Sunday, February 26, 2012

DB technologies Flexsys Flexsys F15

2-Way Active Speaker 15"/1" 800 W

Designed especially for use as a fullrange cabinet, the Flexsys F15 delivers the sonic goods. There’s no need for an added subwoofer as its 15“ woofer packs a very powerful low-end punch.

The Flexsys F15 is a great choice for rendering canned music as well as for reinforcing electronic instruments such as keyboards. Thanks to its rotatable high-frequency horn and integrated rigging points, the Flexsys F15 is also an excellent fit for permanent installation.


Technical data

Speaker Type 2-Way Active Speaker

Acoustical data

Frequency Response [-10dB] 55 - 20.000 Hz
Frequency Response [+/- 3dB] 60 - 19.000 Hz
Max SPL 128 dB
HF 1 "
Type HF Compression driver
Voice Coil HF 36 mm (1.44 in)
Directivity 90 x 40 °
Horn CD Horn
Rotatable Horn Yes
LF 15 "
Voice Coil LF 2 "


Amp Technology digipro
Amp Class Class D
Power PRG 800 W
HF Amp 100 W/RMS
LF Amp 300 W/RMS
Cooling Convection


Controller DSP 24bit/48kHz
System Presets Flat, Processed
Limiter Dual Active
Peak, RMS, Thermal
Crossover Frequency MF-HF 1800 Hz
Slope MF-HF 24 dB/Octave

Input Section


Signal Input 1x XLR
1x 6.3mm phone jack
Microphone Input Yes
Signal Output 1x XLR
1x 6.3mm phone jack
Power Socket VDE
Voltage Range 240 V


Housing Multiplex
Housing Design Multifunctional
Color Black
Surface Texture Textured acrylic lacquer
Handles 1x on top
2x side
Pole Mount 36mm
Angles Up Monitor use 45 °
Front Grille Metall, 1.5mm with acoustical foam
Rigging Points 12x M10
Width 430 mm (17.2 in)
Height 680 mm (27.2 in)
Depth 430 mm (17.2 in)
Weight 20 kg (44.09 lbs)

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DB technologies Active Subwoofers SUB 15 D

Active Subwoofer 18" 1000 W

Loaded with 15” woofer and featuring band-pass circuitry, the SUB 15D is a remarkably agile and responsive speaker system. Driven by an onboard digipro® digital power amp, this bin packs a powerful low-end punch perfect for rendering kick drums with high SPL.
The SUB 15D operates in mono and stereo courtesy of the integrated active crossover, which also offers flexible configuration options. This subwoofer sets new standards in its class for weight, performance, and transportability.

With digital power amps lightening the load, toting and setting up these bins is an exercise in convenience. This handling ease is an asset users are sure to value, particularly those frequently tasked to set up and tear down systems for live applications.

The SUB 15D is the perfect low-end enhancement for FLEXSYS F212 cabinets (see Flexsys GALA System). Of course, it may also be combined with many other mid-/high-range units to configure powerful sound reinforcement systems. Control LEDs afford users a view of the current operating status. A professional-grade locking Neutrik® PowerCon connector with a parallel output (Link) connects the enclosure to the mains supply.



Technical data

Speaker Type Active Bandpass Subwoofer

Acoustical data

Frequency Response [-10dB] 28 - 150 Hz
Frequency Response [+/- 3dB] 35 - 120 Hz
Max SPL 134 dB
Directivity omnidirectional
LF 18 "
Type LF RCF Precission Series
Voice Coil LF 4 "


Amp Technology digipro
Amp Class Class D
LF Amp 1000 W/RMS
Cooling Convection


Controller Analog
Phase 0, 180 °
Limiter RMS, Peakt, thermal
Delay Option No
Crossover Frequency LF-MF 90, 120 Hz
Slope LF-MF 24 dB/Octave


Input Section

Signal Input 2x XLR
Input Sensitivity [dBu] Max. -3 dBu
Signal Output 2x XLR X-Over Out/ Link Out
Power Socket 1x Powercon In
1x Powercon Out
Voltage Range 240 V


Housing Multiplex, birch plywood
Housing Design Square
Color Black
Surface Texture Acrylic laquer
Castors No
Handles 2x side
Pole Mount M20
Front Grille Wooden
Metall grille
Width 436 mm (17.44 in)
Height 600 mm (24 in)
Depth 600 mm (24 in)
Weight 32 kg (70.55 lbs)

where to buy ?

