noise perception floor, increasing the chance of hearing damage

The chances of monitor abuse during a set laced with the sweet taste of Johnny Walker is almost guaranteed. Unless you want to take the direct flight to tinnitus, it’s advisable to keep drinking in check while at the helm of a mixer. Read more about how drinking can cause tinnitus in this DJTT article.

IN FOR THE LONG HAUL

While many people get into DJing as a way to finance their party lifestyle, I would suspect the majority of our readers are in it for the creative thrill and musical challenges that DJing presents. The average party-goer can afford to go overboard and then check out for a while to recover from a serious party binge.

However, if DJing is a life choice, then it’s critical to take the “long haul” approach and avoid toxic burnout at all costs. For some DJs that may mean a totally sober approach, while for others simple moderation could be enough to maintain balance. One thing is guaranteed, partying like you’re on the dance floor is not a sustainable path to a healthy career.

304330

Deadmau5′s Booth: A Glimpse At Live Production With A Giant Touchscreen

Controllers come in all shapes and sizes, yet producers will still tinker with the device to create a custom workflow. iPads and other tablets make nice alternatives because an artist can build a custom controller within the app, however, the amount of space is always an issue. Then there are artists who take tablets to the next level and use a giant touch screen, for example the Microsoft Perceptive Pixel screen, to create enormous, tactile controllers. A prominent example is Deadmau5 who can be seen creating a custom controller using a 55’’ touch-screen, below.

Giant Tablet, Multiple Possibilities

The tablet shown in the above video is Microsoft’s Perspective Pixel device. At 55’’, this is one of the biggest touch displays running as a functional touch device. Deadmau5 purchased the device in order to be implemented into his future tours and performances. This device runs Windows 8.1 just like any other Microsoft tablet would and a producer or DJ could run any compatible app to create a custom MIDI controller, such as Touch OSC.

Here’s his just-posted Instagram view of a 1st person view from his onstage booth:

Everyone has seen a producer “play” a set through a pair of CDJs. Tablets and especially ones of this magnitude can be used as either a custom controller or platform to play a song using clips and live production, taking the whole set out of a traditional festival DJ feeling and into a true live performance vibe.

Future Trend in Music Performances?

This way of performing may not be any less complex than working with synthesizers, turntables, mixers, and sound machines, but it does seem a lot more engaging. A system like the one Deadmau5 demonstrates will keep a performer much busier during the entire set. That being said, this system isn’t cheap and I wouldn’t recommend it for the average DJ. However, if this were to become a more accepted form of performing, we may see a lot more producer creating a more hands-on experience. Giant touch screens are offering what the tablet offers as a medium for DJing only on a much better and bigger scale.

What are your thoughts on Deadmau5′s giant tablet? Can you see your favorite artist using this in their set?

Reloop Neon: Dedicated Effects Management for Serato DJ    

Controllers that compliment DJ software have usually been on the Traktor side of DJing for the past couple of years. However, with the latest developments with Serato DJ, more and more controllers are now coming to forward to take advantage of all the features that Serato DJ has to offer. Reloop has announced the Reloop Neon today which is a controller that houses 8-RGB, touch-sensitive pads to take full advantage of all the effects Serato DJ has to offer. Read more inside on how this dedicated Serato SP-6 sampler controller compliments the software and everything else it has to offer.

Total Effects Control

The Reloop Neon is one of the first Serato controllers for the new software that is dedicated to effects management. The Neon is small enough to sit on the table with other equipment and is an official Serato accessory, giving the controller plug-and-play compatibility right out of the box. The main central focus of the controller is on the 8 touch-sensitive RGB performance drum pads which are ultra-low-latency with after touch. The pads support 8 performance modes: Sampler, Pad FX, Slicer, Looped Slicer, Cue, Hot Flip, Hot Loops, and Manual Loop. (4-deck control is available for the Slicer, Cue, and Loop.)

