MEASURE:
A distinct unit of music with an assigned number of beats. The house, techno, trance and progressive dance tracks almost always have four beats to a measure (4/4 time), though rarely tracks are done in 3/4 or 6/8 time. Most songs or tracks are usually built on 8 measure phrases with the chorus containing those 8 measures (sometimes repeating for another 8 measures: 8 + 8), while the verses are often 16 or 24 measures or more in length.
PHRASING:
A term used in overlaying records where the DJ mixes in correct musical phrasing, or set of measures. For example, an 8-measure track intro can be neatly overlaid on an 8-measure break.
TEMPO:
The tempo is the speed at which musical notes are executed, commonly expressed in the DJ world as the number of beat per minutes.
PITCH ADJUSTMENT:
When a DJ mixes in key, he or she has to work with the PA and the BPM to achieve a harmonically pure mix. You can usually mix within 1 or 2 BPMs differential and still get an excellent mix, but beyond that point a quarter note or an unpleasant dissonance set in. Keep in mind that unless you own a Pioneer mixer with PA, as soon as you pitch a track more than 1.5 + or - on your Technics 1200 MK2 the key can change.
CHROMATIC SCALE:
A scale of notes encompassing the entire range of notes within an octave in our Western 12 note system: Ab (A flat), A, Bb (B flat), B, C, Db (D flat), Eb (E flat), F, Gb (G flat), G. I use flat in referring to the individual note and keys for simplification of reference, but note that you can also refer to them with the use of sharp: Ab refers to the same note as G# (G sharp), Bb is the same as A# (A sharp), etc. These notes that can be written as either sharps or flats appear on the piano keyboard as the black notes between the white notes, and are known as accidentals.
KEY:
The key of a song identifies the family of notes that are found in its particular scale. Though the chromatic scale contains 12 different notes from Ab to G, the individual scale identified with a particular key signature contains only seven different notes. For example, the C major scale contains all 7 different white notes on the piano keyboard: C, D, E, F, G, A, B, whereas the B major scale uses all the black notes, so that five out of seven different notes in it's scale are flat.
MODULATION:
A key change creates a lifting of all music and a chord by a measure degree to create further excitement or musical tension in a song. Modulations most commonly raise the key by a half step or a whole step. For example, the C major family of notes can be lifted a half step to Db major, or a whole step to D major. A song can also modulate from major to minor, or vice versa.
MODULATION MIX:
The DJ can create the modulation by mixing from one record to the next from one key to another key by suddenly and cleanly slamming into the next record, "slam" or "slip cue", or with the help of a 4 or 8 measure (rhythm only) beginnin on the incoming record. For a perfect modulation mix you must remember to never allow the incoming bassline or any type of notes to play on top of the outgoing track that has any type of notes happening.
AIRBEATS:
A section of music where the strong rhythm drop ourt, or in the beginning of a track before the kick drum or heavy percussion begins, such as high hats or any type of ticks or as in the case where the vocals are the only indicators of measured rhythm. Airbeats can be used in overlaying, but be carefull to overlay accuratelyor you may have what is commonly know as a "train wreck" when the kick drum on the incoming track begins.
CHORD:
Three or more musical tones sounding in a combination simultaneously, with the lowest tone usually considered the "tonic" or root of the chord.
BASSLINE:
The lowest tones heard in a musical arrangement, usually played in house or dance music on bass guitar or a bass synthesizer.
ARPEGGIO:
Sounding the musical tones of a chord in a sequence, rather than simultaneously.
QUARTER TONE:
A musical tone that would have a pitch found in between any two half steps in the 12 tone chromatic scale. If two record in the same key are mixed with more than 1 or 2 BPM differential between them, the pitches can be thrown off into this middle ground, resulting in a strange sour sound, rather than a harmonious mix.
SYNCOPATION:
Accenting of beat or rhythms in a piece of music that are usually unaccented.
HOW TO USE THE KEYS TO MIX
There are probably no two DJs whose format and mixing systems are exactly the same. However, it is quite possible to go on all night with harmonic blend one right after the another. For those DJs who lean toward perfection at any cost, here are a few tips for working with the keys with a maximum number of options.

Try to have as many of your recurrent classics available (with the keys listed). The more records you have with you in the booth, the more options you will have for choosing a track that will work on key.

Always place your records in your crates in ascending BPM order, from slowest to the fastest tempo. Also try to keep a list on a notebook or your laptop computer of all the records available to your. As more and more DJs are using computers to store record lists, if you program your computer with all the alternatives, it will bring up the 16 different categories, I will discuss later, automatically.
Divide the list into the respective keys, working in chromatic order, separating it into two lists based on the minor and major keys. In each "key" category list the respective tracks or songs in ascending BPM order as well. With this system of organization, it's easy to find an appropriate hansfnic blend by merely going to the appropriate category on the list.