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Saturday, February 25, 2012

Pioneer DJM-850 Mixer Announced


DJM-850 Loaded with Advanced Features and Effects for Creative Mixing Capabilities
LONG BEACH, CA (February 23, 2012) – Pioneer Electronics (USA) Inc. Professional Sound and Visual Division continues to make advancements in its lineup of DJ products with the launch of its new DJM-850 performance DJ mixer that brings more functionality for the growing number of DJs that utilize today’s popular DJ software.  Inheriting many of the same technologies, reliability and operability of Pioneer’s industry standard DJM-900nexus mixer, the DJM-850 (video demonstration) also features a built-in high-performance USB sound card, various functions for laptop-connected DJ performances, and the industry’s first1 BEAT COLOR FX function, which changes effects by linking the audio input of each channel.

“Pioneer has included innovative new features in the DJM-850 that expand DJs’ creative capabilities when they’re using their favorite DJ software.  We see the growing use of DJ software as a great opportunity to bring professional level quality and features to this space,” said David Arevalo, senior marketing manager, Professional Sound and Visual Division for Pioneer Electronics (USA) Inc.
Variety of Effects
The DJM-850 follows Pioneer’s traditional mixer layout, featuring a variety of advanced sound effects that provide DJs with virtually limitless possibilities when mixing their music. Pioneer includes a new BEAT COLOR FX function, which changes effects by linking the audio input from each channel.
• Sound Color FX – The Sound Color FX offers four types of effects (Filter, Crush, Noise and Gate) that can be linked to the input sound of each channel.
• Beat Color FX – Users can quickly change between the new Beat Color FX and Sound Color FX to suit each tune for further remixing and sound capabilities. By activating the Beat Color FX, users are able to manipulate the Sound Color FX and Beat Effect simultaneously, resulting in more creative effects that complement the beat of the music.
• Beat Effect – The Beat Effect function presents 13 different types of effects (Delay, Echo, Up Echo
, Spiral, Reverb, Trans, Filter, Flanger, Phaser, Robot, Slip Roll, Roll, and Reverse Roll) that can be combined to produce up to 100 other original effects.
Sound Quality
The design of the DJM-850 combines broad functionality and high quality components to achieve great sound quality: 
• 24bit/96kHz Built-in USB Sound Card – An integrated high performance USB sound card enables up to four inputs/outputs2 simultaneously with no deterioration in sound quality. 
o The sound card supports three different sampling rates (96kHz/48kHz/44.1kHz) and the ASIO/Core Audio standards that can also be used for music recording and production.
o The USB port on top of the mixer provides quick connections to use DJ software via laptop.  The signal output path from the mixer can be easily modified using its setup utility tool3 via a computer.
• Sound Quality – The use of high quality components such as a 32-bit digital-to-analog output converter and a 32-bit digital signal processor, separate analog and digital circuitry, and extremely short audio transmission paths results in clear and powerful audio output.
The DJM-850 offers compatibility to the Scratch Control (DVS) with Native Instrument’s TRAKTOR SCRATCH PRO 2/DUO 2 software.  Using the timecode disc bundled with the software and a PC, the DJM-850 is ready for scratch control (DVS) with a CDJ player or Vinyl turntable.

Additional Features

The DJM-850 is equipped with additional features that add to the versatility of the mixer: 
• MIDI Signal - Operation information of the mixer’s knobs and buttons can be transmitted as a MIDI signal5 for a “Full Ensemble MIDI” function to control other connected devices.
• Switching 3-Band EQ/Isolator – Each channel of the mixer is equipped with a switchable 3-band EQ (+6dB to -26dB) and 3-band isolator (+6dB to -∞dB)
• High Performance Channel Faders - The slide mechanism supports the fader knobs with two metal shafts for both durability and smooth operation.  Furthermore, the new mechanism’s design minimizes the negative effects of moisture and dust particles on the mixer’s performance.
• P-LOCK Fader Cap - Keeps the fader channel and crossfader knobs (caps) locked, preventing them from physically slipping off during heavy use.
• Scratch Control - Scratch control6 is possible by using the time code disc7 bundled with DJ software supporting DVS (Digital Vinyl System)8 from CDJ players and vinyl turntables.
• Auto Standby - Automatically senses active operation and the presence of input signals, switching to standby mode when inputs are not detected for a long period.
The DJM-850 will be available in black or silver colors in March 2012 with a suggested retail price of $1,999.

