Feedback on my Technics mod

[Guest rasteri]

If only fretless faders were more easily available.

 

John's still working on making that a reality, I've been developing the control circuit for him. There'll be news soon.

[Backtrack]

Yes... I do agree with you that all options become a little to much. I will create a flow chart so all can see how its connected.
Dedicated buttons would be very nice but that involves too much work Im afraid. If I only made one for my self I would def use buttons for everything.
I will make that vid soon so you can see how it works in MIDI. Its not a C1 or a PDX like you say.

[Backtrack]

Here is a great Serato tone. I dont have my midikeyboard yet but I faked some midi. Also noticed some tones are out of tune. But that will be fixed later.

https://youtu.be/yrE_gg0szz4

Here is a flow chart for the buttons.
As you know every menu and option is indicated by different led colors and blinks and so on.

 

[Guest Symatic]

double mind explosion!!!!

 

backtrack for president!

[Mike-L]

double mind explosion!!!!

 

backtrack for president!

How about Backtrack for solving climate change/cold fusion?

[Guest Symatic]

 

double mind explosion!!!!

 

backtrack for president!

How about Backtrack for solving climate change/cold fusion?

 

 

yeah if you could get that done by next week that'd be great

[Focus]

Ahh, finally our dream comes true...Super respect Backtrack.

 

Here is a bit of course correction before it takes over the internet.

 

It seems only right and fitting that Kevin @ Kab USA be mentioned or be given

some credit.

All those years of failed attempts to add an Ultra Pitch and not many were able to do it.

 

I took one for the team, purchased an Ultra Pitch Kit $175 plus shipping...

My freakin water was shut down for 2 weeks because I miscalculated

how much I had to spend and ran into some income issues, that ish was not fun.

 

For all you none techies Kevin gave the secret sauce which was...

 

"you need to re position the phase lock loop filter if you want to continue to use internal feedback."

 

There are some capacitors that are swapped on the Technics board with the KAB USA install.

That is what was missing all these years. It's like being able to do the Flare for the first time...That's how important

that information from Kevin was and is...

 

Without the info Kevin shared and I passed on to Andy with pictures, we would still be scratching our heads

wondering what the deal....

 

Pointing this out because I'm under the assumption that we work under a different ethic, code of conduct.

 

Building on the work of others and giving credit and sharing...That's how I try to function, not always succeed

but the attempt is there. It's what makes me want to contribute and be a constructive part of this new movement that's

going on now....Other mofos take and take and build their wealth but not us, homies not usss haha :-)

 

Technics Ultra Pitch with Midi...wahh...Thanks Kevin,Andy and Backtrack....

I humbly request a discount when you get this kit done :-) ....

 

Whatever the outcome or how you feel about me or this post. Scratch Musicians need to know Kevin @ Kab USA for all eternity....Maybe buy some 45 adapters

from his website to show support....I feel obliged to keep KAB USA in the mix with some mentions because I took his info and shared it.

 

Other then that....F*ckin fantastic progress from all corners, inspiring....Looking forward to hearing the music that gets created

with the Fretless and Midi Technics...Next up Marssss.

[Backtrack]

Totally missed this post.
KAB is def to be credited. I have reached out to him and offered either money per sold unit or USA market. I understand that without his contribution this wouldn't be a reality.

Edit: We have an agreement.

[Focus]

Totally missed this post.

KAB is def to be credited. I have reached out to him and offered either money per sold unit or USA market. I understand that without his contribution this wouldn't be a reality.

 

Edit: We have an agreement.

 

This is excellent news Backtrack. Super respect, definitely shows your quality of character. I was having some moral issues

with the whole thing,got excited by the potential of the information and my electronics nerd brain couldn't hold on to the info and had

to tell someone...Sooner or later I was going to get in touch with Kevin and apologize. You just cleared my conscious :-)

 

My own attempts failed, I was working with Morley Pedals to release a Stereo Wah Wah that would

also be compatible and control the Technics Pitch Kit I was working on back in the days, you can still see they

have a link on their website to my site...It was a failure and I never finished before I went into Zen mode...

Knowing what I know now it, I was doing it all wrong and Kevin kicked the doors open for current and future generations of Scratch Nerds...

 

Now about that discount :-)...

Edited February 25, 2016 by Focus

[Dubba Dutchdj]

DV. tech doods, moral guardians of the next level scratch mod game

[Jam Burglar]

Hey Backtrack, I just thought of something. My terminology might be a little fucked up but bear with me.

 

In MIDI mode, can you use 33/45 short presses for sharp and flat and then make the pitch slider a tuner that affects how much slower/faster you are off the true note you are in? Let me try to explain a little better. One thing about the Controller One that I didn't think about before I got it is that you need to work in the key your other music is in, and sometimes your other music is pitched to be "off" key. So for example, if you want to hit notes over an instrumental track, and the instrumental track is at -5% on your other table, then you need to "tune" the C1 to -5%, THEN your notes on the C1 will be in the key of the other song you're playing. If you don't first match up your pitch with your backing track then all your notes sound off key relative to the key of the song you are cutting over. That's a REALLY important concept to keep in mind when working with a note-changing turntable because we are often working with music that's not in a standard pitch/key.