“The Reloop Neon brings the effect management that has mostly been seen in Traktor and rarely Serato.”

The RGB pads offer visual feedback in each mode to keep the DJ informed about what’s going on in the software. Along the top of the Neon are two endless push encoders for track navigation, volume control, and loop editing. The controller also allows the DJ access to censor, slip, and sync functions for all decks. The Neon also supports the popular new Flip mode in Serato DJ by allowing the DJ to create individual edits from a song and trigger those sequences as Hot Flips. Below are some of the main effect controls the Neon offers.

Sampler:

• 5 different trigger variants per sample slot.
• Access to all 6  sample slots in the 4 banks.
• Dedicated sample volume control. (Master + Slot)

Pad FX:

• Direct access to 6 selectable iZotope FX in Pad FX mode.

Slicer/Looped Slicer:

• Slicer performance modes for slicing of your tracks.

Cue/Cue Roll:

• 8 color coded cue points per deck which can be triggered as roll.

Loop/Manual Loop:

• Quick access to more than 8 storable loops and manual loop control.

“The Reloop Neon is extremely low profile and can save even more space when placed on the Modular Stand.”

Is the Neon a must for Serato DJ?

The Neon is the one of the best solutions to effects management in the new version of Serato. The Neon has an internal/relative mode for DVS users and also is USB bus-powered. Two Neons can be connect via a smart link function for total control over both decks which also saves a USB port for other controllers. The effects management that the Neon provides for Serato DJ is amazing however some DJs aren’t ready to switch over to Serato just quite yet which is why it should be noted that the Neon is a full MIDI device. Reloop also offers a stand that fits the device allowing it to sit right over other equipment in a setup.

The Neon is seems to be a comprehensive add-on for any Serato DJ setup, and is scheduled for release in October of this year and will be approximately 129 € or $149 USD.

Do you think the price is worth the investment for a dedicated effects controller? Is the functionality of the Reloop Neon something you look for in controllers?

Review: Akai APC40 MK2 First Look

The original Akai APC40 is one of the rare breed of products in the computer music age to achieve iconic status. Launched in 2009, the APC40 (followed by its more compact sibling, the APC20) was, along with the Novation Launchpad, the first dedicated, plug-and-play Ableton Live controller to hit the mainstream market. Five years later, Akai are releasing a re-imagining of the original APC40, the Mk2. Will it be as widely adopted as its forebear? We spent some time with it to try to find out.

Reviewed: Akai APC40 MK2
Expected Street Price: $399
Released: In stores this fall

The Good:

• Cheaper and more portable than the original model
• New RGB pads are very cool
• Bus powered

The Bad:

• Doesn’t feel as solid as the mk1
• No new ‘creative’ features

EVERYTHING OLD IS NEW AGAIN

Old APC40 (left) vs new APC40MK2 (right)

Anyone who has spent time with an original APC40 (and liked it) will certainly be comforted by just how similar the new version is. Yes, the layout is a little different, and there are a couple of new features, but overall in functionality terms, the Mk2 is just that; a revision of the mk1.

The APC40 Mk2 remains very much a ‘live’ controller, designed purely for playback of clips in Live’s session view. There are very few concessions to studio use here; no way to input notes, no step sequencer. This model is very clear in it’s purpose, and that’s rather refreshing in a market so often crowded with ’Swiss Army Knife’ products.

The 8×5 matrix of buttons for launching clips is the most noticeable difference. Now fully RGB capable, they allow proper colour feedback of all the myriad assignable colours within Live itself. On the one hand, that is a wonderful development, allowing users to colour-code different clips to their own taste, reducing the need to look at the screen.

On the other hand, though, the way to tell if a pad is active, and playing, now, is that the illumination gently pulses. That’s ok in a very dark club space, but if you’re using the Mk2 in a lighter environment (daylight, for example) it can be quite hard to see at a glance exactly which clip is playing in any particular column.