Friday, February 17, 2012

Mapulator: An Advanced MIDI Mapping Tool for Ableton

Ableton Live’s MIDI mapping is a double-edged sword: super-easy, but somewhat limiting. What if we could go beyond basic mapping? The fact is that complex MIDI translations in Live shouldn’t require a doctorate in computer science to pull off, which is exactly why we’ve created Mapulator, a new Ableton Max for Live patch that allows you to map knobs in ways that we could only have dreamed about with the standard mapping system. We’re giving this first version out for free – see inside for more about this incredible device.
Mapulator is the first in a series of new DJ TechTools devices that we’re calling Smart Tools. This first version of Mapulator is absolutely free to DJ TechTools readers! Mapulator’s super-simple interface and utilitarian functions can be appreciated by all users, from veteran MIDI mappers to first-timers.

Mapulator: What Does It Do?

Mapulator allows any control in Ableton to be controlled by a knob in almost any way – controlling multiple parameters of an effect or synth, or even multiple parameters of a chain of synths and effects is a breeze. Mapulator enables the user to go beyond the limitations of mapping in Ableton live in a very simple and easy to use fashion.

What’s Wrong With Ableton’s MIDI Mapping ?

If you visualize how Ableton would normally map a control, it’s a straight line from one origin value at the start of your knob to another destination value at the very end of the knob. If you want the knob to go up slowly incrementally and then exponentially ramp up quickly towards the end of the knob, it’s simply not an option. What if you want a value to ramp up, then down again? Also not possible.
Wondering why you’d want a knob to be able to raise in value just to fall again? It’s ideal for controlling multiple parameters of an effect at different rates, which is the heart of what an expressive smart knob is all about. This can be a useful function for packing multiple effects across a knob. For example, if you wanted to create a delay effect that morphs into a phaser, then cuts out and finally morphs into a reverb with an awesome freeze effect, you would be able to do this with just a single knob, as Mapulator lets you create these sorts of effects!

How Do I Get Started Using Mapulator?

Download the patch here!
to run Mapulator, you’ll need to have Max For Live
You first need to download the patch – we only ask for your email in exchange, which allows us to keep you up to date with the latest versions and releases of our Smart Tools. After signing up, you’ll receive your copy of Mapulator in your email.
Update: theres a cross compatibility issue on windows that affects version 1.00 , a new version(version 1.01) will be sent out to your email that fixes this issue. – We apologise for any inconvenience. If you havent already click the download link, sign up and you will receive the new version to your email the second it gets sent out.


  1. First, unzip the file (need help? please visit here)
  2. Open Ableton Live and locate Max Audio Effect in the Live Devices tree (usually under Audio Effects).
  3. Find the folder you unzipped the .zip file into and locate Mapulator.amxd
  4. Drag Mapulator.amxd onto the Max Audio Effect device
  5. Congratulations! Mapulator is now installed and is ready to use.
Note: This device was built in Max 5 and is mostly untested in Max 6 – let us know how it works out for you.

How to use:

Double click on Mapulator in your Max Audio Effect device and it will open up just the same as any other audio effect.

Before we get started mapping out what is controlled, we need to assign the knob on our MIDI controller to this instance of Mapulator. Start Ableton’s MIDI mapping mode by clicking MIDI in the top right, then click on the “Smart” knob inside of Mapulator. Finally, move the knob on your controller that you want to control Mapulator with, and it should show up in the list of MIDI mappings.
Let’s continue by creating a simple and useful highpass filtering effect that controls both the frequency and the resonance at the time. Load up an Auto Filter effect into a track of your choice. We want a highpass curve, so select the highpass icon. Your Auto Filter should now look like this:

Let’s bind a couple of properties of the filter to the knob. The two parameters we’re interested in are the frequency (kHz) and the resonance (below the frequency, labeled as Q). Click on the filter frequency parameter and the box around the frequency will get a slightly thicker line around it, showing that it is the currently selected parameter – when we click learn in the next step you will see this is how we select a parameter that we want Mapulator to control.
Back in Mapulator, click the learn button: note that when you do this, the parameter name appears in the drop down list as shown below.