[Mike-L]

^yeah thats a really good point. basically some way of fine tuning in cents between semi-tones. That's always bugged me with the PDX.

[bobkruijer]

Hey Backtrack, I just thought of something. My terminology might be a little fucked up but bear with me.

 

In MIDI mode, can you use 33/45 short presses for sharp and flat and then make the pitch slider a tuner that affects how much slower/faster you are off the true note you are in? Let me try to explain a little better. One thing about the Controller One that I didn't think about before I got it is that you need to work in the key your other music is in, and sometimes your other music is pitched to be "off" key. So for example, if you want to hit notes over an instrumental track, and the instrumental track is at -5% on your other table, then you need to "tune" the C1 to -5%, THEN your notes on the C1 will be in the key of the other song you're playing. If you don't first match up your pitch with your backing track then all your notes sound off key relative to the key of the song you are cutting over. That's a REALLY important concept to keep in mind when working with a note-changing turntable because we are often working with music that's not in a standard pitch/key.

 

In practice you would want to have more than just a C-note on your record as well, that's why I use traktor remix decks for my tones, have a whole octave for each sound. E.g. if a track is in C-major that is easily done with the C record, but if your track is on G#-minor it becomes more complicated to do with C-note. Maybe musical geniuses don't think of it in that way, but at least for me it helps to match up the right sounds, scales and backing tracks.

[Vekked]

 

Hey Backtrack, I just thought of something. My terminology might be a little fucked up but bear with me.

 

In MIDI mode, can you use 33/45 short presses for sharp and flat and then make the pitch slider a tuner that affects how much slower/faster you are off the true note you are in? Let me try to explain a little better. One thing about the Controller One that I didn't think about before I got it is that you need to work in the key your other music is in, and sometimes your other music is pitched to be "off" key. So for example, if you want to hit notes over an instrumental track, and the instrumental track is at -5% on your other table, then you need to "tune" the C1 to -5%, THEN your notes on the C1 will be in the key of the other song you're playing. If you don't first match up your pitch with your backing track then all your notes sound off key relative to the key of the song you are cutting over. That's a REALLY important concept to keep in mind when working with a note-changing turntable because we are often working with music that's not in a standard pitch/key.

In practice you would want to have more than just a C-note on your record as well, that's why I use traktor remix decks for my tones, have a whole octave for each sound. E.g. if a track is in C-major that is easily done with the C record, but if your track is on G#-minor it becomes more complicated to do with C-note. Maybe musical geniuses don't think of it in that way, but at least for me it helps to match up the right sounds, scales and backing tracks.

 

Yep, when I'm doing PDX 3000 stuff I have various root notes + octaves to make it more practical to play in the given key of a track. But I think Jam is talking about situations where it's not in a "real" key, it's between keys... like in certain old music where the record was sped or slowed down in post-production, or the band tuned to each other but aren't tuned to an "absolute" tone.

 

I think having a fine-tune feature is cool in theory, especially for live jam situations, but I think in practice nowadays there aren't many times when you can't just re-pitch things digitally to be in the true key. Like how often are you scratching a vinyl melody samples over a vinyl beat where neither can be tuned digitally... and even then in Jam's example IF you are going pure_anal0g, I think the play is just to move the speed of the beat a few % to put it in a real key. How often do you NEED to play a track at an exact tempo that requires you to play slightly out of tune from the absolute key? The maximum pitch change you would need to ever do is 3% (half a semi-tone) to tune up or down to the next real tone, and it's difficult to imagine a scenario where that would not be an option.

 

For me the fine-tune feature is only *necessary* if you're playing with real musicians off the cuff and they aren't using tuners for extended periods of time.

[Jam Burglar]

 

 

Hey Backtrack, I just thought of something. My terminology might be a little fucked up but bear with me.

 

In MIDI mode, can you use 33/45 short presses for sharp and flat and then make the pitch slider a tuner that affects how much slower/faster you are off the true note you are in? Let me try to explain a little better. One thing about the Controller One that I didn't think about before I got it is that you need to work in the key your other music is in, and sometimes your other music is pitched to be "off" key. So for example, if you want to hit notes over an instrumental track, and the instrumental track is at -5% on your other table, then you need to "tune" the C1 to -5%, THEN your notes on the C1 will be in the key of the other song you're playing. If you don't first match up your pitch with your backing track then all your notes sound off key relative to the key of the song you are cutting over. That's a REALLY important concept to keep in mind when working with a note-changing turntable because we are often working with music that's not in a standard pitch/key.

