torsdag 28 februari 2013

DJ Martin Ace!

On my blog I also want to show some DJs whom I been DJing with, here is a DJ from Gotheborg who I had the oppertunity to be Djing in the same nightclub a couple of month ago. A really nice guy called Martin Ace.

Born in 1981 with Swedish origin. Martin Ace passion for music, mainly electronic music, started at an early age when he discovered his older brother’s techno record collection.
A few years later he began playing and he has been deejaying since the mid 90′s.
Since 2006 he has performed full time, professionally at clubs across Scandinavia and is known for his hard work, creativity and always delivers at the highest level.
One of the highlights so far was in 2011 with a show in Australia at Silk Bar, Newcastle.
Right now he is involved with the underground club HIDEOUT at Lust in Gothenburg.

His style varies from House with a groovy tech feeling to techno with dark drums.

Influenced by old school House and modern Tech House/Techno Martin Ace started producing his own music in 2010.
His first official release was on Away Recordings with his remix off ”Linus K – 7ans” in early 2012.
He also release an EP ”Merida EP” in collaboration with Linus K on Cibi Caldi Records in early 2012.
His first own EP ”Natural Way EP” was released on Maintain Replay Records in summer 2012. Same summer he also released "La Jarilla EP" on Sambuca Records and several remixes on various labels.

His latest release in collaboration with Linus K "Coimbra EP" on John Henry Records (Zoo Brazil label) was released in autumn 2012. Coimbra EP received support from Whebba, Richie Hawtin, Umek, Paco Osuna, Dubfire, Lugi Rocca, Luciano, Sergio Fernandez, Ant Brooks, Cristian Varela, Slam, etc. Several radio channels and DJ's has played it during the later part of 2012.

His hard work in the studio and his gigs has made him an artist to definitely keep an eye on at the global electronic scene.

He is currently working on some new productions. So stay tuned!


For booking or other requests:
info@djmartinace.se

www.djmartinace.se
www.soundcloud.com/djmartinace
www.facebook.com/djmartinace
dj.beatport.com/djmartinace


söndag 24 februari 2013

Pics From Lipz 20130223!

Last Saturday I was working at Lipz Nightclub in Trollhättan. It was as always boiling with party people! Hera are some pics:


 
Thanks Lipz for a great evening! See You The 13th of March Again!

fredag 22 februari 2013

Mixing Old With New! Pioneer RMX-1000!

 
Pioneer RMX-1000 is a great product. Its a remix station with drumpads, witch can be used for samples. It has also a large variety of effects. The RMX-1000 can do all this without any use of comupters. For me it makes it possible to DJ with analoge vinyl records ant still put filters and effects on the sound. I also use it as a drum machine.

 It is a nice piece of equipment and I always bring it with me when im DJing. More info about the Pioneer RMX-1000 here: http://pioneerdj.com/english/products/effector/rmx-1000.html  
Here is more info written by DJ Worx:
As the majority of the DJ industry marches off in the general direction of MIDI controllers and laptops,Pioneer seem happier dancing to the beat of their own drum and innovating rather than churning out me-toos ad infinitum. It’s been a dogs age since Pioneer did anything with their external effects range, but the Pioneer RMX-1000 Remix Station aims to be a clever jack of all fx and sampling trades for those who want their controls in a box, rather than a laptop.

