kebzer

Even though the concept remains crazy innovative, the end product just doesn't deliver. As for Mojaxx, it's good to see him doing an honest review for once, unlike 9/10 times overglorifying free units getting pushed to him (like Mixars or Ortofon).

I've been listening to Rap for 26 years straight, without a single day passing by and not doing so. Yet, I haven't checked anything new released after 2006 onwards and frankly, I don't give a shit about it. Whatever. The dude you mention is probably still burning extra lsd calories, lol

OG Street Fighter 2 Tekken 3 Tag Tournament Killer Instinct Mortal Kombat 3 but hands down my all time favorite & probably the most difficult Samurai Showdown 3

Alles gut

Do enlighten me please about ISLA's achievements. Take your time, I'll be waiting besides my SP1200. I appreciate English isn't your first language and as I speak no other languages at all, I'm really in no place to criticize, but you misunderstand my comment... The "whoever they might be" is me alluding to the fact that I've never heard of them either. And the "absolute nobodies in Kebzers house, of course" alludes to the fact all owners of E-MU SP-1200s are pretty vocal about how the originals can never be replicated, how this (and any other attempts like it) will all be trash and the negative comments are then rounded out by reminder that they do own an original. I really wasn't taking aim at you specifically in any other capacity than you're the only person on DV I know has one. Even though I feel pretty confident with my English, I admit that I didn't exactly comprehended your comment like the above. So, my bad. Owners of SPs are being vocal not because they take pride of their possessions, but honestly, because that bastard cannot be replicated. Even in comparison with an SP12 or EMAX, that thing sounds miles ahead. And I can confirm that even the mk1 vs the mk2 sounds better. I have no idea how EMU managed to built that thing, but it seems that they "accidentally" created a masterpiece, which however cannot be replicated. Due to the fact that it is, rightfully, so much sought after, there have been quite some cases in the past with vaporware companies claiming SP clones. Non of them ever built anything. The same happens now, and even worse, they try to cash in based on the urban legend of the SP2400. These dudes are trying to act smart and they need a good ass whooping, just for the 2400 reference.

Do enlighten me please about ISLA's achievements. Take your time, I'll be waiting besides my SP1200.

Will any SP clone sound like the original? Not in a million years. There was a very clear reason why EMU stopped the production of the original: they run out of the filter chips and there is absolutely no way to find/remake those. And these filter chips are absolutely necessary for it's sound color. So, no more SP1200. This has been resurfacing every 10 years or so, until everyone realizes (again) that it's not possible to build it. However, if we are to talk about clones actually being built, I would put my money to LowHiss. He's at least not trying to make an exact clone, as he seems to grasp the limitations of the current chipsets available.

If it's not DJ Hi-Tek then I don't care.

Errrrybody abandoning 1-click flares for 2-click orbits, only because they sound "faster". Errrybody quiting on double time chirps, only because they sound "too old school for that much of a hassle". The lack of skill on these two basics is hilarious.

SeratoDJ features an improved time stretch algorithm, but the real thing is PitchN'Time plugin. It is miles ahead of anything else on the market.

This.

