Friday, March 27, 2015

Get READY :D

NEW Design soon

Tuesday, October 1, 2013

DJ CEDRIX



About

DJ / Producer / Remixer ®
Owner and Founder at Studio PMC Records.

Biography
Cedrix

Was born in Beirut, Grew up in a family that appreciated Music And Encouraged him to pursue his dream and major interest in Arts.
He has been passionately mixing and creating music since 2004.

Cedrix feels the melody with his five senses and uses his sixth to rise above normal and procure distinguished rhythms.
Music has always fascinated him.
He is an unbelievable performer, whose music is full of spirit and life …

He Performed At The Most Respected Clubs And Parties In Lebanon Like:
0 dB Club - Attic Lounge - I Bar - Pearl -  UNIQUE - GORO Beirut - Concerto  - Mocean - C Flow - Cyan Beach Bar - Taboo - Club 32 Hilton Hotel and many more.

He Composed A New Style Of House Music ... His New Original Mix : '' Behind Heaven ''
And He Released it in 2009.
For Every Household To Have His New Original Mix : ''Behind Heaven''.


Cedrix's passion for music makes people fall in love with tried and tested tunes, mash-ups and remixes that he has carried to all kind of dance floors.

GenreAll kinds of HOUSE Music

Members
Welcome to the Official Page of DJ Cedrix

HometownBeirut, Lebanon

Record LabelPMC Records




Press ContactMobile : 03- 952 987

Friday, August 9, 2013

NEW: Pioneer S-DJ X series — Monitors for DJs


Pioneer DJ has today announced a new range of active monitors, dubbed the S-DJ X series, that have been designed and built exclusively for dance DJs and producers.





In a world where DJs are becoming producers, and the bedroom is becoming the studio, there is an increasing need for products that tick a diverse range of boxes, and at an affordable price too. DJs are also becoming increasingly aware that to fully appreciate what they’re playing, plugging your gear into your mum and dad’s old hi-fi just isn’t going to cut it anymore. But at the same time, stumping up the kind of cash necessary to keep golden-eared sound engineers happy isn’t a practical option either. Enter the new Pioneer S-DJ X monitors — pro sound at a wallet friendly price.
Lots of detail follows:
pioneer logo
Uncompromising clarity: Pioneer DJ launches the S-DJ X series of active monitor speakers for DJs
8th August 2013: Pioneer DJ releases the S-DJ X series of active monitor speakers designed with dance music in mind. The S-DJ X models are loaded with high-quality speaker technology from Pioneer and pro audio sub-brand TADi to deliver accurate monitoring, a strong bass, and clear mid to high frequencies.
The robust S-DJ X series is optimised to produce a rich bass and a tight, punchy kick even at high volumes. The 5-inch, 6-inch or 8-inch woofers are crafted from stiff aramid fibre, and mounted directly on thick baffles, to produce a robust base with no unwanted resonance; while the highly rigid bass reflex ducts feature grooves to reduce resistance.
Drawing on Pioneer’s heritage in speaker production, the S-DJ X series boasts 1-inch soft dome tweeters that use DECOii  convex diffusers from TAD to deliver a wide sweet spot. And newly designed Class AB bi-amplifiers in the tweeter and woofer units ensure a well-balanced response with no loss of clarity.
With a range of inputs, volume control, high frequency adjustment and auto standby with Auto ON, the S-DJ X series is perfect for home DJing as well as producing.
The S-DJ X series line-up comprises the 6-inch and 8-inch in classic black, and the 5-inch in classic black or cool white; so DJs have a choice of sizes and designs to meet their environment and budget.
The S-DJ X series is available from the end of September 2013 at an SRP of:
S-DJ50X/S-DJ50X-W*:  EUR 149/GBP 129 including VAT
S-DJ60X*:  EUR 199/GBP 169 including VAT
S-DJ80X*:  EUR 249/GBP 199 including VAT


*Speakers sold individually, not as pairs.
Watch the  S-DJ X series in action.
KEY FEATURES IN DETAIL
Tweeters use convex diffusers from TAD to deliver panoramic high frequency sound
The 1-inch soft dome tweeters are fitted with convex diffusers that use DECO technology from TAD Labs’ iconic TAD Pro TSM-2201-LR monitor speakers, which are found in professional studios across the world. The diffusers improve the directivity of high frequencies – channelling left, right and up – to ensure a wide sweet spot and 3D stereo sound.
Aramid fibre woofers and front-loaded bass reflex system ensure rich, powerful bass
The S-DJ X series was designed to deliver a robust bass and tight, punchy kick at any volume. The speakers output bass from the front rather than the back, while the highly rigid bass ducts feature grooves to reduce air friction and give a smooth, powerful sound. Woofers are crafted with aramid fibres and large aperture magnets, and directly mounted onto thick MDF baffles, to provide excellent damping and reduce unnecessary resonance.iii
Custom-designed Class AB bi-amps ensure balance needed for accurate monitoring
The S-DJ X series delivers a well-balanced response across all frequencies thanks to newly designed Class AB bi-amplifiers for the woofer and tweeter units, which ensure perfect clarity with low-distortion and no loss of quality.
Auto stand-by with Auto ON eliminates the need to fiddle with the back of the speaker
The speakers switch to stand-by if there is no input detected for 25 minutes, and power up again when input resumes. So there’s no need to reach for the back of the speaker to find the ON/OFF switch.
Packed with features for hassle-free set up and everyday use
Designed with the DJ’s convenience in mind, the new monitors come with a variety of flexible features:
  • Range of inputs: DJs can choose between balanced XLR and TRS phone, and unbalanced RCA.
  • High frequency level control: DJs can adjust the treble levels (-2 dB/-1 dB/0 dB/+1 dB) to suit their needs and environment.
  • Power illumination: an arc-shaped power light shows when the speaker is on.
MAIN SPECIFICATIONS