Pioneer DJ presents the RMX-1000: all the potential of software with the hands-on usability of pro-DJ hardware.
16th March 2012: Pioneer is setting a new benchmark in pro-DJ equipment, with the awe-inspiring RMX-1000 remix station. Taking a totally new direction to effectors and samplers, the RMX-1000 is a three-in-one system comprising editing software, innovative performance hardware and VST and AU plug-ins.
Technological innovation is in Pioneer’s DNA. So only we could produce a remix station that not only manipulates the input sound, but also lets DJs produce new beats and sounds and trigger personalised samples on the fly. And, thanks to our Quantize function, they’ll always be in time with their sets.
The RMX-1000 serves up all the possibilities of studio effects and beatboxes, with the added physicality of pro-DJ equipment. Intuitive performance interfaces from Pioneer’s flagship mixers and effectors – such as the DJM-2000’s Isolator FX, the DJM-900nexus’s X-Pad and the EFX-1000’s multiple FX chaining – have been evolved and brought together into one unit.
Simplifying these concepts even further, the RMX-1000 uses intuitive DJ controls to manipulate several parameters in macro. Each effect has been designed to work in a totally unique way with the interface, for results previously only possible with hours of studio automation or robot-like performance skills.
While the unit is incredibly simple to operate, DJs can still create a totally unique sound with Pioneer’s remixbox™ editing software. remixbox allows DJs to completely customise the RMX-1000 hardware to their own performance style and load it up with their own banks of samples.
And, by saving their settings to an SD card, DJs can effectively take their own personalised DJ rig with them wherever they perform. Plus, Pioneer plans to upload internationally renowned DJs’ settings and samples to its website so DJs can give themselves a head start.
Using the RMX-1000 as a USB controller for the, included, RMX-1000 VST and AU plug-ins gives DJs the same hands-on feel they get with studio DJ mixes, saving them from hours of editing and breathing new life into studio productions.
The RMX-1000 will be available from May 2012 at a SRP of 599 GBP/699 EUR, including VAT.
Key features of the RMX-1000
Club quality and fully customisable remix station unit
The ultimate multi-use unit, the RMX-1000 can be used with mixers, CDJs and laptops in the booth, or with a PC in the studio for recording and producing.
With fully customisable settings, the RMX-1000 offers the kind of flexibility never before seen in hardware. The control parameters can be completely modified using the remixbox software included.
The hardware offers three ways to access settings. Default activates Pioneer’s intuitive factory settings. And User settings can be stored on the unit, or on an SD card to be taken along to the booth – DJs simply plug their SD card in to get immediate access to their personalised controls. And Pioneer plans to make settings from internationally renowned DJs such as Chuckie, Kissy Sell Out, Kutski, James Zabiela, Doorly and Laidback Luke available for DJs to download.
The unit’s user-friendly, intuitive controls are divided into four categories:
Scene FX
  • The Scene FX wheel allows DJs to build up and break down tracks by combining ten types of effects.
  • Use the top section to build up, adding effects like Noise, Echo and Spiral Up and the bottom section to break down, cutting sounds with effects like Crush Echo, Spiral Down and Reverb Down.
  • Twist the central knob to move from Wet to Dry to add pitch and intensity to the effect that’s in play.
  • Plus, two sub-parameter dials allow DJs to manipulate the Time and Resonance parameters for even more character.
Isolator FX
  • Inherited from Pioneer’s high-end DJM-1000 mixer, the RMX-1000’s isolators allow DJs to change the main audio input’s rhythm and timbre using hi-, mid- and low-frequency bands.
  • Plus, three effects are loaded into the dials for even more flexibility: Cut/Add, Trans/Roll and Gate/Drive.
X-Pad – with exclusive Pitch control 
  • DJs will be itching to get their fingers on the RMX-1000’s intuitive X-Pad. Evolved from Pioneer’s flagship mixer, the DJM-900nexus, the touch-sensitive X-Pad reaches new levels of ingenuity on the RMX-1000.
  • DJs can instantly get involved with the unit’s drum samples by tapping the individual sample buttons (Kick, Snare, Clap and Hi-Hat), or by using the X-Pad to roll (repeat) the samples at different speeds.
  • DJs can record their own beats and patterns on the fly by switching on Overdub, then use Roll and Mute to manipulate each sample in a variety of impressive combinations.
  • The Quantize button snaps each tap of the sample pads to the nearest beat, so DJs always sound on time.
  • And for truly unique performances, DJs can add up to 16 samples across the four sample banks, which they can instantly trigger and manipulate during live performance.
  • For unprecedented flexibility on the fly, DJs can edit the sample banks through remixbox and even alter them during play.
  • And, as if that wasn’t enough, the RMX-1000’s exclusive Pitch knob alters the pitch to add even more character to each repeated beat.
Release FX
  • The DJ’s get-out-of-jail-free card, the Release FX allows DJs to elegantly and seamlessly exit complex effect combinations and return to the original track.
  • Three modes with three customisable speeds – Spin Back, Echo and Break – allow DJs to choose exactly how they want to return to normal play.
  • For even more flexibility, DJs don’t have to exit totally from the engaged effect; they can come partially out and go back in by manipulating the highly sensitive Release switch. Or they can cut the original track out completely so just the engaged effects are heard.
Fully customisable with specially designed remixboxsoftware
Designed by Pioneer exclusively for the RMX-1000, the remixbox software allows DJs to prepare mind-blowing sets – while the hardware leaves plenty of room for spontaneity on the night.
And DJs can use the software to modify the unit’s features and change its parameters for a truly personalised DJing experience. By hovering their mouse over the remixbox’s virtual RMX-1000, DJs can edit features, change parameters or adjust effects on the hardware itself.
First DJ-dedicated controller for Virtual Studio Technology/Audio Units
As the first VST/AU controller dedicated to the DJ industry, the RMX-1000 brings the operability of hardware into the recording studio.
By just plugging the unit into a laptop, DJs and producers can use the RMX-1000’s dedicated controls to manipulate the VST/AU’s exciting features.
There’s no need to fiddle around with the mouse and keyboard: just hit a button, twist a dial, or turn a knob – the RMX-1000 literally puts every effect right at producers’ fingertips.
Other features
  • High-quality sound design reduces noise for clear and pristine sound.
  • The Quantize function can be applied at any stage during play or production for real-time music analysis and automatic synchronisation of the beat.
  • NEW Auto BPM function automatically measures and follows the tempo of the music.
  • USB-MIDI connection means the RMX-1000 can be used as a MIDI controller.
  • Compact and sleek design makes the RMX-1000 highly portable – and it looks good as part of any DJ set-up.
  • Main specifications – RMX-1000
    Inputs
    RCA x 1
    6.3 mm jack x 1
    Outputs
    RCA x 1
    6.3 mm jack x 1
    Other ports
    USB B port x 1
    Sampling rate
    48 kHz
    A/D and D/A converter
    24 bit
    Frequency response
    20 Hz – 20 kHz
    Total harmonic distortion
    Max. 0.005%
    S/N ratio
    102 dB
    Head room
    20 dB
    Software
    remixboxTM, RMX-1000 Plug-in
    External dimensions
    (W x D x H)
    334 x 157 x 57 mm
    Mass
    1.3 kg



