A POWERFUL SEQUEL
Mix - DJ music mixer pro. DJay Mix Pro. Sampler to crossfader to cut bearing samples. That gives you instant and fast access to all the important. Dec 12, 2017 Hands-On With djay Pro 2 for Mac's New AI-Driven DJ Mixing and Beat-Matched Photo Slideshows. Djay Pro 2 and sale prices may still be rolling out at the time of. Free Final Cut Pro X. Oct 29, 2015 DJM-S9 Crossfader cut in/silence setting What does everyone think about the default amount of silence present at the end of each side of the cross fader when the laptop is not connected? I dunno about you guys, but I still enjoy coming home sometimes and practicing my cuts without needing my laptop out.
Get people moving on the dance floor — Mixdeck Quad is a complete DJ system with a four-channel mixer that will put you in complete control at any gig. Based upon the popular Mixdeck controller, the Mixdeck Quad kicks it up a notch by adding support for core MIDI on the iPad. You’ll be able to select and mix songs from your iPad music library + 20 million songs via Spotify integration through Algoriddim’s djay 2® app . Plus, a fully functional four-channel digital/analog MIDI mixer is on board, allowing total control of both the iPad and DJ software while mixing from CD, thumb drives, mics, or external sources.
CROSSPLAY TECHNOLOGY
With Mixdeck Quad you can play USB content from either port on either deck. This innovative Crossplay technology frees you up to use your USB tracks like all your other music: mix and match, play tracks simultaneously and keep the room's energy peaked.
On top of playing all kinds of music media, each one of Mixdeck Quad’s decks enables you to add flavor to your performances with integrated, beat-synced DSP effects that include chop, echo, filter, flanger, pan, and phaser. Each is completely adjustable and a dedicated wet-dry fader controls them all.
PITCH POWER
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Mixdeck Quad contains a set of beat and pitch tools that will help you with beat matching and harmonic mixing. Start playing a track and Mixdeck Quad automatically analyzes its BPM (tempo), and displays it on screen. There’s also a Tap tempo button for manual BPM entry. You can alter the track’s BPM by ±6, 12, 25, and 100% using the pitch fader. For each of those ranges, you can also engage Key Lock, which holds the pitch (key) of the track while you independently manipulate its BPM. There’s also a set of pitch-bend buttons on each track for quick tweaks.
MIGHTY MIXER
Mixdeck Quad has a full-featured four-channel mixer built right in. Each input channel has its own gain and three-band EQ/rotary kills (+12dB/ -INF). The mixer channels control the audio from Mixdeck Quad’s onboard players, incoming audio from your computer, or external sources such as turntables, MP3s players and more. Mixdeck Quad has two sets of stereo, switchable phono/line inputs for external sources. Mixdeck Quad’s replacable crossfader has switchable slope and reverse so you can customize its performance based on your preferences.
REAL TIME REMIXING
Mixdeck Quad gives you a complete range of remixing tools for on-the-fly creativity, including seamless looping on a set of easy-to-understand controls, sampling, and easily accessible hot cues. Numark’s familiar Bleep/Reverse gives you the ability to keep time moving forward while you cut or reverse the track.
You can play tracks from discs in single-track, continuous, and programmable playback modes for flexible performance. Fader Start enables Mixdeck Quad to start playing the track you have cued up when you move the crossfader for effortless transitions. You can also use Fader Start with compatible CD players connected to Mixdeck Quad’s inputs.
HIGH PERFORMANCE
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There is so much you can do with Mixdeck Quad because we jammed it full of world-class features like DSP effects with wet-dry fader, chop, echo, filter, flanger, pan and phaser. It also has smooth, fast, slot-loading drives with large, touch-sensitive illuminated platters so that the moment your fingers touch the platter, you know your performance is on. You can work the room thanks to Mixdeck Quad’s 1/4-inch mic input with its own gain and ±15dB high and low EQ. There’s also a complete cueing section with dual 1/8 and 1/4-inch headphone outputs, dedicated cue gain, and mini-crossfader control. You'll also never miss what's happening with Mixdeck Quad thanks to its two large, backlit displays.
Mixdeck Quad has a flexible output section too. Balanced XLR and unbalanced RCA stereo main outputs along with Booth and Record RCA outs allow for sending your mix to different locations and systems, including recording to your iPod. There’s also a direct stereo output from each deck for use with timecode control interfaces including Serato Scratch Live software or external effects processors.
Mixdeck Quad gives you the ability to perform, mix, remix, and record with virtually any popular music media. Whether you play parties, clubs, events, or in a group, Mixdeck Quad also gives you the freedom to DJ from nearly any source all in one unit, with the flexibility to add on and expand as much as you like.
iPod is a trademark of Apple Inc. registered in the U.S. and other countries.