Next, let’s tell the knob how to interact with the parameter. Mapulator relies on curve drawings – so start by clicking and inside of the grid – you’ll see a line appear that you can raise and lower. This corresponds to the parameter value, and you can continue to click on that line and adjust different points to change the curve. In this example, we’ll start with a simple curve – so two points will do fine – one in the bottom left and one in the top right.
Now when you turn the knob on your controller, you should see the filter follow the line of the graph as you turn the knob. This linear mapping is pretty bland, so let’s spice it up to give you greater control over cutting of the lower frequencies.
Hold control on your keyboard, and click and drag down and to the left on the point in the top right of the graph. See how the graph morphs to to create a exponential curve.
This is how you create all different shapes of curves in a super simple and easy to use way, have a play around to see what different shapes you can come up with! When you’re done playing around make your graph look like this:

Time to assign a second control – click on the drop down list and select “Parameter 2″, this will let you control a second parameter in the patch: note that you can control up to 8 parameters with a single knob. Go back over to the filter and this time click on the resonance setting (labeled as Q), then once again hit Mapulator’s learn button.
Now you’ve selected two parameters to be controlled by Mapulator, at the same time! What we want to do now is have the resonance increase as the filter filters out the lower frequencies, really allowing those high frequencies to sing. We want to create a line again, but this time we want to start at the 0.2 position on the left and ramp up to about 0.7 on the right.
If you look at the top left of the graph when hover over or drag a point in the graph, you’ll see that the patch gives you XY coordinates for the point. With this in mind, create one point at X:0.0 / Y0.2 then another point at X:127 / Y:0.7, then control-click on the right-most point again and create a curve so your patch ends up looking like this:

You have just created your first knob using Bézier curves! This is a simple example, but this is a great first knob  that will be useful for pretty much anyone out there.
Now play around with the tool: maybe try adding an effect that kicks in near the end of the filter. For this, just map something like the wet/dry parmeter of a reverb effect that only starts churning up halfway though the graph. Or perhaps even add a little delay near the end to spruce up the filter into something unique.
Additionally, you can zoom into areas by clicking and dragging on the bars above and to the right of the graph. To reset the zoom back to normal, just click on the circle button in the top right of the graph. If you mess up a graph and want to start fresh, just click the clear graph button.
Full list of the commands you can use on the graph:
  • Left Click = create a new dot; select & move a dot; deselect a dot
  • Left Click + shift = restrict movement to vertical
  • Left Click + shift + alt = restrict movement to horizontal
  • Left Click + ctl (+ drag left of right) = create a bezier curve point
  • Left Click + ctl + shift = create symmetrical bezier curve points around the point
  • Left Click + alt = delete a dot or a bezier point
  • Double Click + Command/Win + shift = lock or unlock all dots
If you need to see these commands in Ableton, just hover your cursor over the graph. You will see these commands in the Ableton hint window, or you can open the patch in the Max editor to see a list of the commands in presentation mode.

What Can I Use Mapulator For?

The most obvious use for Mapulator would be to control a bank of effects to create a smart knob. Each paramater will follow your own user-defined response curve to create a highly expressive effects knob that sounds exactly how you want it to at any position the knob is in.
There are quite simple but powerful uses for Mapulator as well- turn your APC-40 into a turntablist’s scratching battle mixer, the line faders could be edited to allow for the track to cut in much quicker, the bottom third of the fader representing more than half of a regular fader. This would mean it only takes a slight fader move to produce a very large increase in volume. Using the Bezier curves drawing in Mapulator will allow you to get any shape you desire, so you can tweak the fader just how you like it.
You can also use this patch to control any parameter of a synthesizer, a totally indispensable tool if you’re playing some live synth. A small twist of the knob can control multiple parameters including your wavetable position, pitch bends, tuning, filters or any other automatable parameter your synthesizer can throw at you. This is a great way to active degrees of a new preset on a device – let me turn up my Awesome knob!
As with most things in Live, Mapulator is not just limited to stage use, it certainly has uses in the studio. If you’re a producer who likes to get their hands dirty with MIDI controllers and finds yourself recording automation using a MIDI controller, you’ll find that setting up a mapping will make your complicated actions much easier.
Thinking outside the box, you could even automate the knob in Mapulator so you can give Ableton some much-needed Bézier curve automation crafting!
We’re super excited to see what you all can make with this tool.

Who Made Mapulator?!

After spending years creating these sorts of effects using other MIDI translation tools like Bomes MIDI Translator controlling Traktor or Ableton, I really grew frustrated at why it couldn’t be easier and much less time consuming. When making this patch, my primary focus was to make a smart knob as simple as possible to create yet without skimping on any functionality.

Online DJ Scratch Schools Comparison: Which Is Right For You?

An awesome DJ set rarely comes down to which equipment you use – it’s singularly about the sound you deliver.  That is, unless you want to scratch. The tools of the turntablism trade are relatively simple, the techniques have evolved at a glacial pace compared with other DJ disciplines, but it’s an artform that is anything but simple to master. So where does the budding DMC turntablist champion go to get the very best education on “cuttin’ it up rough”? In this article, we look at some of the online resources out there that will build those flares, tame your crabs and keep those chirps tight.
We’re looking at four of the more popular scratch academies available online and at a price that most people can afford. When looking at each school we compared at curriculum structure, quality of the training content being offered, school features and value for money.
The bottom line is that each of the schools listed in this article are covered because they have something significant to offer.  As to which school is right for you is going to depend on how you learn and how much you can afford.