As a local organizer of battles & jams in Greece, let me share some inside info (which BTW didn't wanted to do in the FB thread for all the drama it would cause): 1. Every international DJ competition has a major sponsor backing it up. Major sponsor = funds 2. The cost of running this international show is the same as the cost of running a local jam. I.e. you only have to pay for the venue. 3. IDA & DMC demand a "participation fee" from all national chapters. I.e. even more funds, which they DO NOT share back, but instead pretend that they use for the main battle (promos, judges etc.). 4. The excuse from gear companies that the scratch demographic is niche is absolute bullshit. This demographic is their major brand ambassadors and constitute for more than half of their sales. It all comes down to who you know, from which company. 5. Every single person involved in these international battles is getting paid for their time/effort. This does not apply of course to the actual participant DJs. 6. There are other battles which offer very considerable prizes: e.g. the Mixfader battle. How is that possible? 7. The national chapters are indeed responsible for providing their winners with commute / accomodation. I managed that for the C2C/COTT with just 2 local sponsors. So anyone saying this could not be "achieved", is just bullshitting people and either he/she is COMPLETELY incapable of running the local chapter (valid for most cases), or he/she is chewing all the money for themselves (happened a few times in the past). The incompetence who is evident in most battles these days is the result of greedy / incapable organizers. I personally have chosen to support only the smaller ones, as I am too old to be treated like a fuckin' 18yo who should be "OK" with exposure. In specific, I am more than frustrated with DMC/IDA and all I can say is FUCK THEM. They run shitty battles, full of politics, with prizes for kids and they can go fuck themselves and get lost in oblivion. We're already in 2019 and I see absolutely no need for these 2 to exist anymore. As for 3style, they can go fuck themselves too. I have absolutely no interest in an EDM/ clap yo' hands/ Jesus posse DJ battle. They chose to be irrelevant to our demographic a couple of years ago with that Barbados dude. So be it. The presence of Craze and others on their judging panel gives them zero credibility whatsoever.

No Salaam Remi? Fuckouttahere.

I've been hitting the producer's blockwall for the past 4 years. Fuck it, I just do other things.

So, you need a typical mixer layout, with all the channel faders and EQ knobs, but with the digital goodies (I/O)... This is not going to be cheap, as the cheap options out there sound completely shit (and you'll probably end up substituting them within a year of use). E.g. Alesis Multimix, sounds like shit. Mackie VLZs, sound like shit. Anything actually that costs less than 2k sounds like shit. Unfortunately, these kinds of gear are expensive, as there are quite a lot of circuiting going on. Best bet for you is to look for a second hand ProTools rig (no joking). Maybe you get lucky and you stumble upon a studio closure / upgrade.

Anybody can dislike the 808 and it's hype / sound as much as they like. It's all about personal taste.

It really depends how someone defines "overused". The 808 kick is really abused nowadays and someone can even call it "generic" and he'd be right about it. But that doesn't mean that the 808, as a machine, is not remarkable to this day. Its low-end has so much body that it's practically infinite and can go as much as your sound system can handle. Not many machines can claim that.

I would never run any sort of 808 kick through a compressor. I would run it through a gate and keep it contained. Compressing that wonderful buildup practically cancels the point of using an 808, you might as well use any digital sample instead of it.

I wouldn't use a compressor on any og drum machine, even with a gun pointed at my head. Try using just a gate instead, if your signal lines are OK (cabling, soundcards etc) you shouldn't be needing anything else besides a gate. Compressors are the plague of modern mixing engineering. They were supposed to be used for corrective mixing only, but they're everywhere and they take the soul and breath out of everything.

350€ for a decent one (fully working, only with signs of use) 500€ for a mint condition.

You said the magic word: techno. And techno=Traktor. Traktor has been designed since day one with the Techno DJ in mind. The exact opposite goes for Serato, the HipHop DJ. Both are great (I use SeratoDJ), but for Techno, Traktor is the perfect choice. It has the necessary features (remix decks, cool FX chains, superb collection of second tier controllers - not just mixers) and it has been proven in the field. If you notice, the massive majority of techno DJs use either Pioneer CDJs (and RekordBox) or Traktor (when you spot controllers in the setup). I've rarely seen a Techno DJ use SSL/SDJ. You can also still drop your average scratch routine with it (look at Craze) but nevertheless, when you want to start making things more interresting with loops/FX, Traktor can really deliver. As I say, if you want to play your own songs (deconstructed / live remixed) go with Traktor. If you want to play other people's songs (on a mixtape style), go for SDJ.

Guys, whats the word on the street about these 2? All I see is "upcoming" release dates. Anybody following their releases?

I've moved to Adobe Audition (from CoolEditPro 1.1), but still on v1.5. CEP/Audition is still, hands down, the best & most efficient audio editor out there.

Shiiiiiit