In practice you would want to have more than just a C-note on your record as well, that's why I use traktor remix decks for my tones, have a whole octave for each sound. E.g. if a track is in C-major that is easily done with the C record, but if your track is on G#-minor it becomes more complicated to do with C-note. Maybe musical geniuses don't think of it in that way, but at least for me it helps to match up the right sounds, scales and backing tracks.

 

Yep, when I'm doing PDX 3000 stuff I have various root notes + octaves to make it more practical to play in the given key of a track. But I think Jam is talking about situations where it's not in a "real" key, it's between keys... like in certain old music where the record was sped or slowed down in post-production, or the band tuned to each other but aren't tuned to an "absolute" tone.

 

I think having a fine-tune feature is cool in theory, especially for live jam situations, but I think in practice nowadays there aren't many times when you can't just re-pitch things digitally to be in the true key. Like how often are you scratching a vinyl melody samples over a vinyl beat where neither can be tuned digitally... and even then in Jam's example IF you are going pure_anal0g, I think the play is just to move the speed of the beat a few % to put it in a real key. How often do you NEED to play a track at an exact tempo that requires you to play slightly out of tune from the absolute key? The maximum pitch change you would need to ever do is 3% (half a semi-tone) to tune up or down to the next real tone, and it's difficult to imagine a scenario where that would not be an option.

 

For me the fine-tune feature is only *necessary* if you're playing with real musicians off the cuff and they aren't using tuners for extended periods of time.

 

 

I don't have DVS so I wouldn't know but does everyone "key correct" their tracks when they mix in DVS? Doesn't all that processing fuck up the sound quality?

 

I pretty much use the fine tuner any time I want my cuts to be in relative key and my record is not at quartz lock zero. Coming from mixing on vinyl, I try not fuck with the pitch of record while its playing except when I have to. I mean you usually do have to (fuck with the pitch between transitions) but I go to all types of lengths to make it subtle. Its a lot easier to just get my pitch set, fine tune the C1, then every note I hit is in relative key. Going the other way seems like it would complicate the mix a lot.

[Jam Burglar]

 

Hey Backtrack, I just thought of something. My terminology might be a little fucked up but bear with me.

 

In MIDI mode, can you use 33/45 short presses for sharp and flat and then make the pitch slider a tuner that affects how much slower/faster you are off the true note you are in? Let me try to explain a little better. One thing about the Controller One that I didn't think about before I got it is that you need to work in the key your other music is in, and sometimes your other music is pitched to be "off" key. So for example, if you want to hit notes over an instrumental track, and the instrumental track is at -5% on your other table, then you need to "tune" the C1 to -5%, THEN your notes on the C1 will be in the key of the other song you're playing. If you don't first match up your pitch with your backing track then all your notes sound off key relative to the key of the song you are cutting over. That's a REALLY important concept to keep in mind when working with a note-changing turntable because we are often working with music that's not in a standard pitch/key.

 

In practice you would want to have more than just a C-note on your record as well, that's why I use traktor remix decks for my tones, have a whole octave for each sound. E.g. if a track is in C-major that is easily done with the C record, but if your track is on G#-minor it becomes more complicated to do with C-note. Maybe musical geniuses don't think of it in that way, but at least for me it helps to match up the right sounds, scales and backing tracks.

 

 

Any time you're using just regular records for your sounds the "C Note" thing kind of falls to the wayside. Your "C" on the turntable may actually be F#. So you just have to play it by ear and since everything is relative you just end up in a different spot on the scale depending on what key your record is in.

[stingray]

So glad I came back to this site, forgot about it. I have your MIDI mod for my PDX2000mk2 Pro's and would love this. Actually working on a custom M5G at the moment, I am guessing this mod won't work on the nicer M5G's and I don't dare mod my GLD's. Looks like I have a good excuse to buy another MK2!! I am currently working on turning one of my PDX's into a left handed Controller One! Finally! A left handed controller one and might offer a kit to people with 3000's or your modded 2000's.

 

Any news on when this will be availalbe? Also as a kit? I like doing DIY stuff.

[Vekked]

I don't have DVS so I wouldn't know but does everyone "key correct" their tracks when they mix in DVS? Doesn't all that processing fuck up the sound quality?

Naw key locking or key correcting or whatever is pretty good now. I don't like scratching with it for normal samples because it ignores your natural pitching, but for melodies it's good. You can hear it at extreme lengths but anything under 10% is barely detectable with Pitch n Time and such nowadays.

[Guest Symatic]

 

I don't have DVS so I wouldn't know but does everyone "key correct" their tracks when they mix in DVS? Doesn't all that processing fuck up the sound quality?

Naw key locking or key correcting or whatever is pretty good now. I don't like scratching with it for normal samples because it ignores your natural pitching, but for melodies it's good. You can hear it at extreme lengths but anything under 10% is barely detectable with Pitch n Time and such nowadays.

 

 

 

cheater! I'm telling Brolic Arm!!!!