Studio Scratches

 Studio Scratches started in 2009 and is the creation of Emma Short-E Short or just DJ Short-E (not to be confused with LA’s DJ Shortee who we interviewed a few months back).  Studio Scratches offers no nonsense scratch tutorials for beginners and intermediates. The videos are clean and simple and focus exclusively on the techniques required to master the core skills. You are also able to download audio files with beats that that are designed to make for good tracks to scratch along to. In addition to the scratch tutorial videos there are videos of guest DJ routines and interviews.

 While we liked the clean and simple design of the site, the use of WordPress and a chronological blog format isn’t ideal for a first time scratcher working their way through the basics. The site also appears to be in transition so it’s hard to tell if what we saw will remain in place long term. We were intrigued by the “digital skipless records” on offer through the Studio Scratches Bandcamp page and understand that an eBook and new set of videos are in the works. Studio Scratches is clearly a labor of love and having garnered more than 4,000 subscribers on its accompanying YouTube channel, it’s clear to see that Short-E has developed a healthy fan base for her work.

Founded: 2009
Tuition Cost: FREE
Our Verdict: Studio Scratches offers lessons which are clear and concise and will appeal to DJs looking for a site that offers more than just video clips, without hammering the pocket.


TurntableU is the work of Icey Ice of the legendary Beat Junkies.  Unlike many of the other scratch schools which feature a single DJ, Turntable U boasts an impressive and diverse roster of turntablists offering a variety of how-to videos organized into beginner, intermediate and advanced semesters.  Another difference with TurntableU is that it is not exclusively scratch focused. The beginner semester begins with some extremely entry level techniques such as counting beats and bars and dropping on the one.

For us, the lessons were a little hit-and-miss and greatly varied based on the instructor.  The curriculum initially appeared to be well-organized with different semesters, but lessons jump around between scratching, mixing, and items like “programming for the radio.” It’s clear the intention is to deliver a more rounded DJ education, but we think this site still needs some refinement and re-organization.
Founded: 2009
Where is it based?: LA
: Packages of courses ranging from $6.99 to $85.99
Number of Students: Several thousand
Our Verdict:  Some great content can be found at TurntableU –  depending on what you are looking to learn, there may be a TurntableU package that works for you but it’s worth noting that there are more effective learning options out there for less.

Qbert Skratch University

 You would assume that if anyone was going to own the business of teaching the world turntablism, it would be DJ Qbert. And you would be right. QBert’s Skratch University offers a comprehensive curriculum from beginner to “I don’t ever see myself being able to do that.” In addition to the training videos there is a forum, chat box, a large collection of beats to download, behind the scenes footage of Qberts shows, and “Master Classes” from Qbert and his turntablist friends, including Tyra from Saigon.

 What sets Qbert apart from the others is the “Video Exchange”.  Students can upload videos of their scratch practice and ask for general feedback on their technique or advice on specific scratches they are learning. We uploaded a very basic video looking for general feedback and got a written response in a few weeks. Some of the videos students upload get a video response from Qbert. The site is extremely friendly, with lots of students posting videos and beats for others to download or comment on.  San Diego’s Theareohsee and Paris based DJ Claim are two QSU students well worth checking out .

The one thing that does somewhat hinder a student’s ability to get the most from the site is Qbert’s use of the hamster style where the crossfader is reversed.  If you scratch with the standard fader configuration, everything that Qbert teaches is essentially backwards. This might not be an issue for some people, but it does provide an extra challenge for the non-hamster scratchers out there.
Founded: 2009
Where is it based?: 
The SF Bay Area
Cost: $90/ 3 months
Number of Students: Not available
Our Verdict: At $90 for three months, it’s a serious investment that will only appeal to those who are serious about getting their scratching skills up to par.  For those who do decide to spend the money, there is no shortage of content which is delivered on a highly active site. You will also laugh a good deal more than you would expect.



Friday, February 10, 2012

Wednesday, February 8, 2012

iMaschine App Music Making Video

The iMaschine music production app is making huge waves in the music industry. It is the most popular music production app at the App Store and it's easy to start making beats from scratch using the touch pad surface of the iPhone, iPad, and iPod Touch. The music that you make on the iMaschine app can then be transferred over to your computer and full or medium sized Maschine production unit to continue making the beat or to finalize your mix. Check out the video of the iMaschine in action below.