S-DJ50X/S-DJ50X-WS-DJ60XS-DJ80X
FormatBi-amp 2-way bass reflex activemonitor speakerBi-amp 2-way bass reflex activemonitor speakerBi-amp 2-way bass reflex activemonitor speaker
Tweeter1-inch soft dome tweeter1-inch soft dome tweeter1-inch soft dome tweeter
Woofer5-inch aramid fibrewoofer6-inch aramid fibrewoofer8-inch aramid fibrewoofer
Frequency response50 Hz~20 kHz45 Hz~20 kHz40 Hz~20 kHz
Maximum SPL107 dB113 dB115 dB
Amplifier output(rated output)Class AB bi-amp 80 W LF:54 W (30 W) HF:26 W (15 W)Class AB bi-amp125 WLF:90 W (50 W) HF:35 W (20 W)Class AB bi-amp 160 W LF:125 W (70 W) HF:35 W (20 W)
Input portsBalanced inputsXLR x 1TRS (1/4 inch jack) x 1XLR x 1TRS(1/4 inch jack)x 1XLR x 1TRS(1/4 inch jack) x1
UnbalancedinputsRCA x 1RCA x 1RCA x 1
Input impedance10 kΩ10 kΩ10 kΩ
Level control-∞ dB ~ +6 dB-∞ dB ~ +6 dB-∞ dB ~ +6 dB
HF level adjust-2 dB/-1 dB/0 dB/+1 dB-2 dB/-1 dB/0 dB/+1dB-2 dB/-1 dB/0 dB/+1 dB
Power consumption100 W140 W160 W
Maximum external dimensionsW x H x D197 x 301 x 262 mm228 x 342 x 295 mm276 x 401 x 315 mm
Unit weight6.5 kg8.5 kg11.8 kg
Accessories IncludedPower cord
User Manual
Power cord
User Manual
Power cord
User Manual
i  Technical Audio Devices Laboratories (TAD Labs) is a Pioneer sub-brand preferred by professional studios since 1978
ii Diffusion Effectual Convexity by Olson (DECO) is a TAD proprietary technology for improved directionality

iii Maximum thickness of inner baffles is 30 mm for the S-DJ50X/S-DJ60X and 33 mm for the S-DJ80X

And thus Pioneer’s push into pro audio continues with a more affordable and very DJ focussed set of active monitors to supplement the existing S-DJ range, which for a lot of DJs were just too expensive to sit alongside their controllers.
There are obvious design cues from other monitors on the market — the shape of KRK Rokits, the while cone of Yamaha HS series, but it’s all been dropped into the blender and given a definite Pioneer feel to it. The remote hasn’t made it through from the more expensive S-DJ 5 and 8, but they do have the very useful auto power on and off, something that I’m sure many will welcome. I’m always leaving mine on at home and in the worxlab.
The focus of them being “monitors for DJs” is interesting and for some a real oxymoron. The video seems to be almost entirely about performance, which to me means that the S-DJ X range is going to be more loudspeaker than studio monitor, thus perfectly bridging the gap between performance and production. Headphones are expected to tick many boxes these days, and I suspect that this range is squarely aimed at those who wish to take that step up in sound quality but cannot afford nor need the more stringent demands of full-on studio production.
I can almost hear the impending avalanche of phrases like “coloured sound” being hammered into comments from the more audiophile types out there. But these aren’t meant for that level of user, and will doubtlessly shift by the container load to thousands of DJs who will be utterly delighted with the performance.

More for the group test

The release couldn’t come at a better time for us, as it now means we have more monitors to put in our upcoming entry level group test, which is pitched at exactly the market that Pioneer seem to be aiming the S-DJ X range at. We’ve already been promised some to include, so we’ll be able to see how they stack up against a similarly priced range. We’ll certainly be checking to see if they’re good enough to fill a space with sound (something that monitors are traditionally poor at) and provide uncoloured near-field audio necessary for production.
To recap: the S-DJ X range comes in 5″, 6″, and 8″ models. The range comes in black and for the 5″ white as well, and sold individually for $179/€149/£129, $239/$199/£169, and $299/€249/£199 respectively,and will be available mid-September. Expect the BPM Show 2013 stand to be covered in them. More info on the Pioneer DJ site.


Tuesday, July 23, 2013

THIS will rock your house ;)

ARE U A DJ  ?
then lets play
|

Wednesday, July 10, 2013

REVIEW: Sennheiser HD 25 Aluminium DJ Headphones



HD25 Aluminium – a cult object.
To celebrate its 25th anniversary, Sennheiser has given the HD 25 an exciting new look. The HD 25 ALUMINUM has all of the features which have made the legendary HD 25 the headphones of choice among DJs and sound professionals, but now they’ve taken the high quality electronics and encased them in a sturdy aluminum shell for maximum durability and a distinctive appearance just right for the world of EDM.

Introduction
 

Whenever a curious forum user asks a question along the lines of ” which DJ headphones should I buy?”, it’s a given that almost universally Sennheiser HD 25 will feature in the responses. Even if the stated choice is between brand X and brand Y, you can almost guarantee that someone will insist that the HD 25s are the only headphones worthy of any DJ’s ears. And with good reason.

Sennheiser isn’t a trendy brand per se. They certainly don’t come even remotely close to the lifestyle aspirations of Beats and V-MODA. They are however still cool, but their reputation however is built not on looks, but on quality. Indeed, despite the all-plastic construction and slightly clunky looks, they are as iconic in the DJ scene as Technics and CDJs. So the question arises about how Sennheiser can improve on what a solid slice of the DJ scene would class as unbeatable perfection. In the instance of the new HD 25 Aluminium, it’s not about improving the design, build or features as such, but more about giving users a higher quality option.
About this review — there’s little point in retreading old ground and duplicating effort. Check out the original HD 25 review I did back in skratchworx days. The HD 25 Aluminium are just about identical, and I feel that most people will be more interested in a comparison piece. So I’ll focus on the differences.

Comparisons
The HD 25 Aluminium headphones are an addition to the HD 25 range. Pulling in the key features of the short lived Amperior model, and adding a definite luxury quality to the venerable and confusingly named HD 25-1 IIs, the HD 25 Aluminium headphones are a mashup of both products, and a celebration of 25 years of HD 25s.