On balance, the benefits offered by the RGB pads do outweigh the issue of clarity; it’s a massive leap forward from the old 3 colour system, but you should keep it in mind if you perform at a lot of daytime events.

OTHER NEW APC 40 MK2 FEATURES

There are a few other new features that have made their way to the Mk2:

• A dedicated tempo control knob joins the Tap Tempo and Nudge buttons, which should make mixing your Live set into a DJ set a little easier.
• Channels can be assigned to the crossfader, either side, on the fly, and there’s a button for Session Record, a new feature which appeared in Live 9.
• The Clip Stop buttons are now recessed, making them less prone to accidental activation.
• The 8 endless rotary knobs, (previously sat on the top right of the controller) to control pans and sends (and have a user assignable mode too), have been relocated to directly above the channel strips. This is a much more logical setup, and as they are endless rotaries with LED ring lighting, will immediately adjust to match their mode, or channel as you navigate around your Live set.

That ease of use is similarly reflected in the Device Control section, again with 8 rotaries, along with buttons to navigate through different devices, lock control to a single device, and switch them on and off. All good stuff, and using it reminds you why the original APC40 did prove to be so popular; there’s smart design going on here.

One big benefit over the original APC40 is that the Mk2 is powered solely over USB. There’s not even an optional power supply. That’s quite a step up from the original, which required a fairly hefty wall-wart at all times, and makes the Mk2 a much more portable solution.

APC 40 MK2 BUILD & SIZE

Speaking of portability, the Mk2 is actually quite a bit smaller than the original, whilst, as it loses the rather superfluous ‘wings’ of the earlier model, there is generally more space for the controls.

It’s a touch narrower, around 3 inches shorter front to back, and, as it has a completely flat profile, not as tall overall, by around an inch. It’s also not far off half the weight of the old one, perhaps due to the completely plastic nature of the the casing now. It still feels well built, and sturdy, but doesn’t quite exude the ‘tank-like’ feeling of the mk1. In general though, the increased portability feels like a reasonable payoff for that.

WHAT’S STILL MISSING?

The main things one might look for in a controller dedicated to Ableton Live, which aren’t found in the APC40 Mk2, are all related to MIDI creation, really. The pads aren’t velocity sensitive, so even if Akai did offer a Note Mode, as found on the APC20, you wouldn’t be able to be very expressive with them. There’s no step sequencer, either, as found on the competing Ableton Push (also made by Akai). The APC really is designed just for playing back existing clips, and mixing them. Anything much beyond that, you’ll need a secondary controller.

One feature which has always seemed to be a missing link in the APC range is a lack of motorised faders. Yes, they would add to the cost, and weight of the device, but they do make a massive difference to some people. Ableton’s takeover modes go some way to negating the need for them, but it’s worth being clear – if you need motorised faders, the Mk2 isn’t for you.

WRAP UP

The APC40 Mk2 feels like a natural evolution of the original model, bringing it up to date smoothly. Users of the old APC40 will feel right at home here, whilst enjoying the nice new design touches. Anyone who was put off by the lack of ‘creation’ options before won’t find anything new here to get them excited, but considering what this controller is designed to do – control Ableton Live in a live environment, it achieves that superbly. It’s really fun and intuitive to work with, and feels like it will last. A worthy successor, especially considering it is launching at $399, a full $200 less than the original price of the mk1.

The Push is $599, so you’ll really need to consider how much you need the clip creation features of the Push before choosing between the two for live use. For playback of clips, and control of devices in Ableton Live, the APC40 Mk2 serves its purpose superbly.

BONUS REVIEWS: APC MINI & APC KEY 25

Along with the APC40 Mk2, Akai have added a couple of super-portable extra units to the APC range.

The APC Mini looks like a shrunken version of the Mk2, with the now familiar 8×5 grid of pads (just very small), with equally diminutive recessed, low profile faders below. The faders can be quickly assigned to different functions with dedicated buttons, and clever use of a shift key allows the Mini to pull off a lot more than you might imagine for such a tiny device.