For Example, let say that Plasmic Honey's "Take My Soul" is playing. It's on the key of F sharp or G flat minor and the tempo is 137 BPMs. So, all you have to do is glance down at the list on your laptop or notebook and see all the F sharp or G flat minor (tonic) tracks and those that are related harmonically to the tonic key, or B sharp, C minor, and the relative A flat major. You could possible choose to mix into Destiny's Child's "Say My Name" (M's Bass 2000 mix) which is C minor and clocks at 138 BPM. Try to use the pitch adjustment theory if there is need for it. Then what you will have is very likely a hot mix.

There are still more options. For example, a modulation mix from Gb minor to G minor (a half step), or from Gb minor to Ab minor (a whole step). The best modulations are slip cue slams or an overlay, where the incoming measure of the track have no musical value (only rhythm or percussion). At the appropriate point where the incoming bassline begins, quickly mix out of the first record where the other key leaves off. The result is an uplifting of all notes and chords by one half step or a whole step. It's an incredible lifting in energy of the dance floor and the customers around the room. Keep in mind that you can easily demodulate as well by using the same theory.

So far I have given you eight possibilities of mixing by keys, and there is still no end in sight. You can also use the "reasonably harmonious" technique by mixing records that have a relative key or what is called in music the perfect fourth and the perfect fifth of the relative major or minor keys. For instance, A major's relative keys is Gb minor.

Remember that if there are four harmonic keys that work with Gb minor (other songs in Gb minor (tonic) , plus B minor, Db minor, and A major) there are eight half steps key alignment options. Four up and four down. Those this sound complicated? Not really, Gb minor at 126 BPM will mix in key with G minor at 130 to 132 BPM, and at that higher tempo will also mix with C minor, and D minor. It's as if you moved the Gb minor up to a G minor equivalent at that faster beat. You can also do a half step down mix or you can effectively mix into a much lower BPM. Even if you drop the speed, the mix will sound good because the keys match.

It is admirably complicated and challenging to go through all those options each time you mix, but if you get stuck, you do have 16 different options. That's a lot of records to mix into in a short time. That's why I recommend putting the list on your laptop of a notebook. Any song or track that works in the basic harmonic key format, be it a modulation mix or half step alignments will flash on your screen, and that's got to be a DJs dream come true, beside that beautiful blonde asking your for your phone number in the middle of the night. With this harmonic key system and your computer, you can be assured of one thing... a veteran genius DJ may do as well, but no one will do it any better

 

 

Beste Muziek en mix liefhebbers. Ik heb sinds kort een muziek programma aangeschaft wat perfect is voor de startende, mix en edit liefhebber. Het programma heet Cool Edit Pro dit is tot nu toe het betere  edit programma waar ik tot nu toe mee gewerkt heb. Het is dan ook profecioneel, de kosten zijn 285 Euro en is bij de  betere muziek winkels verkrijgbaar.Het zal de magix programma's doen verbleken en een nieuwe wereld voor je openen.  Het grote  voordeel is dat het makkelijk in gebruik is en op vele dingen is toe te passen, en uit te breiden.hieronder tref je een aantal screenshots aan

 je kan een trail versie down loaden op  http://www.softpedia.com

 

The Open Labs MiKo is based on the AMD Athlon 64-bit single and dual core processor, which drives a Windows XP-based computer system. MiKo users can record, edit, mix, master, burn, and distribute their creations, whether high-definition video or 7.1 surround sound audio, on DVD or audio CD or send straight to the Internet, either through Ethernet or Wi-Fi.

The Open Labs MiKo provides a production hub for all digital artistic elements, including:

the first portable production unit to support HD video
a 37-note musical keyboard, with a 4-input/6-output, 24-bit/96 KHz audio section
a 15" XGA LCD touchscreen
support for non-linear video editing
real-time controls, including a dedicated control section for DJ use
interconnectivity for MP3 players, video players, digital camcorders
expanded podcasting capabilities, as well as support for high-quality playback of digital music and video files via the Internet with full 7.1 surround sound.
URL: http://www.openlabs.com/miko_p1.htm
 

Nieuw van Cakewalk komt de Rapture softsynth met wavetable engine en veel features.

In Rapture, musicians will find powerful and flexible wavetable synthesis in an inspired creation tool that enables vast sonic possibilities and experimentation.

Rapture is the first product of its kind, combining one of the most advanced and exciting modulation systems available in any synthesizer today, with an unrivaled non-aliasing wavetable resampling engine for unparalleled sound quality and creativity.