The first impression is one of quality. The packaging is a definite step-up, not that it matters, but shelf appeal is higher. And opening up the box, you’re confronted with quite a lot more than the basic HD 25s. The first obvious product improvement is the headphone case. The basic HD 25s come with no bag or spare ear pads, whereas the standard edition has a pretty flimsy fabric bag that does little more than keep dust away from your expensive purchase, as well as spare ear pads. The HD 25 Aluminium case is large and soft (no way round this as the HD 25s don’t fold), but does offer a better barrier between your new shiny cans and the hostile environment of your DJ bag. No spare ear pads though.

Looking at the HD 25s side by side, the difference are few but obvious:


Trim: The cups and hinge cover are smooth Aluminium. The cups are machined from a single block of Aluminium — a unibody cup if you will. According to my kitchen scales, this adds a barely perceptible 40 grams, which is effectively nothing on your head.


Cable
: The jack is straight on the HD 25 Aluminium cans, whereas it’s right-angled on my Adidas edition. I can’t find a hard and fast rule for this across editions, and you can buy both right-angled and straight spare cables from Sennheiser. You can even get coiled one too if you want.
Functionally speaking, the only difference I’ve found is that the cups are slightly looser on the arms. The ratchet click is softer and the slide is smoother. It’s something and nothing but worth mentioning, if only to show that the Aluminium does make a difference, but in actual use, little difference at all.





















The Sound Difference

It would be reasonable to expect that changing that cup material and construction might have an impact on sound quality. Quality is however the wrong word when it comes to Sennheiser — you can take it for granted that quality isn’t an issue. It does however potentially change the characteristics of the sound. I have no scientific data to conclusively show if the difference between plastic and metal will make a difference — that’s something that we’ll leave to our ears, and probably always will. Nor do I have pockets of the requisite depth to purchase gear to measure response graphs.
That said, Inner Fidelity did an excellent comparison between Amperiors and regular HD 25s, and dug into the science of sound, as well as wielding a screwdriver to pull apart the cups to show the differences. Forgive me — I like these headphones too much to potential break them.

For this section, me and my trusty sidekick/daughter/intern Hatty devised highly unscientific blind tests. We listened to a variety of music we knew through an iPod Classic and from my MacBook Air via a Focusrite Forte interface. We sat in chairs, eyes closed and had headphones placed on our heads for us, with no touching to adjust. And the results were conclusive — we both detected a small but perceptible richness in the bottom end, across different genres and different devices.
This could be the Aluminium cups, differences in run-in time, or subtle production variations in manufacturing of the drivers. We both agreed though that it was only perceptible through A-B listening, and in a noisy DJ environment probably wouldn’t make any difference. I do feel that from a day to day use perspective, I’m more likely to use the HD 25 Aluminiums over the regular ones.


Summing Up

It’s easy to understand how die-hard HD 25 fans would view the Aluminiums as the Emperor’s (or should that be Amperior’s?) new clothes. But that’s not really true at all. There really is a tangible lift in quality over the regular HD 25s, as well as a small but detectable improvement in sound quality too.
Other than for aesthetic considerations or fanboy desire to have another cool edition, I can’t really say for sure if this is enough to make anyone want to upgrade to the HD 25 Aluminiums. But if I were in the market for some HD 25s (or any DJ headphones for that matter), there is a strong chance that I’d find the extra £50-70 to get the subsequent uplift in quality, and to make a statement too.

Bottom Line

The Sennheiser HD 25 Aluminium DJ headphones are the iconic HD 25-1 IIs, but just that little bit better.

Tuesday, July 9, 2013

Interview: Mike Vale


Slovenia’s fast rising young DJ/Producer, Mike Vale, has already appeared on Beatport’s “One to Watch” list for 2013, his remix of Prok & Fitch’s “Symphony” went straight to No.1 in the house charts and his remix of Deadmau5 has stayed high in the Beatport charts for months now. He is quickly becoming a staple name amongst the tastemakers of the underground. Mike has just released his first full vocal track, “Don’t Give A Damn” (featuring Stella Mercury) on Roger Sanchez’ esteemed Stealth label. Having once more hit the Top 5 on Beatport, the track is definitely going to be one to watch out for all summer long. Expect to hear it everywhere - radio, clubs, festivals, The White Isle, worldwide…
DJ S.L : Hey Mike! It’s a pleasure to have you on board and to talk to you. How are you today? Where are you at the moment reading this interview?
Thank you, I’m feeling great! I just got back to my studio after being in London over the weekend, where I played a gig at Ministry of Sound. Amazing night!

DJ S.L: Before talking about you and your stuff, we would like to know if you remember your first gig?
I do. I bought my first turntables about 13 years ago, got addicted to buying 12” vinyl and I was just mixing and having fun every single day. After 1 year, the biggest club in Slovenia (called Yucatan) was searching for some new talent at that time, so I got involved and got a chance to play on a radio show, which was connected with Yucatan. After that they gave me a chance to play in the main room in that club. This was the most nerve-racking 2 hours of my life, I couldn’t even breathe properly and my heartbeat was insanely strong (laugh)! However, I did a great job, became a resident and worked there for almost 5 years.

DJ S.L: Could you tell us more about your incredible career till now? We mean… in a really short time, your stuff has been hitting the top charts on Beatport…
All I can say is, it was not easy to get here (laugh)! I sold everything I had, including my car, motorcycle, more than 1500 12” records etc., to build the studio I always dreamed of. I’ve had this studio for almost 4 years now and I am happy for every decision I made regarding it, because all this dedication, passion, belief and hard work helped me get where I am today.
DJ S.L : The remix you did for "Prok & Fitch – Symphony” has literally opened the doors of the world to you?
Actually, the first track that gave me some exposure was “Pretty Woman”, released on Great Stuff. I got massive support on this one and the track was played by all the big names and it was picked up and charted also on MTV and BBC Radio 1. The track was also the 9th most charted track on Beatport. After that I made some really cool tracks, and luckily, they were almost all up there in the Beatport charts as well. Another big moment was my remix for Pleasurekraft (Anubis) and Alex Kenji & NDKj feat. Marga Sol (Not That Kind Of Girl). Both of those got in the Top 10 and after that the remix for Prok & Fitch – Symphony hit No.1 and stayed there for 10 days which is a great achievement for a remix.