The first ever Native Instruments iPhone®, iPod touch® and iPad®* App is an intuitive beat sketchpad based on MASCHINE’s groove production studio concept. iMASCHINE is perfect for developing song ideas anytime, anywhere – Play and record drums on the 16 pads, jam a melody on the keyboard, sing on top of your loops via the built-in audio recorder or create your own unique sample banks from any source - With iMASCHINE the focus is always on the music. And when you’re done, you can finalize your track in the full version of MASCHINE or MASCHINE MIKRO or directly upload the loop to SoundCloud and share with your friends.

Check out the other products in theMASCHINE Trinity


iMASCHINE is a professional instrument designed for beat producers of all levels - you don’t need to have experience with MASCHINE to create spontaneous beats. With its intuitive threshold-based pad sampling, note repeat, auto-loop length feature, on-board mixer with six handy effects and the unique audio recording function, iMASCHINE makes it easy to instantly create grooves whenever the mood hits.


Use the included drum kits and melodic sounds, all in professional WAV-format, or expand your library with the iMASCHINE Expansions - available directly from your device via the in-app store.

Currently available for in-app purchase:

SWAGG CITY - Fresh sounds for chart blazing jams, exclusively available for iMASCHINE and produced by renowned sample provider MVP Loops
TRUE SCHOOL - A selection of highly characteristic sounds for futuristic beats taken from the full MASCHINE Expansion
TRANSISTOR PUNCH – A selection of punchy, dynamic processed sounds taken from the full MASCHINE Expansion
VINTAGE HEAT – A selection of warm and meaty analog sounds taken from the full MASCHINE Expansion


iMASCHINE is available at the iTunes App Store for $4.99 / 3.99 €


Requires iOS 4.3 or higher (iPhone® 4 on Verizon will be supported with iOS 5 only!)


  • 16 pads for playing the included drums and one-shot samples
  • Library includes 10 projects, 25 kits and over 400 individual samples (100 MB of WAV sounds)
  • Pad sampling mode: record your own one-shot sample through your iOS device's built-in microphone
  • Keyboard mode with two manuals for playing chords, bass and melodies
  • Note repeat function with 4th, 8th, 16th, 16th triplets, 32th for keyboard and drum pad mode
  • Audio recorder mode lets you record an audio (e.g. vocal) track through your iOS device's built-in microphone
  • Assign any of the 4 groups to pad, keyboard or audio recorder mode (e.g. use it as pocket 4-track recorder)
  • Mixer page includes two send effects with Delay, Flanger, Chorus, LoFi, HP, BP and LP filters
  • The live-mode sequencer automatically detects the recorded loop length
  • Finished loop can be exported with one touch as an audio file or uploaded to SoundCloud
  • Project (including samples) can be exported to MASCHINE for finalizing in your studio environment
  • Import your own 44.1 kHz 16-bit WAV samples
  • Additional drum kits and instrument sounds can be easily purchased through the in-app store


  • iOS 4.3 or higher (iPhone® 4 on Verizon will be supported with iOS 5 only)
  • iPod touch® 3G or higher
  • iPhone® 3GS or higher
  • iPad® 1 or 2*


The world of MASCHINE is expanding. Check out the other MASCHINE products:

MASCHINE — The revolutionary groove production studio

MASCHINE MIKRO — MASCHINE's little brother

MASCHINE Expansions — Red-hot production fuel. Also available for iMASCHINE!

MASCHINE BAG by UDG — Safe and stylish, for MASCHINE, laptop, audio interface and more

Korg’s new Kaossilator iPhone/iPod/iPad App

Everyone knows that one of my favorite effects units is the Korg Kaoss pad. Ever since I was a kid, I would marvel at what the Kaoss touch-Pad and what it could do to any sound source you had playing. Introducing the new Korg Kaossilator for the iPhone, iPod Touch, and the iPad. This is the same X-Y touchpad that is found on the full sized Kaoss units that you can buy in the music store. Imagine being able to bring the power of the Kaoss pad with you everywhere on the go. For only $10 this dream can be a reality. Check the press release below for more information and for the link to get your own Kaoss Pad on the go.