Rapture Highlights:

Wavetable synthesizer with cutting edge sound manipulation capabilities, well suited for electronica-related music styles
Non-aliasing resampling engine for pristine sound quality
Over 500 professionally-crafted sound programs
Six fully-programmable, stereo sound-generating Elements
Multi-waveform Oscillators with ring modulation
Two 16-mode filters per oscillator with LoFi and Drive
Over 40 Envelope Generators, LFOs, and Step Generators for superior parameter modulation
Comprehensive MIDI Modulation Matrix
Mix and modulate all Elements through global FX and dynamic Step Generator
Superbly designed graphical envelope generators and LFOs for ease of use
Expandable with native support for SFZ sample formats
Mac formats: AU, RTAS, VSTi
Windows formats: DXi (32-bit & x64), RTAS, VSTi

The Dave Smith Ego Museum

Dave Smith. was de basis van de Sequential circuits. De voornaamste vervaardiger van de profecionele Syntheseizer muziek, in het midden van de 70er jaren. In 1977, ontwikkelde hij de Prophet-5. S'werelds eerte microproccesor gestuurde muziek instrument. Dit revolutionaire product was de eerste polyphonisch en progammeerbare synth op de wereld, en werd het model wat gebruikt werd voor alle opvolgende moddelen van de synth. De Prophet  instrumenten hebben een heel grote rol gespeeld in de opnames van alle populaire muziek stijlen, en worden tot op de dag van vandaag steeds geprezen  door muziekanten.

Hier onder kleine voorbeelden.

 Prophet-5

Sequential Circuits Prophet-10 geintroduceerd in 1980, de Prophet-10 was eigenlijk 2 Prophet-5s

 

Sequential Circuits Drumtraks 
Tevens werd in Januari, 1984, Sequential's eerste Drum machine geintroduceerds. Het was makkelijk aan te sluiten op een six track recorder en te gebruiken als eerste "midi" studio setup

stukje engelse info

reamWare is now shipping their second ASB ("Authentic Sound Box") product: the Pro-12 ASB.

 

A faithful reproduction of a synth classic from the eigthies. The original synth had five voices, was the world's first polyphonic machine with a "total recall" digital preset system and quickly became one of the few all-time synth classics.

The Pro-12 ASB benefits from the same sound engine used for CreamWare's Minimax ASB product. While the sound was designed to be "genuinely old", other features have been taken to a contemporary level: Pro-12 integrates with your computer via USB and offers 12 voices of polyphony. Patches can be edited directly on the hardware panel or using the supplied remote-control software which is available for both Windows and OS-X. Specifications and Prices : Virtual-analog synthesizer (desktop unit), 12 voices, 128 factory presets and 128 user presets, analog stereo input and outputs, MIDI In/Out/Thru, USB-to-Host/MIDI interface, external power-supply unit (12 VAC), plug-in like WindowsTM remote control software The Pro-12 is now available at a suggested retail price of 789 EUR net

John Simonton is overleden aan kanker.

Wie..............wel de man die diy synth bouw voor iedereen bereikbaar maakte, de man achter PAIA.
In zeer korte tijd is de synth wereld weer een held armer.....de derde dit jaar.

Van de synt diy list:

It is with heavy heart that I report the passing of John "PAiA" Simonton,
sometime last week, following a battle with cancer.

John created PAiA something like over 30 years ago, and was a constant
source of inspiration, education, and affordable synthesizers to at least a couple
of generations of us. I know that I am immersed in my career today, in part, because of the
knowledge and skills I obtained from reading John's "Lab Notes" in Polyphony magazine
(ancestor to Electronic Musician) and building his synthesizer circuits.

I had a computer sequencer, D/A and multiplexed S/H outputs YEARS before
almost anyone else I knew because of his designs (mid-to-late '70s!), and my
early experiences with his 8700 computer/controller laid hugely valuable groundwork for my
subsequent involvement with computers and other hi-tech meldings of art and machines.

And, of course, my fond memories of solder fumes and analog circuitry
eventually led me right here to MOTM...

I never met him in person, but we shared some great emails over the last
few years--- I just had to thank him for affecting my life so positively--- he said he
always got a kick out of hearing about the success of his customers in their 30s who first
bought a kit from him back when they were teenagers (like me!)...

If I hear anything further about services, etc., I'll pass them on--- but
mainly, I just wanted to speak up in honor of this fine gentleman and genius--- I shall greatly
miss his presence in this world. My sincere condolences to his family and PAiA
colleagues.

Thank you, John!!!!! Rest well, my friend.

-Russell

 Posted by Jena On synthforum.nl      Special Thnx for you're info..... ElvaDo

The following hard drives have been tested and approved for use in the DPS24 MKII:

Manufacturer	Model Name	Model Number	Capacity
Maxtor	4R080L0	4R080L0	80GB
Maxtor	6Y080L0	6Y080L0	80GB

For more information, Faq's and product documentation/software visit the Support page