Spotify is a registered trademark of Spotify AB.
Spotify is a registered trademark of Spotify AB.
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Digital DJ Tips reader Nero writes: “Why do most DJs prefer using the line faders or the deck gains to blend in tracks instead of the crossfader? I was literally made fun of the other day when I used my crossfader in front of two advanced DJs ! So what’s the right way to do it? Deck gains, line faders, crossfader? Does it matter?”
Digital DJ Tips says:
Great question. Most DJ controllers have three ways of adjusting each track’s volume: The gain knob (the top knob, above all the EQs, and which is sometimes called “trim”), the line faders (the vertical ones), and the crossfader. So what are they all for?
The gain knobs
The gain knobs adjust the incoming volume of the track. They’re meant to be used to correct any slight volume differences between your tracks. They are most useful when VU meters on the unit are monitoring the incoming levels, because then you can set the track at a loud bit, and adjust the gain quickly and visually so it’s filling all the green bars of the meter, but rarely if ever tapping into the red. That track is now as loud as it can safely be, ready to have its volume in the mix adjusted by the other controls.
The gain knobs adjust the incoming volume of the track. They’re meant to be used to correct any slight volume differences between your tracks. They are most useful when VU meters on the unit are monitoring the incoming levels, because then you can set the track at a loud bit, and adjust the gain quickly and visually so it’s filling all the green bars of the meter, but rarely if ever tapping into the red. That track is now as loud as it can safely be, ready to have its volume in the mix adjusted by the other controls.
The point of these is so that you can be sure, having set the gain once, that all other things being equal, that track will sound right against any other tracks in your mix (which you will also have adjusted upon loading them, in exactly the same way).
The line faders
The line faders adjust the overall blend of tracks, assuming the crossfader is “in the middle”. Many DJs like to run these at around two thirds, so they can boost the track in the mix if need be by a little. They are used “in the mix” to subtly balance the tracks against each other. Depending on how the EQs are set, and how much is going on in the track, balancing the overall volume this way is what lets DJs move the audience’s attention between their tracks.
The line faders adjust the overall blend of tracks, assuming the crossfader is “in the middle”. Many DJs like to run these at around two thirds, so they can boost the track in the mix if need be by a little. They are used “in the mix” to subtly balance the tracks against each other. Depending on how the EQs are set, and how much is going on in the track, balancing the overall volume this way is what lets DJs move the audience’s attention between their tracks.
The crossfader
The crossfader is typically used as a fast “switch” for turning the tracks “on and off” in the mix. Especially with the crossfader curve set to sharp (“crossfader curve” is normally a hardware or software adjustment, and a “sharp curve” is where you only need to move the crossfader a tiny amount aways from fully left or fully right for the other track to be 100% “on”), it can be used to drop a beat in precisely, or cut it out equally as abruptly.
The crossfader is typically used as a fast “switch” for turning the tracks “on and off” in the mix. Especially with the crossfader curve set to sharp (“crossfader curve” is normally a hardware or software adjustment, and a “sharp curve” is where you only need to move the crossfader a tiny amount aways from fully left or fully right for the other track to be 100% “on”), it can be used to drop a beat in precisely, or cut it out equally as abruptly.
Scratch DJs obviously make great use of this as part of their routines, but any DJ interested in cleanly and definitively introducing or removing a track from the mix may decide to use the crossfader in this way.
You make the rules!
But here’s the thing – these aren’t rules. Set the crossfader to “smooth”, and you can use it to blend just as subtly as the line faders can do. Many DJs like to mix with the line faders fully “up” or “open”, so they can cut the track in or out by using the line faders instead of the crossfader, by throwing them quickly as far as they’ll go. Still more DJs turn the crossfader off entirely. Others use the channel gains to “tweak” the overall volume, without ever touching the fully open line faders. And there are lots of combinations of the above preferred by different DJs, on different gear, with different music and mixing styles, too.
My advice is simply to understand each control, what they’re meant to do, and how they fit together, and don’t worry too much about this. It helps to DJ on other gear too, as you soon learn that you “DJ on what’s in front of you”. For instance, I used to DJ in New Order’s bar in Manchester, Dry 201, which had a big old Formula Sound mixer that had no crossfader at all, so all my mixing was with the line faders. At the other end of the scale, smaller DJ controllers like the Mixtrack Pro II don’t have gain knobs at all (they have auto gain in the software).
Only by DJing on as wide a choice of gear as possible will you start to be comfortable with using all of these controls to achieve your end result. Certainly don’t let other DJs laugh at you: there are no absolute rights and wrongs. As ever, it’s what comes out of the speakers that counts.
How do you tend to use the gains, line faders and crossfader? Has your style of mixing changed over the years, or does it change with different music and mixing styles? I’d love to hear your thoughts in the comments.