The APC Key 25 has an even smaller 8×5 grid, and all the same controls, but instead of faders, you get a set of 8 knobs (not endless), and a compact 25-key keyboard.

Ultimately, these mini devices didn’t get our blood pumping like the APC40 Mk2, but we didn’t expect them to; they are designed to be used on the move, or as part of a bigger setup, and they do that job very well. Both feature 3 colour LED clip launch pads, rather than RGB, but those pads are just big enough to be usable. Perfect for practicing, or recording mixes whilst on a train or sat in an airport, really. Add in the fact that you can use any combination of the APC range together in one Ableton Live rig, and at $129 for the Key 25, and $99 for the Mini, they both seem like a good deal.

Akai’s New AFX and AMX Controllers for Serato DJ

Akai is launching two new controllers for Serato DJ that have a small form factor but unlock full control of the software. We’ve got details on the AFX, an effects and cue point focused controller, and the AMX, a two channel mixer with a soundcard.

SLIMLINE MODULAR CONTROLLERS

When Serato DJ launched, it was clear that the formerly digital-vinyl centric company was finally starting to take a controller friendly approach to their DJ software. But unlike their major competing software, Traktor, most of the controllers that came supported in Serato DJ have been all-in-one devices that incorporate jogwheels, a mixing section, and effects control – if not many more control surfaces.

Akai’s new controllers fill a clear gap in the Serato controller world, modular controllers that are akin to the Kontrol X1/F1/Z1 lineup, suitable for use next to a variety of other controllers or just by themselves.

AKAI AFX: EFFECTS, SAMPLES, AND FLIP CONTROL

Akai’s AFX controller – not too unlike the DDJ-SP1

The AFX takes a secondary controller approach to Serato DJ, much like the DDJ-SP1 subcontroller from Pioneer. This controller has a 8 velocity-sensitive pads with RGB feedback backlighting, allowing for control of cue points, loops, slicer, samples, or even the just-announced Serato Flip feature.

Flip Mode controls pictured on the Akai AFX controller

There’s also browsing/loading control, a strip-search touch strip at the top of the unit, and of course, 6 knobs for controlling FX levels, assignment, rate, and dry/wet levels. The FX knobs are touch sensitive, just like those found on the Numark NS7 II, allowing the FX to be activated quickly with a tap, or permanently with a twist.

The AFX will be available “this fall” for an expected price of $199.99 / £139.99 / € 179.99. That includes codes for unlocking Serato Flip (normally $29) and the Back Pack FX pack ($20).

AKAI AMX: THE MIDI MIXER YOU’VE BEEN WAITING FOR

A MIDI mixer for Serato DJs – click to zoom in on the Akai AMX

We’ve long heard digital DJs clamoring for more options in low-cost MIDI mixers with integrated sound cards. Native Instruments had their crack at it with the Kontrol Z1, and now Akai is bringing the same level of functionality to the Serato DJ world with the AMX controller.

The AMX is a two channel mixing controller with a 24-bit/96kHz audio interface – two sets of RCA Phono/Line inputs for Serato DJ timecode control, as well as a pair of RCA output ports. Conveniently the AMX comes with the full version of Serato DJ – yes, that means that the software will run in a fully-functional live mode with just this controller plugged in.

The controls on the AMX are fairly standard – two line faders, gain/EQ/filter knobs (also touch sensitive), and a mini innoFADER resting in the crossfader position. Browse and loading controls are also prominent on the controller, as well as basic transport controls (cue/sync/pause/play) – something that the Kontrol Z1 was sorely missing.

The AMX will also be available this fall, with an expected price of $249.99 / £179.99 / € 229.99. This includes a full version of Serato DJ, but if you want to unlock DVS control, that will be sold separately as an additional update.

Think that Akai’s new offerings are worth picking up? Let us know your thoughts in the comments. 