måndag 18 februari 2013

A Short Mainstream Party Club Mix!

DJKangasojaPartyClubbingLiveSession20130217 by Dj Kangasoja on Mixcloud

Its Spring Time Soon!

For the Third year in a row im going to spinning vinyl at a local event called "Kungälv Goes London Camden Market", witch is a garagesale with a couple of hundred persons coming to watch. I will be playing a soft, cool  mix of new and old RnB, Soul and breakbeats. Maybe even drop some minimal and deep house as well. Its gonna be great. Hope to see you there!

onsdag 6 februari 2013

måndag 4 februari 2013

It Was A Wile Ago We Saw DJ Fly!

But here he is in a new video! This DJ is one of the greatset turntableists in the world! 

More Hip Hop Promos.

The Future is Now is a track we serviced back in late 2008 for a group we have supported since the early 2000s. When ¡Mayday! first stepped in the scene, they had major local support in the indie scene that escalated nationally. Now they are signed to Tech N9ne's Strange Music label. This group proves that hard work pays off. We were just happy to have helped them in their success. The Future is Now!

About ¡MAYDAY!
Starting out as a 2-man project ¡MAYDAY! has since evolved into a full-fledged 6-man group with a buzz so loud that it came to the attention of hip-hop mogul Lil’ Wayne who had to stop and take notice. Now they are signed to Tech N9ne' Strange Music label.

söndag 3 februari 2013

Last Weekends Pics!