Korg Announces New Music App: iKaossilator for iPhone®
— Enhanced iPhone® re-creation of the palm-sized Korg Kaossilator instrument gives users Korg’s acclaimed Kaoss X-Y touchpad on the go —
Korg has added the iKaossilator for iPhone® to its lineup of music apps. The app is an enhanced version of Korg’s hardware Kaossilator instrument, and uses the iPhone’s sophisticated touchscreen to mimic the functions of the Kaoss X-Y touchpad on the original. The iKaossilator app can also run on iPad® and iPod Touch® (third generation and higher). The iKaossilator for iPhone joins Korg’s existing iPad Apps – the iElectribe Series and the iMS-20. Korg’s WIST (Wireless Sync Start Technology) feature provides new versatility.
The iKaossilator is an expressive music synthesizer offering 150 diverse sounds, combined with a five-part loop sequencer for creating multi-part tracks. As with all Korg Kaoss products, the iKaossilator is controlled by touching, tapping or stroking its X-Y touchpad with the user’s finger. This intuitive form of control is instantly rewarding, and allows users to quickly create music regardless of their instrumental training.

Generally speaking, moving the finger across the iKaossilator horizontally will control the pitch, while vertical movements will control various synthesis and sound parameters. The ability to choose one of 35 musical scales and select a musical “Key” or “Root” lets users easily play musical phrases with no wrong notes. The scales range from traditional major, minor and blues scales to more ornate Ryukyu, Spanish and Indian Raga scales.
The 150 ready-to-play sounds produce a broad range of dance music styles including hip-hop, house, techno, dubstep, new disco and electro. Sounds are divided into popular categories – the synth Leads and synth Bass sounds one would expect from a synthesizer, as well as Acoustic sounds, sounds that simulate piano or guitar Chords and even the popular Sound Effects used by DJs. The Drum sounds provide complete patterns that can be played and manipulated through finger movements on the touchscreen.

The loop sequencer allows the recording and layering of up to five musical parts to create a “track.” The user would simply assign a loop such as synth, bass, chords, sound effects, or drums to each part. Fifty loops created by professional musicians are included in the iKaossilator to get things started quickly. The loop sequencer is also a great feature for using the iKaossilator in a live performance. The Mix Play feature makes it easy to enjoy live remixing; switching seamlessly to another loop or extracting a specific part from another loop as the playback continues.
WIST (Wireless Sync-Start Technology) allows wireless synchronized performances using WIST-enabled apps on two different iPhones or iPads. Korg’s WIST-enabled apps include the “Korg iElectribe for iPad” Series and “Korg iMS-20 for iPad,” or the hardware Monotribe when using the “SyncKontrol for Monotribe” app. Korg has recently made this WIST technology available to other developers for use in their apps such as Propellerhead’s ReBirth and Retronyms’ Tabletop for iPad.
iKaossilator for iPhone is now available for download from the iTunes App store at an introductory price of USD $9.99 (special pricing is in effect through November 30th, 2011). Click here to go directly to the app page.
System Requirements
iOS 4.1or later
iPhone 5 / iPhone 4 / iPhone 3GS / iPod touch after third generation / iPad.

*All trademarks are the property of their respective owners.

Best DJ Controllers for Modification: Be DJ Frankenstein

Off-the-shelf DJ controllers have come a long way in the past few years, but they’re still lacking that certain something. The whole digital DJing movement was founded on a DIY approach way before manufacturers started seeing dollar signs in the eyes of a burgeoning market, and there’s nothing quite like that personal touch. Not everyone’s a ‘ground up’ kinda guy though, so what’s the middle ground?
With a combination of a humble product designer’s best ideas and your own interpretations, you can turn an off the shelf controller into something that represents you, modifying the shape, controls,  swapping out parts and creating your very own Frankenstein controller (okay, Frankenstein’s Monster controller, before any pedants chew my ear off!). Some controllers are better suited to the task, though, so let’s take a look at a few of the prime candidates:


Novation Remote SL25 mkII

  • A plethora of connections
  • Logical PCB
  • Premium price
The SL 25 is a very clever little controller. It’s got a heap of useful connections, it integrates well with software (whether you choose the ‘Automap’ software that Novation developed to tighten up the software/hardware connection or not), and there’s just enough room in there to house some additional components.

Moldover saw the potential in the Remote SL – the mark I version, however – and you can see he did some really cool stuff with it, a Kaoss pad, a Kurzweil ribbon strip and a little bit of creativity. By using the Remote SL chassis to house the Kaoss Pad and ribbon strips’ internals and using internal power/MIDI connections, the Moldover SL 25 is a real Frankenstein controller.