How to pack for a gig

Comfortable Carrying

The straps and bag are reinforced not only for a long-lasting bag that will survive gig after gig, but also to make sure that even a heavy load is easy on your back. The bag also has a stand-up design to keep it from falling over when resting on the ground.

Room For Everything

The Controllerist bag is surprisingly large. We've even fit the Kontrol Z2 mixer in ours in a pinch. The front + main pockets offer plenty of room for sound cards, controllers, and accessories. The dedicated controller sleeve holds a S2 / Push sized unit.

Laptop Love

Safely store your laptop in its own separate side-access zipper pocket. The pocket it neoprene lined and makes it much easier to remove just your laptop at airport security or at a gig.

Video: Native Instruments Komplete Teases New Production Controller

The team behind NI’s Komplete family of instruments and sounds has just released a brand new video teaser hinting at something new that’s coming – and it’s not a new piece of software, but rather physical hardware. Watch the video below and then join us in the comments for some free speculation on what type of controller this might be.

What does this new controller look like to you? Let us know your thoughts (and present evidence by attaching screenshots) in the comments below. 

Komplete Kontrol S-Series Keyboards: Exclusive First Look Video

Teased last week, Native Instruments has released a brand new line up of hardware for their Komplete Suite, the S-Series. These keyboards are designed to be an integrated solution for production, opening up a large amount of control similar to how the Maschine hardware works alongside its software companion. Watch our exclusive first look video that we shot when NI visited DJTT headquarters last week inside along with all the details on this exciting new line of keyboards.

MAIN FEATURES

The S-Series packs a few serious hardware features that bring them above and beyond the traditional MIDI keyboards, including:

• Komplete Browser - tag-based access to all KOMPLETE Instrument presets from one plug-in interface. Instead of browsing by instrument, users can now search by sound

• Native Map™ technology - automatically maps all key parameters for each KOMPLETE Instrument to the touch-sensitive controller knobs – all clearly visible on the keyboards’ Clear View™ display. Each instrument was carefully mapped by NI sound designers to arrange the most relevant parameters on pages laid out on the keyboard’s display.

• Light Guide:  shows key switches, zones, and more on multi-color LEDs positioned just above the keys, and also provide performance feedback – scales, chords, and arpeggios light up across the keyboard as they are played.

• Smart Play:. Chord mode lets producers play complex chords with single keys. Chord Set mode provides ready-to-play progressions that can inspire and augment original compositions or add new flavor to remixes. The integrated scale mapping features deliver fast access to new melodic possibilities – notes of the currently selected scale light up on the Light Guide. Many widely-used musical scales can also be mapped to the white keys.

• Touch Kontrol: Touch strips in the place of traditional mod wheels mimic the behavior of pitch and mod wheels, and physical objects like springs and bouncing balls for interesting modulation curves

KOMPLETE 10

NI is also announcing a new version of their software instrument suite, Komplete 10. The new software comes with three new major synths, along with a number of additional devices. Check out the full update on the new production tools on the official Native Instruments page here.

The S-Series keyboards are available online and in retailers October 1, 2014 – with the S25 priced at $499 / 499 €, S49 for $599 / 599 € and S61 for $699 / 699 €. Komplete 10 is available for $499, or you can update from an older version for $199. 

PLX-1000: Pioneer’s $699 Pro DJ Turntable Details Revealed

We’ve been paying close attention to the story of Pioneer’s new vinyl turntable that originally got leaked by QBert right after the NAMM convention in January, and today the details have dropped. The new PLX-1000 is a direct drive analog turntable that’s very similar in design to the Technics 1200s and many of the other super OEM models that have come after it. There’s a standard layout, long pitch fader with a range of tempo adjustments from ±8% and ±16% to ±50% and a reset switch, and a lighted speed guide on the platter.

