Categoria: Digital Audio

Subscribe to Energy TV: http://bit.ly/1uzJybRFollow Energy Production on Spotify: http://spoti.fi/1rWRugV———-DownloadiTunes: http://apple.co/29DBqRKStreaming Spotify: http://spoti.fi/29DBsc2Deezer: http://bit.ly/29DBbG8———-Contro il caldo insopportabile del momento, ecco il disco più fresco dell’Estate!Dalla sinergia tra Energy Production e Planet Records nasce ‘Vazilando’, inedita collaborazione che shakera tutta l’energia e il talento di due fuoriclasse del ritmo: il dj italiano Shorty e il giovane cantante cubano El Boni, ex componente del gruppo Charanga Habanera.Presentato da TV sorrisi e canzoni come una delle 10 canzoni dell’estate, ‘Vazilando’ è una strepitosa rielaborazione della hit di Oreja esplosa nel 2005 su Defected, oggi portata nuovamente al successo nei migliori club del mondo grazie al remix dei producer Kryder & Eddie Thoneick – già Top 10 su Beatport e supportatissimo da vere e proprie leggende della Dance internazionale come: Basement Jaxx, Benny Benassi, Bob Sinclar, Boy George, Gorgon City, Hardwell, Lost Frequencies, Oliver Heldens, Sam Feldt e Sander Van Doorn.Il video, lanciato in anteprima da Radio Deejay su Deejay.it, e girato a L’Avana, Cuba il mese scorso da uno dei registi più rispettati sul panorama Latin attuale, Freddy Loons vede protagonisti i due artisti in un mix esplosivo di gioia e sensualità.Pubblicato su etichetta d:vision / X-Energy, ‘Vazilando’ debutta in tutte le radio italiane Venerdì 15 Luglio 2016 e promette di diventare velocemente uno dei nuovi tormentoni da cantare e ballare in riva al mare.Music produced arranged & mixed by Jay Simon, Osmani Espinosa & Roberto Ferrante at Planet Records Cuba – La Oficina Secreta (La Havana, Cuba).Video Produced by Planet RecordsVideo Directed by Freddy Loons—————Follow Energy Production online Facebook: http://on.fb.me/1x6g3ijTwitter: http://bit.ly/1KQfwaP

Traxsource: http://defct.de/svcstsBeatport: http://defct.de/svcsbpSubscribe to Defected Records: http://defct.de/subscribeA track that has been receiving a lot of love at Defected parties for a while now, this exceptional Dario D’Attis remix of Soul Vision is now getting a worldwide release. Dario D’Attis has become a key artist for DFTD and Defected since the beginning of this year. Not only has he had original productions flying out on Strictly Rhythm, Toolroom and Hive, he has been enlisted for remixing on tracks like ‘In And Out Of My Life’ by Tonja Dantzler, which has been featured on two of Defected’s major summer compilations. The Swiss DJ has also been attracting a lot of attention among the DFTD crowd with his flair for steadily building beats and sophisticated use of rhythmic hooks to create memorable deep house sets.Dario has remixed ‘Don’t Stop’ by Soul Vision aka Sandy Rivera and José Burgos, a track that has been circulating for nearly twenty years and was released in 2000 on Defected’s sister label Fluential. Dario has truly reinvented the track, taking it from that classic feel into the realms of deep house. Dario’s signature smooth flowing groove works in perfect harmony with the vocal sample, underpinned with an irresistible bouncing hook. Expect this track to continue its momentum on the dancefloor for a long time to come.Defected Muzu: http://po.st/sbmuzuDefected YouTube is the home of house music with artists including MK, Sam Divine, Noir, Copyright, Nick Curly, Dennis Ferrer http://defected.com http://twitter.com/defectedrecordshttp://facebook.com/defectedrecordshttp://soundcloud.com/defectedrecordshttp://mixcloud.com/defectedrecordshttp://defectedrecords.tumblr.comhttp://instagram.com/defectedrecords

Subscribe to DJ Mag TV: http://bit.ly/OduqwoBritish producer, DJ and engineer Billy Kenny is widely accustomed to the lower, more aggressive frequencies in the amalgamation between UK Garage, House and Techno. His hit track “Work” has reigned the bass heavy side of festivals ever since it’s release in August 2014 and continues to do so while more recent releases on Dirtybird, Sweat It Out and his co-run imprint “This Ain't Bristol” circulate the globe.Hailing from Leeds, Billy now resides just across the channel in Germany although his sound still remains more Radio 1 than Berghain. This prolific writer now has to be seen as one of the most influential ambassadors in Germany for the sound he represents, despite the fact that over the last year he's been touring more than ever across four continents. He and friends hold the reigns to their flourishing label This Ain't Bristol, which has turned more than a few well respected heads since it's launch in late 2014 and continues to pump out high quality releases to their ever-growing audience.Unlike many producers on the circuit, Billy has perfected his craft behind the decks. His endless edits, live sampling, looping and unexpected choices of weaponry always make his unique set’s one to remember for those listening.Website: http://www.djmag.comTop 100 DJs: http://www.djmag.com/top100djsFacebook: http://on.fb.me/1tr9sNhTwitter: http://bit.ly/1AxeMR6Google+: http://bit.ly/1k6xlq5SoundCloud: http://bit.ly/1pE3QIUMixcloud: http://bit.ly/UK6i8