DJ S.L: Could you tell us more about your latest collaboration with Stella Mercury called “Don’t Give a Damn” ? How was born this amazing collab? A jewel btw…
I wanted to make a super cool track and I really felt this track even before I started working on it. It’s funny, but I knew then that I was starting something special, but still didn’t know that it was the start of this one-year journey full of emotions. All of those were perfectly captured with the amazing voice of Stella. I really took my time with it and now, looking at the outcome, I am glad I did. I believe all the work and numerous studio sessions were worth it.

DJ S.L: At the moment, every single track you make, is a Bomb!! What’s the recipe to make a hit?
Hard work, focus, feeling and hunger to get better. I never rush myself and the track leaves my studio only when I’m totally happy with it. It’s definitely better to have a small number of quality tracks than a bunch of lousy ones - good sound is essential.

DJ S.L: What’s in the pipeline for this year? We have heard exciting collaborations are on the planning… What can we expect from you?
I’ve got some really cool tracks coming out. I just finished a track together with The Cube Guys and am working on projects with Umek, Groovebox, Marc Vedo, Jerome Robins and NDKj. There are also a few collaborations on the horizon that I can’t speak about just yet. All I can say is that there are some big ones among those.

 DJ S.L: Some DJs are now considered real stars, which was not the case 15 years ago. How do you explain the changing social status of DJ and how did you personally experienced? What’s your goal into all we see in the EDM industry actually?
Electronic music is definitely stronger than ever and because of that and because of the bigger audience you have to be even better and stand out even more. But because of accessibility, new DJs and producers are also popping out of nowhere, basically on a daily basis, looking for a shortcut to success. Almost everyone can invest in a laptop and "borrow" plug-ins to start producing or DJing. I believe there are as many positive as there are negative points in this trend, but the negative one that stands out the most is that too many artists are starting to sound the same.
DJ S.L: Are you a follower of Social media, do you think its massively important now?
It’s definitely important, if you are not visible on social media you basically do not exist. It is a great channel also for artists to stay in touch with their fans and a free and simple way to keep your fans and followers up to date with what you do.

DJ S.L: Which DJ would you like to swap places for one day if you could?
That’s an interesting question. I’m pushing myself hard and I believe in what I do, so I am focusing on my own journey as a DJ. Therefore I would not swap places with anyone - I want to experience all the good stuff in my own way (laugh)!

DJ S.L: Everyoneʼs got a hidden talent. Whatʼs yours?
Racing cars and motorcycles, but I’m done with that.

DJ S.L: What keeps you up till late? Mostly late night studio sessions, searching for cool fresh music and a movie sometimes.
DJ S.L: Your favorite application this year ?
Probably Vine.
DJ S.L : The discovery of the year?
Groovebox.
DJ S.L : We're reaching the end of this interview, would you like to say something to your fans that are reading this?
Believe in what you do and you’ll get there.
DJ S.L : And our famous last question; when you visit our pages (www.djnews.be), What are your first impressions?
I like it, a lot of useful information.
DJ S.L : Thank you very much, Mike, for giving us some of your precious time, it was a great pleasure and we wish you the very best for the rest of your career. Speak to you soon!!
Thank you, the pleasure is all mine!

More Information:
http://www.beatport.com/artist/mike-vale/35397
https://www.facebook.com/mikevalemusic
http://www.mixcloud.com/mikevale/
http://www.youtube.com/djmikevale
https://soundcloud.com/mikevale
https://twitter.com/djmikevale

Sunday, July 7, 2013

How To Avoid (5 Mistakes Every Beginner Producer Makes)

In many ways, the trajectory for a DJ is simple: master technical fundamentals, get great at selecting music, and try and develop a unique style that’s all your own. While the trajectory for production is in some ways very similar, modern DAWs provide such a myriad of options that make it easy to fall into one of many pitfalls, especially when just starting out! Today we’re looking at 5 of the most common mistakes almost every beginner producer makes, and how to avoid them.

1. LESS IS ALWAYS MORE 

When starting out, the impulse of the vast majority of producers is to grab at every extra plug-in and piece of tech they can get their hands on, and why not? Each product invariably markets itself as the be-all, end-all product that will immediately inject your tracks with fresh energy and life.
While it’s true that there are a lot of pieces of gear and plugins out there that (when used properly) are godsends, grabbing a handful of them and throwing them into your newest track won’t do anything but throw in a bunch of processing that’s too complex for you to handle.
It might be difficult, but instead of trying to use a million different tools to achieve the same effect, try becoming an expert in using a few: mastering one synth and one compressor will do far more for your workflow than half-understanding the functions of ten synths and twenty compressors, a mantra that’s been repeated by the likes of Skrillex, who made his entire Scary Monsters album with only Ableton’s onboard processors.

2. LOUDER DOESN’T MAKE IT BETTER


There’s perhaps nothing more infuriating in the world of production than lovingly mixing down a track, spending hours tweaking every knob, every parameter, automating down to the second, and then referencing it to a professional club track and watching your smile sink slowly as your track is absolutely pummeled by the thump of its professional counterpart. For a lot of producers, this is a massive source of frustration, and rightfully so, as it can feel like there’s absolutely nothing one can do to compete on the level of these thumping mixes.
The solution that a lot of beginning producers jump to is the notorious “brickwall” limiter, which is basically akin to using a butcher knife where you should use a scalpel. The reasoning often cited for this practice is usually something along the lines of  “Mastering techs use limiters, and they make loud tracks, so I should too.” Unfortunately this results in all kinds of negative and unanticipated effects, like pumping sounds, dynamics loss, and distortion. Ultimately, it’s better to take some time to learn a bit about the mastering process, or to save up to pay a mastering engineer, than to take the easy route and absolutely squash your tracks.

3. DON’T FEAR THE PRESETS

It seems increasingly that the production world is divided into those who view presets as the ultimate cheat, and those who view them as the only way to produce. While their ultimate purpose likely lies somewhere between those two opinions, it’s incredibly important to have a reasonable approach to presets (and by extension, samples and sample packs).
Many producers might cringe at the sound of a Nexus piano preset, it’s important to remember that the end goal of a producer should be satisfaction artistically with themselves and with the audience, which may or may not be comprised of people who can recognize presets. This isn’t necessarily license to go and write something like “KNAS,” but you should always keep an open mind to both samples and presets, if only as tools to compliment your sound and radically increase your efficiency.
An easy way to use presets and samples without losing the integrity of a track is to mix genres that traditionally aren’t related: for example, try using hip-hop synth samples in a techno track; you’ll find that the jarring presence of a sound from an entirely different sonic universe can produce some exciting and novel results.