Korg Nanokontrol

  • Super low price
  • Lots of MIDI connectivity
  • Low quality unit
The Korg Nanokontrol may have started the micro, modular control revolution, but perhaps even more interesting is the price point. Fair enough, the actual build quality of the unit is a little dodgy, but housed inside that creaky plastic case is a PCB that features a bundle of connections that, with a little patience and a soldering iron, can act as the brain for your Frankenstein controller at less than half the price of a standalone DIY MIDI board.

My favourite mod so far is this one by Fake Money, who went full throttle and powered through an entire remodelling, just using the PCB as a base. You can make slightly less adventurous mods too – the Nanokontrol is small enough to be used as an appendage for a bigger Frankenstein mod.

M-Audio Oxygen 25

  • Low cost
  • Good chassis
  • Limited extra controls
The coolest thing about the Oxygen 25 is that it’s really well built for something so cheap. It’s not a tank by any means, but it’s got a decent sized keyboard and internally there are separate, ribbon connected boards for the keys, wheels, and knobs. It’s a shame there are only eight knobs, but that section in the middle is a nice space for something interesting to go…

Midi Fighter Classic

  • Simple connections
  • It’s a Midi Fighter!
  • Relatively small number of connections (although a little coding work can fix that)
The Midi Fighter is a great project for a bit of Frankenstein action on account of the spare pins on the side. You can connect up a variety of controls; you can even use a spare controller’s parts to do it! Here’s a pie in the sky idea: squeeze a Midi Fighter inside a mixer and hook up the EQs to the extra ports.

Akai MPK49

  • Akai’s patented high res pot design
  • Excellent firm keyboard
  • Quite expensive – would require commitment to make a great Frankenstein!
The Akai MPK49 is a great controller on its own, although it’s not necessarily perfect for digital DJs. It’s really solidly built, and Akai has a special patented dual brush design on their pots that allows for high resolution signals to be sent out by default – this is something that nobody else has. One of the first things you might want to do is modify the pads, which aren’t great, and the sensor board for them is fairly simple to attach (for instance) arcade buttons to. I haven’t seen an amazing mod for the MPK49 yet, but I’m pretty confident that the combination of the build quality, fairily roomy case (especially if you remove some of those keys!), and modify-able controls would make it an ideal candidate.


You might not want the whole controller, or at least, not in its original form. Through the wonders of economies of scale, R&D costs getting written off, and sometimes just a product not doing so well, it’s sometimes cheaper to buy a controller than it is to purchase its components at retail. Here are a few tips; let us know if you have any more and we’ll add to the list!
  • The Behringer BCF2000 and BCR2000 are goldmines for harvestable controls; the motorised faders (BCF) and truckload of LED ring furnished rotary encoders (BCR) are difficult if not impossible to buy separately for the price of the unit as a whole!
  • Akai’s MPD series uses (with the exception of the ancient MPD16) the same pads and sensors as the ones of so much revere on the MPC. Whether you go internal, and hook up the MPD via MIDI to your ‘host’ controller, or get even more adventurous and connect the pins to the board of another controller altogether, using MPC pads feels great.
  • Stanton’s SCS3 controllers are built around ribbon controls. Whilst they don’t cost the earth, you’d be hard pressed to get the amount that Stanton have in the SCS3, with a decent case too, and not have to worry about config, set up and the like. An SCS3 is tiny, and even if you’re just sticking one to a controller in Frankenstein prototype mode you’ll be getting stacks of new controls for not much outlay.


Depending on the level you want to go in at – and there’s always something you can do, even it it’s just gaffer taping everything together and grinning maniacally – you’ll need a variety of tools to go Frankenstein on your gear. Moldover’s approach on the SL25 was to keep things as simple as possible, and the real work he did was on ergonomics and structural modification. All you really need here is:
  • A ruler
  • Drill
  • Razor blade (Stanley or X-Acto knife)
  • Sand paper (rough and fine grain)
  • A Dremel or other multitool will make all this easier!
  • Super glue
  • Electrical tape

Fake Money took things to the next level. If you want to go down the electronic modifying route you’re going to need the following:
  • Soldering iron
  • Solder
  • Wick
  • Sucker
  • Extra wires (top tip: cut open a CAT5 network cable for TONS of thin wires perfect for these small projects)
  • Ideally, a multimeter for troubleshooting


The possibilities when it comes to Frankenstein controllers are endless. Everything from taking the fader caps and knobs off one controller and swapping them for another to completely rewiring something to look and feel completely different counts, and the point is that you can do just about anything you want if you work it out.
We’ve tried to plant a couple of little seeds of inspiration in this article, but what we really want is to see what crazy mashups you can think of. Let us know the perfect parts of your favourite controllers you’d love to go Frankenstein on in the comments!