Dillon – This Silence Kills (Life and Death Remix)From BPC259 Dillon – Your Flesh Against Mine Release Date: 18.01.2013Label: Bpitch ControlBPC Webshop: https://www.bpitchcontrol.de/market/browse/7187The first remix EP from Dillon’s acclaimed debut album "This Silence Kills" already proved to us just how unbelievably well Dillon's beautiful songs lend themselves to more dance-orientated interpretations. The remixes showcased on Dillon's "Your Flesh Against Mine" EP once again achieve what appears to be the virtually impossible: six different producers combine Dillon’s singer-songwriter compositions, all trembling with internal tension, and turn them into a whole that is as multi-facetted as it is homogenous, and which has some truly danceable tracks.The EP ranges from cautious re-works, that offer merely a complimentary enhancement of the original, like Deniz Kurtel's enjoyable version of "Thirteen Thirtyfive", to Hot Creations owner Lee Foss, who together with House legend MK, take the same song and completely convincingly turn it into a no-nonsense Tech House hit. In amongst them, artists as unconventional as the New Yorker duo Creep – who with their wave-inspired dub tracks defy categorisation just as much as Dillon herself – shake hands with the Italian party community Life And Death, with protagonists Holmar Filippson and Greg Oreck aka Thug Fucker. Creep give the title track almost orchestral qualities, while Life And Death smooth the edges of "This Silence Kills" with a soothingly even and powerfully pumping electro beat. BPitch label mates, Skinnerbox, on the other hand, strengthen its edgy, manic energy with bizarre soundscapes and a framework of angular beats, in their usual unusual way. The flawless house number from British remixer and producer XXXY aka Rupert Taylor, active on labels such as Infrasonics and Well Done, provides a highly worthy and all-demon-conquering conclusion. As such, "Your Flesh Against Mine" succeeds in masterfully reflecting a variety of different types of current electronic music that is as diverse as it is full of contrasts – both on and off the dance floor.

There’s been a buzz in the international DJ community as the winner of a major Thre3style event was discovered to have faked his set. For all the production that goes into Red Bull’s DJ competition, we’re amazed that a few basic concepts haven’t been implemented that would instantly allow judges, fans, and fellow competitors to detect fake DJ routines.

G-Smooth’s Set: A Lot Of Work To Fake It

Before we dive into our two suggestions for DJ competitions, a bit more context on this week’s events. G-Smooth was declared the winner of the Australian Thre3style competition that took place on July 1st. However, many DJs around the web watched the routine and were able to quickly find moments where his physical actions on the turntables and mixer didn’t line up with the resulting audio. Add to that,  the trim/gain knobs on each channel were turned all the way down, and the sampler volume was turned up, as pointed out in the screen capture from Eric Lehy above.

You can watch the full routine on his Facebook page, but considering the context, we felt it more appropriate to just embed two clips of the most egregiously faked parts.

• Daft Punk “Roll”:  On the mixer used, Pioneer DJ’s DJM-S9, the top-right pad mode (where the pads are green) is the roll function. This means the pads will trigger rolls on the playing track at different rates. The rate is determined by which pad you press – but if you watch below, it doesn’t line up at all with what you hear:

• Watch The Sticker: As many commenters were very quick to point out, a great way to look for fake turntablism sets is to watch the actual sticker on the control vinyl. Check out the tail end of the routine and watch the sticker closely – does it match up to the audio?

It’s worth noting that G-Smooth mimics a lot of the performance very convincingly – enough to fool the judges in the room and the crowd. But imagine how much work it must have taken to make sure that his actions aligned with a playing track?

With live DJ routines, slight flubs or moments where it’s not quite right are acceptable, because they’re live. But if your recorded set is perfect, then you have to match your actions exactly right to that perfect recording. He might as well have just played the real routine with all the work he put into faking it. 

Step 1: Add Screen Capture + Overhead Video For Every Competitor

To allow anyone to quickly see if the audio matches up to what a DJ is doing during a performance, there are two things that need to be recorded without interruption:

1. Overhead view: Video cameras are all over the DJ booths at these Red Bull Thre3style events, but for some unknown reason, there’s not one that is directly above the DJ mixer pointing down. This angle allows you to see the VU meters, every single control on a DJ mixer, the exact sticker location, if cables are really plugged in, if gear is turned on, etc.

The Red Bull Thre3style producers want the final published videos to look really good in terms of editing and camera work, and a single overhead feed isn’t too exciting to watch. But look at how the popular DJsounds YouTube mix show does it for inspiration (mixing starts at 7:30):

2. Screen Capture: Being able to see exactly what is on the screen of a laptop DJ might feel invasive, but it’s completely necessary to see what is really going on. For instance, in G-Smooth’s performance, the decks on Serato DJ were still moving and he was manipulating them live. But the real audio is coming through the SP-6 sampler in the software – something we might have been able to see activated in start of the routine.

A lot of DJs also use pre-produced edits when entering competitions. The best way to properly show the audience the different between these edits and an on-the-fly edit is to have a window into the software to see what’s one the decks. Just take a HDMI cable, plug it into the computer, set it to mirrored so the DJ’s view is unaffected, and record the output.

Step 2: Put A “Referee” In The DJ Booth

In most professional sports, you don’t have referees that sit in the stands and officiate from there. So why is it that in almost every professional DJ competition, all the judges sit in the crowd or across the room? Unless there are monitors at the judges’ table showing the screen capture and above-the-mixer video angle mentioned above, the judges will be unable to really determine what’s going on and how the routine is being performed.

The simple solution is to add either a judge or an impartial referee who stands next to the DJ. They’re not there to trainspot, but to instead watch what a DJ is doing technically. 

How would you change the DMC and Thre3style events to prevent fake DJ routines? 

Autore: DJ TechTools