4.  I SOUND LIKE [FAVORITE PRODUCER], AM I FAMOUS YET?


Far too many producers confuse learning the ins and outs of a system with learning how to make a specific product. When starting out, the drive is somewhat clearly to make a track reminiscent of the track that got you into production in the first place, or at very least, the track you love at the moment. In a recent interview with DJS.L, Lucky Date recommended emulating the sounds of a favorite artist as a great starting place for new producers.
There isn’t anything inherently wrong with having a fondness for a sound or style, but producing with a constant eye towards making one type of sound will stunt one’s growth as a producer and as a musician. Tutorial-hunting and remake attempts will only teach you the sound that is the end result of a process invisible to everyone but the original producer.
Instead, spend time reading and learning about general techniques of compression, EQing, and sound design; the end result will be a much richer production experience and a wealth of knowledge that’s applicable to a wide variety of production styles and changing tastes.

5.  OBSESS OVER THE ART, NOT THE CRAFT


This is a simple thing to remember, but it’s lost on tons of producers starting out: there will be a point at which you are fairly comfortable with your production skills. Whenever that point may be, it’s crucial to remember that a production skillset isn’t the end goal, writing music is!
It’s fantastic to have a well-mixed track with plenty of perfectly synthesized sounds, but if it’s a boring track, no amount of clean mixdown will ever make it interesting. Think of the core principles of sound design as guidelines, not hard and fast rules. Once you’re relatively comfortable with understanding each of the features of your chosen DAW, try doing something unconventional or even technically “dumb,” like using a limiter on a single track, or heavy reverb on a bassline, or using a really wide imager on a synth line. These adjustments might not make your track better technically, but this sort of experimentation is almost always guaranteed to make your track more interesting.

Interview : Cosmic Gate

Starting their careers in 1999, Cosmic Gate has been producing dance music and embarking on world tours before the term EDM existed. From the early success of their single Fire Wire in 2001, the duo have been pushing the boundaries of trance music with their unique sound. Today, they talk to us about their new album “Wake Your Mind Deluxe Edition”. We decided to take some of their precious time to tell us exclusively about their new Deluxe Edition.
DJ S.L: Hey Guys, It’s a pleasure to have you on board and to talk to you again…How are you today? Where are you at the moment reading this interview?

We are good, thank you very much, and on board is the right expression, as we are currently i35000 feet high, otw from LA to Bogota, playing 2 shows this weekend in Colombia.
DJ S.L: What did you want to bring with this Deluxe Edition?
There was simply so much good material out and around the original Wake Your Mind release, remixes, videos, bonus tracks etc etc, that we felt the need to bring it all together, and offer this Deluxe Edition to our fans, or hopefully after listening to it, new fans in the future!
DJ S.L: What was the process for the selection of the remixers for this edition?
We actually, besides some big and established names in the scene, like to chose remixers whose tracks we play a lot in our sets, simply guys that produce great music and maybe are not know too much out of the real insiders scene yet. All of them did a fantastic job delivering great remixes for us, TY guys!
DJ S.L: Which track from the remixed album are you playing most at the moment?
Maybe it’s the W&W remix of Over the rainbow, our dutch boys have done another brilliant job on this one as we think!
DJ S.L: We are going to put you on the spot, now! Can you name three tracks from the album that you feel will most represent the overall sound?
This is not easy at all, as there is so much great music added to the original Wake Your Mind release. Maybe listen to Drifting away (Faruk Sabanci Remix) Calm Down (Omnia Remix) and All around you (Alexander Popov Remix), this shows a bit the variety and sound color you can expect on the Deluxe edition.
DJ S.L: What would you consider to be your biggest accomplishment for “Wake Your Mind”? Is it the choice of the artists to remix the album?
This is hard to say, but for sure to pick good remixers is very important, and we fortunately have been very lucky with the work that our guys did remixing our songs, leading to a lot of good music we can now offer on this Deluxe edition fortunately!
DJ S.L: What do you guys think about Trance’s role within the blending genres of electronic music?
We think Trance is still big these days, only it is maybe not all under the name Trance! A lot of big so called EDM producers/djs in our eyes have a lot of trance influences in their productions these days, the biggest dj in the world still is a Trance DJ, so when you consider Trance not only the sound that was played in say 1999, we think it is in a good stage, and sure will maintain to continue be a big part of the electronic music scene.
DJ S.L: Thank you very much, guys, for giving us some of your precious time, and hope to talk to you soon
TYVM for the interview, we speak soon for new upcoming releases.

Saturday, July 6, 2013

DJ Gaby Zgheib (lebanon)




Yes we Gab!

A long career in the field of DJing and more than 10 years of experience in playing music and keeping the crowds entertained… made me who I am today.

Great mixing skills and a unique taste in music helped me contribute to the success of many renowned places in the Lebanese clubbing scene. These places have once become your temple of entertainment, fun and good music. To mention a few: Rai, Crystal, Metis, Motion, Cactus, People (Dubai), Lila Braun, Palais, The original Skybar (Palm Beach Rooftop), Bubbles... and the list goes on.

Being part of this creative industry has made some of my biggest dreams come true, like playing alongside many famous international DJs in big events or at resident clubs.

My specialty? House music is the air I breathe, and I live for its mesmerizing beats.
Being born in the 70’s, I grew up to the tunes of the 80’s and 90’s, and the French tunes that rocked our world. As a DJ, I get to animate the best nights for the lovers of this cherished music.

To enjoy a night filled with beats that will keep you jazzing all night, join me in some of the finest clubs in town on weekly basics.

Currently playing at Cribs (Hamra), Palais by Crystal (Monot Street), Cle (Hamra) and Ora (Dbayeh).