A lot of DJs have speculated over the need and presence for additional I/O options besides the traditional RCA and power – and it looks like many might be disappointed as Pioneer has kept it completely analog in the unit, with just a single pair of phono outs, a ground cable attachment point, a Kensington lock slot, and a power supply. The lack of digital interface is something that we’ve heard from Pioneer is very much an intention to keep the sound quality very pure and analog – but we’re left wondering why easy connection for timecode users to a Pioneer certified mixer like the DJM-900 Nexus or SRT didn’t seem like the better play for the market.

The simple I/O on the rear of the Pioneer PLX-1000

Pioneer presents sound quality as one of the key core focuses of this unit in the press release, writing:

To create an extremely stable player and prevent vibration, Pioneer utilized a heavy-mass zinc die-cast chassis for the top section of the player, reinforced with a bottom section made of 8-mm thick resin. The base of the unit was further enforced with 9-mm thick vibration-damping material that results in extremely stable playback. The tone arm also received great attention in build quality and design to maximize performance, using rubber insulation to minimize howling effects during audio playback. The RCA jacks feature gold-plated machine-cut parts for low impedance for excellent sound quality output.

The street price is coming in at a pretty solid $699 for the PLX-1000 (including a dust cover shell for the unit, not something many super OEMs ship with), and it’s expected to be in stores in August (just two weeks away!). Would you grab one, or is the PLX not quite compelling enough for you? Let us know in the comments.

What To Do With Old DJ Gear: Recycle, Donate, Sell?

It’s amazing how much new DJ equipment is produced – almost every week there seems to be a new DJ mixer, player, or controller available on the market. Many DJs update setups and buy new gear with regularity to stay on the cutting edge – which can quickly create a personal graveyard of controllers, mixers, and turntables. Inside we’ve complied great resources to help you figure out what to do with unwanted (but still useful) DJ gear.

Usually when something new is purchased, the older model will go out the door. Before you put your ancient mixer out with this week’s trash, try to consider what would happen if every DJ in the world did the same thing – a big pile of mixers and MIDI controllers in a landfill somewhere, and a whole lot of environmental waste. Electrical equipment contains hazardous substances which can leak out and cause soil and water contamination, putting the health of humans and wildlife at risk.

Here are some of the best options for what to do with your old DJ gear: 

DONATE YOUR OLD GEAR

If only we had DJ donation boxes!

That old mixer may still have some juice left in it, and there’s probably a young DJ somewhere who would love to practice on it. Consider donating your equipment, so that it can be used by someone who can benefit from it. Most institutions who accept donations require that the gear be in good working order, which means no major mechanical deficiencies or essential missing parts.

There are many DJ schools and institutions in the US and Canada that accept equipment donations, including:

Scratch DJ Academy (New York, Miami, Chicago, LA): Founded by Jam Master J (of Run-DMC) the Scratch DJ Academy accepts equipment on a case-by-case basis, and if deemed to be in good shape, it is given to a deserving student who is working on their certification. To donate, contact the school and send them an email about the type of equipment you have, and its condition. In general, they accept mixers, Serato boxes, and Technics 1200s (no turntables of any other kind) as well as donations of records to give to promising students who are in need.

Hollywood Arts (Los Angeles): Helps LA-based homeless and at-risk young adults ages 13-15 transition into self-sufficient lives by utilizing arts-based curriculums, mentorships and professional internships. They are open to accepting equipment donations that could be used for future classes. Bring your equipment directly to their HQ, or ship it there – they’ll give donors an in-kind donation receipt, and include the estimated value of the equipment provided.

My Friend’s Place (Los Angeles): My Friend’s Place assists and inspires homeless youth to build self-sufficient lives. They offer a DJ 101 workshop, and welcome equipment donations (as well as donations of clothing, books and shoes) To donate, call Taylor Wilkerson at 323-908-0011 ex. 116 and give him details about your gear and schedule a time for drop off delivery – they’ll then mail a donation acknowledgement letter for tax purposes.