Last Saturday I was in Vänersborg DJing at Teatergränd. It was the smallest DJ-booth I ever been in, So I used my Numark 4Trak. Here are some pics from the evening.
 
 
See you in March again.

fredag 1 februari 2013

A Techno Nerd Reviews DJ Pauly D! :D

I found this on: http://www.inthemix.com.au/features/54529/A_techno_nerd_reviews_DJ_Pauly_D
Its wonderfully written. Enjoy!


Over the Australia Day long weekend, Jersey Shore star DJ Pauly D – he of the 9.1 million Facebook fans (that’s more than double Armin van Buuren – boom!) – set off on his mission to educate Australia in the true, expansive art of DJing. Or something. Sure, this wasn’t a tour for the purists, but it would be churlish to deny the dude has an audience.
As one such fan asked on his Facebook page ahead of the 16+ Sydney show: “What the heck is the dress code? Is it like festival clothes?” Here at inthemix, that wasn’t the only question we were pondering. What would DJ Pauly D play? Would his journey be comparable to Sasha’s five-hour marathon happening on the same night in Sydney?
In order to get some answers, we went to Andrew Wowk: inthemix contributor, chinstroker-approved DJ around town and dance music nerd with “uncompromisingly high standards, an unnecessarily obtuse vocabulary, and at times overly deep and wanky analysis” (his words). The perfect reviewer then, for DJ Pauly D In Concert (Andrew agreed, but had to back up that night for the farewell set from Sydney techno authority Defined By Rhythm, a gig itinerary for Saturday shared by exactly no one else in the city). Of course, this isn’t the definitive review. But it may be the most unapologetically wanky one.