Peace out

Basic Info

Contact Info

Numark Orbit Wireless MIDI Controller: Review

If DJing is your game, Numark has something that may level up your life. The Orbit wireless controller with 2-axis motion control feels like a video game. Sitting in both your hands, it lets you thumb and wave your way to multi-colored effects madness like a caffeinated kid on a PSP. But how is its response and programmability? Read on for our play test.
Reviewed: Numark Orbit Wireless MIDI Controllerz
Price: $149 (MSRP), $99 (common retail price) 
Available: Now
Ships with: Orbit DJ and Orbit Editor software, USB dongle, USB cables, user guide.
Weight: 11.2 ounces (317 g)
Dimensions: 7.1 x 4.3 x 0.9 inches (18 x 10.9 x 2.2 cm)
Requirements (for Orbit DJ):
Windows 7 (32/64 bit) or Window 8 (32/64 bit), 2 GHz Intel Core 2 Duo or faster, 2 GB RAM, 1,280×800 display resolution
Mac: 
OS 10.7 or 10.8, 2.0 GHz Intel Core 2 Duo or faster, 2 GB RAM, 1,280×800 display resolution
The Good: Wireless operation with a 2.4 GHz Wi-Fi USB dongle, or wired use with a USB cable. Motion-controlled, 2-axis accelerometer has almost no latency over a clear wireless connection. Lightweight, handheld MIDI controller with Traktor Pro + GrandVJ mappings (and more program mappings on the way. Rainbow array of 10 customizable LED colors. Rechargeable lithium-ion battery lasts for about 8 hours of continuous use. 
The Bad: Large Virtual Knob feels clunky and slippery in the middle. Occasional latency upon initial wireless connection. Extreme accelerometer motions feel physically unnatural. USB dongle is wider than it should be for cramped laptop layouts. 
The Bottom Line: With a unique feature set, solid build, and affordable price, the Orbit’s versatility and novelty make it one of the more compelling small-format controllers available.

MEET THE ORBIT

You’ve probably seen plenty of people hacking video game controllers to operate their DJ software. Now Numark has basically hacked the portable video game design ethos to create a fully MIDI-compatible controller aimed squarely at DJs and live producers.
The Orbit’s look and feel harkens to the Sony PSP, mirroring its general size, shape, two-handed grip and thumb-oriented control; it even has two top-panel buttons for the forefingers, which are designed to toggle on the 2-axis motion control, courtesy of the onboard accelerometer. Whether its filtering tracks or scrolling menus, the accelerometer controls can manipulate just about anything, and they can both be active at once.
Envisioned as a wireless, handheld controller that lets a live performer tweak two functions via left-to-right or back-to-front motion, the Orbit has hooks in the front and underside for attaching the unit to a strap to wear around the neck or attach to an arm band, belt, etc. But the unit is equally adept as a general MIDI controller for any MIDI-compatible software: music, video, lighting, etc. It’s perfectly suited for tabletop use as well, with rubber feet for a good grip on the bottom, and you can use it wired over a USB cable to a computer if the internal Li-ion battery needs charging. 
No matter how you use it, the Orbit’s 16 pads and four Pad Banks give you ample fodder for your programming delight — 64 pads that you can color code to your liking with 10 LED colors. The big center knob can also have four function buttons (K1-K4)  per Pad Bank, meaning 16 total uses of what Numark calls the Virtual Knob.
The Orbit’s non-volatile memory will store the current settings when the battery expires or when you turn it off with the power switch on the right-side panel, next to the USB port. If you want to create and save more Orbit settings, you can build and store as many as you want with the Numark Orbit Editor software. Any of the controls can be mapped to any MIDI function.
For the price, the Orbit feels very sturdy, yet its low weight will never strain your hands or your gear bag. Its controls are solidly constructed, and the pads particularly have a good middle-ground feel to them: neither too stiff nor too loose. If you end of playing them with your thumbs while holding the Orbit, rather than banging pads with your fingers on a tabletop, you probably won’t generate as much force with your pad strikes. But the Orbits buttons respond very well.

ORBIT DJ AND EDITOR SOFTWARE

Numark includes some software that you can download after you register the Orbit’s serial number on their site. The Orbit DJ software may not seem like much right off the bat. But it actually can be  
useful for both beginner DJs and for experienced people to get ideas on how they will use the Orbit in their workhorse software, whatever that may be.
Orbit DJ has A and B “decks” where you drag and drop music from your hard drive. The software graphically shows you the exact functions of the the Orbit’s buttons, and mirrors the colors of the hardware. The four Pad Bank layouts include transport; cue playback, setting, and deleting; auto and manual loops for both decks, as well as FX pages for both decks that include 8 tempo-based effects, as well as 3-band EQ with EQ kills. The Virtual Knob is used for deck volume, crossfading, and EQ adjustment.
It’s not really a live performance software, but it lets you have some fun with the Orbit out of the box, and it can give you some good suggestions for Pad Bank layouts and color codings for your own mappings.

On deep end of the software spectrum, the Orbit Editor is the traditional MIDI editing program for creating and saving control layouts. You can retrieve the current mapping from the hardware load, modify, and send existing maps to the hardware, or create something entirely new.
The editor has a couple of nice shortcuts to autofill the pad mappings to ascending MIDI channel numbers or Note/CC numbers if you want to.






TRAKTOR PRO MAPS

Although there are Numark videos showing mappings for Ableton Live and Serato DJ, the only mappings available from the official Ozone site were three Traktor Pro 2.6 maps and one for Arkaos GrandVJ.
These Traktor mappings are smart; a single control often does multiple things. For example, when you’re using the Virtual Knob to browse tracks, the software jumps to Browser view; as you load the track with one of the buttons, it jumps back to Mixer view.