Village Glen High School (Los Angeles) is a part of The Help Group and serves a population of students with high functioning autism and other developmental disabilities. They accept used equipment in good working condition; it is best to contact the school (email: ecrasnow@thehelpgroup.org) to let them know in advance about what is being donated. Any donations will be used for music production classes; large donations will be distributed to other schools in The Help Group.

L.A.C.E.R. Afterschool Program (Los Angeles): Their mission provided underserved middle and high school youth with an arts and literacy based after-school program. They accept donations of music equipment, (as well as visual arts and sports supplies) but in working order only.  Email them to set up a delivery time: lsh@lacerstars.org - after contacting them, equipment can be dropped off in Hollywood.

Scratch Lab (Toronto): Canada’s largest DJ Institute accepts donations of DJ equipment. Email them at: info@scratchlab.ca to begin the donation process and send them details about your gear.

Off Centre DJ School (Toronto): Off Centre is a DJ & Production school in downtown Toronto. They accept equipment donations, to be placed in their practice rooms, or given to organizations that serve underprivileged youth. Email the school lessons@offcentredj.comwith your equipment donation offer – equipment can be shipped directly, or can be dropped off in person by making an appointment.

Goodwill: a good place to donate DJ equipment.

Goodwill (US + Canada): In both the US and Canada, used DJ equipment can be donated to Goodwill, an organization who re-sells goods to fund job training programs, employment placement services and other community-based programs. There are over 2,700 Goodwill donation locations in the United States and Canada.

Point Blank (United Kingdom): is a prominent music production and DJ college in the UK. While they don’t accept donations, they regularly donate old kit from Point Blank to various youth projects and can recommend reaching out to DJ-related charities like Dance for Decks and Last Night a DJ Saved My Life.

RECYCLE WITH A MANUFACTURER

Unfortunately, most equipment manufacturers in the DJ industry do not have recycling take back programs in place – but there are a few. Here’s the companies who make DJ or DJ-related equipment that do have recycling programs in place:

• Apple has one of the best electronics recycling programs available. They give customers an incentive by offering an Apple Store Gift card for the value of your old device. Send them your old iPhone, iPad, or computer (Mac and PCs are accepted) and if the electronics have monetary value, Apple will ship a gift card. If not, Apple will recycle it free of charge. The company has international recycling programs set up all over the world.
  
• Denon USA has started their own recycling program in the US in response to state laws passed in New York and Illinois requiring all companies based in those states to provide a free path to recycle e-waste created by the company. Essentially, any Denon players (they’re focusing on DVD, but CDJs and older decks likely also quality) are eligible for the recycling program, keeping the hazardous materials in those devices out of landfills.Learn more at Denon’s site.
• Pioneer DJ EU in the UK encourages their customers to recycle older equipment, and provides local recycling facilities for electrical equipment. Their recycling policy allows customers to take their used equipment to local recycling centres, free of charge. Pioneer DJ in the UK places a crossed-out wheeled bin symbol on equipment that can’t be thrown out. If you have any DJ (or other) electrical equipment with this symbol, don’t it throw it out with the trash.

LOCAL RECYCLING

Electronic waste piles up quickly in recycling centers.

There are many local recycling centers around the world that accept old equipment. It may be necessary to do some research on where they are located, and what kind of goods they accept. Recycling policies differ from country to country, so do your homework before you make the trek down with your goods. Find out more about community recycling programs below:

• In the United States, check out the EPA’s E-Cycling page and Earth 911′s recycling search page.
• You’re in Canada, eh? If you live in Ontario, recycle your faded setup with Recycle Your Electronics.
• In the UK equipment distributors including retailers must provide a system which offers all customers buying new electrical equipment the means to recycle their old equipment free of charge. Find local recycling centres in the UK here.

Unfortunately, a lot of electronic waste is sent to developing countries, where the processing takes place under unsuitable conditions. There are certification programs, such as e-Stewards that help individuals find recyclers who follow safe practices for handling electronic waste.

GET YOUR HUSTLE ON: SELL YOUR GEAR