Herein lies a recount of my experience at Pauly D’s ‘DJ set’ (naturally, I use that the term DJ set loosely).
7:45pm – A sense of dread comes over me. I agreed to attend and review this event as a joke, but I fear I may have bitten off more than even I can chew. I remark to my faithful companion that my previous trip to this particular venue was to see Nine Inch Nails. She laughs and retorts “Man, this place has fallen a long way.” I fear she is right.
8:13pm – I enter the venue and am immediately confronted by a sea of pre- and just-pubescent boys and girls. The girls are a strange shade of orange and are wearing clothes that can best be described as ill-fitting, while the boys wear strange flat-brimmed hats that feature slang typically reserved for gang youth. I assume this is some kind of uniform for this generation of revellers, who worship the unintelligible gibberish of Pauly D and his ilk and require clear demarcations so that they may not accidentally find themselves in the company of valuable members of society.
8:35pm – One of the support DJs and his MC play a terrible electro-house remix of the ghetto-tech anthem Face Down, Ass Up (That’s The Way We Like To Fuck). The young crowd chant along. There is something seriously wrong here.
8:53pm – The MC introduces ‘Big Jerry’. I can only assume he is one of Pauly’s entourage who basks in his reflected glory. The crowd cheers like Ben Sims has just pulled off an amazing three-deck mix as Jerry just stands there. The DJ (apparently his name is Steve Play) drops Avicii’s Levelsmashed with Gotye’s Somebody I Used To Know. This is the second time Levels has been played tonight.
9:03pm – A new act comes on stage. They are a DJ duo accompanied by an MC and vocalist. They open with Levels. The vocalist sings poorly over the top.
9:05pm – The DJs play a medley of songs that feature the word “jump” (e.g., House of Pain’s Jump AroundJump by Kriss Kross etc.). The MC and his partner order the crowd to do as the songs say. The crowd predictably do so, presumably still used to unquestioningly following orders from their parents and school teachers.
9:15pm – The vocalist starts an “Aussie, Aussie, Aussie” chant, presumably aware that today is Australia Day. Sadly, she chooses to do it during the breakdown of Swedish House Mafia’s Don’t You Worry Child and messes up her timing, only getting out two “Aussie, Aussie” refrains before an overly compressed kick drum and car alarm synth slam through the sound system, clearly distorted by the DJs’ redlining.
9:30pm – Pauly D saunters on stage. My faithful companion notes his headphones and laptop are encrusted with sequins that form an Italian flag. As a reality star who’s segued his career onto the decks, it’s no surprise that Pauly has critics who question both his talent and motive. Rather than prove them wrong by immediately getting down to business, Pauly begins his set by dropping catch-phrases from Jersey Shore.
9:35pm – Pauly gets on the microphone to remind us he is “in the mix”. A bold statement, given what he’s doing can less be described as “mixing” and more as fading between barely-beatmatched tracks for two bars. He then commands his followers, in some kind of grunt-led dialect, to “put your hands up!” They oblige.
9:37pm – Pauly attempts to scratch for the first (of many) times. Someplace, somewhere, DJ Shadowshudders and doesn’t know why.
9:38pm – Pauly drops a track that the support DJs just before him finished with. I do not profess to know its name, my knowledge of commercial ‘EDM’ admittedly (and proudly) limited. His status as some kind of idol for the frontally lobotomised is confirmed: the crowd explodes.
9:45pm – As the set carries on, Pauly raises what looks like a deformed limb (possibly an arm) and thrusts it upwards into the sky. He calls this a “fist pump” and demands the crowd perform it with him (they, of course, do). Its purpose is lost on me, but if I had to speculate, I would say it is some kind of movement designed to appeal to those who were not born with the ability to dance with their hips and legs.
9:53pm – I start to wonder if Pauly didn’t make a deal with some kind of demonic force, but is himself said demonic force. The high-pitched synths, badly auto-tuned pop vocals and disgustingly overdriven basslines are slowly starting to turn into an unending stream of sensory input that makes the space behind my eyes ache with every beat. Is this his secret? Does he wear you down until there is but a shell of a human being left, putty in his ridiculously tanned hands?
9:59pm – Levels. I burst into hysterical laughter. I think I’ve been here too long. My faithful companion requests that I hold her and placate her. I wonder – if this is her reaction but I am laughing, what is happening to me? Will I be orange by tomorrow?
10:05pm – Pauly plays Don’t You Worry Child. The Swedish House Mafia’s platitudes during the breakdown do nothing to ease my worry. With a smile, I realise I’m still me.
10:16pm – Pauly plays a medley of songs about single ladies (Faith Evans, Beyoncé et al), but the sound of their admittedly wonderful voices is mostly drowned out by Pauly’s incessant attempts at scratching and mixing. This is also the beginning of a depressing foray into commercial R&B, featuring the likes of Lil’ Wayne, Chris Brown and Rihanna.
10:24pm – My faithful companion astutely notes that for his entire set Pauly has only been using one turntable, suggesting that perhaps his set has been pre-recorded and the only live aspect of the show are his abysmal scratching and random uninterpretable utterances. I want to believe her, but part of me has to wonder: if your set is pre-recorded, couldn’t you at least have made the mixing sound half-decent?
10:32pm – Commercial R&B gives way to trap. I can only assume this is his attempt to convince naysayers that he is a legitimate DJ and not the product of a reality television show. Sadly, trap is probably not the music to choose if you want to prove you are not just a fad. To my left, a young girl rolls around in a circle. I give up even trying to work out why.
10:38pm – The EDM returns with Gangnam Style and We No Speak Americano and Pauly proudly proclaims he is, quote, “the best in the world”. If there was anything left inside me that could die, I would say that part of me dies inside.
10:47pm – I notice a mass exodus of the crowd. A glimmer of hope washes over me that maybe they’ve suddenly broken free of his spell and realised they want to continue their night somewhere with a different calibre of DJ. However, my faithful companion notes that the majority of the crowd are under 16 and their choice to leave more likely reflects the fact they must return home by their curfew time, less they be denied internet and TV privileges for a week.
10:55pm – Pauly ends his set with Champagne Showers and promptly sprays the remaining crowd members with cheap sparkling wine. He then apologises for getting them “wet”, utilising his brain (barely) for the first time all night to employ cheap innuendo. I decide I can’t do this anymore. Good night!