There’s a 2-deck and a 4-deck map; the 2-deck one seems like the most fully functional. With it you can really run a full set, although the more prepared the tracks are, the better. The Pad Banks on this mapping take care of Deck A Transport, Deck B Transport, Deck A FX, and Deck B FX. The transport decks even have a Shift key built in, giving you lots of flexibility with the buttons and Virtual Knob. You can set, trigger, or delete cue points; control loops; browse, seek, and load tracks; and work the crossfader, pitch fader, track volume, and key value. The shoulder accelerometer buttons control filters A and B, which you can control simultaneously with some un-self-conscious twirling and twisting motions.
The FX decks are even bigger treats, as three of the Virtual Knob settings control the dry/wet levels and effect amounts for custom FX groups designed to add flair to build ups and breakdowns with a single fluid movement of the knob. These banks let you quickly access a battery of 13 effects, some of them, like Beat Masher 2, in multiple incarnations. With the Beat Slicer and Echo Freeze effects you can either toggle or hold them on. Most of the these effects have one or two parameters tied to the motion controls, so while the effect is either toggled or held on, you can also hold one or both of the shoulder buttons down and perform motion-controlled tweakery.
Creating a mix with the Orbit doesn’t feel quite as fluid as with a big controller or a mixer, but within a half hour of exploring the Traktor map, I was performing credible mixes with familiar music in my collection. It’s also just a fun, new experience to use Traktor with the wireless Orbit, whether you’re jumping around the room or reclined back in a chair with your feet up. Of course, pairing the Orbit with other small controllers or one other main controller will really open you up to specializing the Orbit’s functions to just the whiz-bang, ooh-ah type stuff, while the others handle the ordinary routines.

THE ORBIT IN USE: HOW DOES IT PERFORM?

Early on, Orbit answered the big questions about wireless latency and the response and resolution of the motion control. Besides some rare hiccups, it performed up to professional performance standards. Upon initially pairing with the USB dongle, we occasionally experienced some early
latency, but after 30-60 seconds or less, the unit was sending signal with no noticeable latency.
The results from the motion controls also impressed us. Take for instance the typical adjusting of a track filter or effect parameter. A flat Orbit represents a knob in the center position, and rotating the Orbit 90 degrees to the left, right, front or back represents the knob all they way left or right, depending on the situation. The response to the software felt immediate; the knobs turned as quickly as we could rotate the Orbit. Not only that, but the response also sounded very smooth. There was no notching effect involved with the motion control. Even when using both shoulder buttons to manipulate both motion controls, the results sounded great.
We tested it without a lot of active Wi-Fi networks in the area-  other (2.4 GHz band) devices and microwaves can interfere with the signal. The wireless signal range is estimated at about about 100 feet (30 meters) with a clear line of sight.
A possible concern is just the physical movement of the Orbit itself. While not a huge bother, the motion of twisting the Orbit a full 180 degrees from left to right and back or from back to front and back both feels and looks a bit awkward. You won’t always want such extreme movements, and you’ll get more used to it in time.
The feel of the Virtual Knob also caused some concern. While it’s a giant knob, you pretty much have to touch it specifically at the edges to get it to move well. The top finish of the knob is covered with small serrated concentric circles, giving it a slippery feel that simply does not respond well with a thumb or finger on top of the knob instead of the rubberized edge. You also have to apply a fair amount of pressure to that edge.
This means if you’re trying to execute quick maneuvers and don’t quite hit the edge with the right amount of pressure, either your timing will be off, or you aim might be off and accidentally hit a button instead. Again, it’s something to get used to in time, I just wonder if that much unusable knob space could have been used for something else.
Numark advertises 8 hours of continuous use from a charged battery. In our tests, with a fully-charged battery we had the unit powered on for just about 10 hours before it shut down, although some of that time was in sleep mode. If the Orbit stays inactive for three minutes, it will enter sleep mode, which consumes some (less) energy. You just need to move the Orbit or press any control for it to instantly wake up.

FLOATING IN SPACE

It’s hard to resist the appeal of the Orbit. It’s often the case that a $100 piece of gear either sacrifices build quality for features or feature for build quality. Neither is the case here, and there’s high-performance wireless connectivity and motion control, which are still unusual at any price point.
As with many controllers, the magic is in the mappings. The current Traktor maps showcase the potential of the unit quite well, and could serve either as a good inspiration or jumping off point for people’s own mapping. It’s not going to be for the faint of heart to come up with mappings as sophisticated as Numark’s Traktor maps, but to MIDI mapping veterans, it’s just business as usual.
While the Orbit could suffice in almost any small-format MIDI controller situation, it really is uniquely designed for its specialty, which is wireless, handheld control. That means controller users will probably fall into one of three categories: those who are already using some wireless and/or handheld gear in performance, those who are not yet using such gear but might be interested in doing so, and those who are not using such gear and couldn’t care less about it. Props go to Numark for potentially alienating some customers for the sake of making a cool, unique device.

Friday, July 5, 2013

Armin van Buuren launches official ASOT on Spotify app



Last week, Armin van Buuren launched the official A State of Trance Spotify app, a day-to-night app for fans of his weekly radio show, record label and worldwide events. Connected to music streaming service Spotify, it links directly to the #1 DJ's playlists, with nearly half a million subscribers. Keeping fans up to date on all releases of the A State of Trance label, the latest compilations of the Dutch DJ, as well as the latest episodes of the ASOT radio show.

Throughout the course of his career, Armin van Buuren has managed to have A State of Trance grow into one of the biggest brands in trance music. Its radio show, listened to by more than 25 million music lovers each week, celebrated its 12th birthday earlier this year. With an extensive A State of Trance world tour, Armin made sure the 600th episode didn't go by unnoticed.

This week, Armin kicked off his weekly residency in Ibiza's Privilege club: A State of Trance “The Expedition” Ibiza Mondays.

2 years after starting his radio show, van Buuren also kicked off his own label, A State of Trance, part of the 'Best Global Record Label', Armada Music. All info on its releases, compilations and singles, can be found on the official A State of Trance app.

Armin van Buuren: "The world is going mobile more and more, so it was about time to invest in an official app for my A State of Trance brand. I hope fans will love its direct connection to Spotify to listen to my tracks and playlists, as well as having ASOT news and updates right there in the palm of your hand."

Thursday, July 4, 2013

Pioneer Pro Audio debuts GS-WAVE and XY sound system

After a rumour at Musikmesse had to be rammed down my throat for me to understand, Pioneer’s aim of total club scene domination has taken a step in a new direction with the introduction of a new venture and their own sound system. The new GS-WAVE and XY series from Pioneer Pro Audio are produced in partnership with Gary Stewart Audio, and look to become a fixture in the major clubs around the world. And there’s a website to show it all off as well.
Official Pioneer words:

Pioneer enters the professional audio market with the launch of the ultimate club sound system

2ndJuly 2013: Pioneer is set to enter the professional audio market with the launch of its flagship club sound system. Drawing on Pioneer’s rich heritage in sound reproduction, deep understanding of the club industry, and close collaboration with Gary Stewart Audio (GSA) and Powersoft, this exciting arrival promises to make waves in Ibiza this season.
Pioneer and sub-brand TAD’s expert sound engineers have been creating high-quality audio for many decades and, with Pioneer DJ’s unrivalled expertise in the pro-DJ market, the move into club sound systems is a natural progression.
To create the ultimate club sound system, Pioneer partnered with the legendary Gary Stewart of Gary Stewart Audio (GSA), whose sound systems have roused clubbers in the world’s most iconic venues, including Singapore’s Zouk and Club Vertigo in Costa Rica. The team partnered with Powersoft to provide high-performance amps that maximised the potential of the system.
Marta Robowsky, Manager at Gary Stewart Audio explains: “We wanted to partner with a manufacturer who shared our vision of reproducing the best sound for the club environment. The technological synergy between Pioneer and Gary Stewart Audio will provide the ultimate nightclub sound system”.
Pioneer’s Alex Barrand, the sound engineer behind the Ministry of Sound London’s award- winning sound system upgrade in 2008, oversaw the development process. He explains: “We didn’t just want to enter the market; we wanted to be the best in the market. So we gathered the dream team: Pioneer’s pro-Audio R&D expertise combined with GSA and Powersoft’s club system credentials. You have to hear it to believe it.”
Pioneer’s flagship speaker series includes two series of passive speakers, GS-WAVE series and XY series, the combination of which is versatile enough to suit a wide variety of installations. GS-WAVE are dance floor stacks with wide dispersion, designed to deliver sonic clarity and high SPL across the whole frequency range.
The XY series is more compact in size without compromising sound quality. Designed for use as DJ booth monitors or as PA speakers in smaller rooms, the XY series offers a wide array of rigging options for installation. The whole system is supported by Powersoft K-Series DSP amplifiers, which come with pre-set data to maximise the performance of the speakers.
Barrand concludes: “We’re installing the flagship sound system in a number of world-famous clubs in Ibiza and beyond, including a complete club re-fit, which we’ll be announcing in the coming weeks.”
Find out more about Pioneer pro-audio’s flagship sound system: http://www.pioneerproaudio.com

Key features of the Pioneer Professional Audio flagship club sound system

GS-WAVE series featuring GSA technology
The ultimate club system, the three-meter tall GS-WAVE floor stack delivers a warm, solid sound you can feel. Features:
  • A multi-fold hyperbolic horn subwoofer with large horn extension for a deep subsonic bass
  • Two high-power low to mid range speakers for a tight, punchy kick
  • Acoustic lens with a 110-degree dispersion and crystal clear high frequency sound
  • Wide frequency response
  • Transmission line design for maximum efficiency
XY series of in-fill speakers
Designed for use as monitors or in bars and lounges, the high power XY series in-fill range features:
  • DJ booth monitor speakers available in 12-inch or 8-inch versions, rotatable horn with wide dispersion of 90 x 60 degrees, and extremely high quality internal passive crossover with separate cooling zones
  • A dual 15-inch quasi-bandpass subwoofer and a reflex-loaded 18-inch subwoofer with ceramic driver delivering impressive frequency response
  • NL4 IN and link OUT connections as standard
  • Robust enclosure made from premium multi-laminate birch plywood
  • Multiple installation options, with brackets, pole mounts, top hats, flying cradle and other accessories for quick set-up
Powersoft K-series amplifiers for optimum performance
Chosen for their high-performance and compact build, the amps feature:
  • In-built, networked DSP enabling sound processing to be controlled remotely
  • Industry-leading energy efficiency, high power output
  • Pre-set data for optimum speaker performance and protection

MAIN SPECIFICATIONS

GS-WAVE SeriesMulti-fold hyperbolic horn subwooferWAV-SUB

Large horn extension for WAV-SUBWAV-HORN

Dual 15-inch high-power upper bass boxWAV-LOW

Twin acoustic lens and horn with two coaxial compression driversWAV-LENS

Omni-directional super tweeter podWAV-TWPOD
XY Series12-inch 2-way loudspeakerXY-122

8-inch 2-way loudspeakerXY-81

18-inch bass reflex subwooferXY-118S

Dual 15-inch quasi-bandpass subwooferXY-215S

It’s fair to say that for the majority of people reading this story, the introduction of these pro audio products is pretty meaningless. It’s not like we’re likely to get them in for a review, and they don’t list prices or availability. This is really a signal from Pioneer that it’s playing a smarter game than before where the DJ sector is concerned.
Pioneer is undoubtedly strong in the DJ industry. They pretty much own the booths across the world, and aren’t doing too badly in the more entry level sectors either. So instead of trying to grow in areas were they are just one of many (home AV for example), it makes sense to build the Pioneer DJ brand, and take it as far as possible.




But there are times where you have to partner up with key players to get to where you want to be. Yes, Pioneer can make monitors, but the whole process of fitting out a club is a whole different ball game. So partnering up with Gary Stewart Audio makes a heap of sense for both parties. But what it does mean is that a club can now call itself a Pioneer Club. I wouldn’t be at all surprised to see Pioneer branding front and centre in many clubs across the globe now.
I expect the first place to benefit will be Ibiza. The quiet season starts around October, meaning that many clubs will take the opportunity (doubtlessly with a little encouragement from Pioneer of course) to rip out the old system and install a new Pioneer one. I’m imagining vintage cabinets littering the streets of Ibiza, and all being nailed together to fashion dance based shanty towns for people to squat in during the busy and expensive summer months.
Finishing on a technical note for some cleverer than I in the ways of pro audio to chew over — it occurred to me that while the Pioneer badge may be on the DJ gear and on the sound system, you’re still essentially plugging one into the other with nothing in the way of 2 way interaction. But my mind got to wondering about Pioneer’s propensity for linking hardware at a deeper level. What kind of things could be done if the CDJs and DJMs and the sound system were a symbiotic machine working hand in hand? I’m just chucking it out there for some spitballing. It might well be that they remain quite separate.