Someone at Pioneer worked out how to combine the timer used in chess, the boombox, some DJ effects, and dance battles, and the result is this: the STEELZ AUDIO Type T, evidently new and under glass at Musikmesse in Frankfurt this week.

I think it deserves special mention for its sheer oddness. (And hey, maybe this is a product for someone somewhere!) One of the great things about it: it displays all sorts of little animations.

I would not normally copy and paste, but:

Auto Battle Mode*
STEEZ AUDIO incorporates “Auto Battle Mode” – Pioneer’s unique technology which makes it easy for dancers to battle anytime, anywhere. Simply set match-up (playing) time or music genre, and the mode automatically selects and edits tunes for dance battles. Select “Circle” for multi-dancer match-ups or “Normal” for one-on-one, two-on-two and team dance battles. STEEZ AUDIO covers what a DJ/timekeeper would normally do, and allows you to smoothly switch music for battle by cutting in on and echoing tunes. It even prompts you with your choice of voice or tone call signal, 10 seconds before a change of dancer in a battle is required.

It is nothing if not a clever idea. It also demonstrates you can imagine products that use music technology that aren’t conventional music products. Tempo control from Pioneer’s DJ line, for instance, is intended to aid practice, along with beat detection, skipping and cueing, and automatic mix. Companion software pre-analyzes your files.

This may be the first and last time CDM mentions a car stereo product from anyone, so have at it:
STEEZ AUDIO Type S

Pioneer, that best-known brand of DJ hardware, wants you to use hardware alongside software. And they’re uttering the word “remix” rather than “DJ.” And they have something that really doesn’t look like a CDJ, so much as a remote control for a spaceship carrying CDJs.

It seems to be something of a trend. We saw earlier this week Native Instruments emphasize the word “remix” in their DJ product line, as in live-remixing music. And NI, along with offerings from almost every other DJ vendor and quite a few impressive homebrewed solutions, work with hardware/software combinations to build more elaborate live performances.

Now, Pioneer has a new horse in the race. The hardware looks completely different from what we’ve seen elsewhere – and it doubles as standalone hardware for effects and sampling, too. It might lead some to a kneejerk “toy” reaction, just because of this novel design and its preset push-buttons, but Pioneer has some very loyal DJs in their … stable. (Okay, obviously the appearance of sun and spring has me thinking about the Kentucky Derby or something. Moving on…)

Pioneer is taking hardware effects and packing them in a package you can use with software or on its own. Their RMX-1000, they say, is three devices in one. This product has so many ideas going on at once, I lost count as to what those three were, but I would count them as effects, sampling, and dedicated DJ controller.

Here’s where the whole thing gets rather fun. Because the RMX is a stand-alone hardware unit, you can use it as an effects unit and sampler, only returning to software when you’re back in the studio. Pioneer has offered impressive effects before, but the only way to get at them was in high-end mixers. Now, you can buy this unit for a price that starts to make this look like high-end competition for things like a KAOSS Pad. And that could put it on the radar of producers and not just DJs.

Europe: The product is due in May for 599 GBP/699 EUR, including VAT.
USA: June, US$999. (Actually, for once I think Europe gets the more favorable price.)

Okay, fine. But where's the drop? Images courtesy Pioneer Europe.

The whole thing is customizable, says Pioneer, so much so that they’ll also provide for download presets by DJs Chuckie, Kissy Sell Out, Kutski, James Zabiela, Doorly, and Laidback Luke, in a play to some name recognition for DJ youngsters. They emphasize “macro” controls that give you push-button access to more complex effects. On the other hand, it appears for fans of those effects, you could go in and do some customization of your own.

Now, those names aren’t going to make everyone happy, but where the box looks impressive is in the effects macro department. Specs:

• SD card storage for presets.
• Scene FX: macros for up to ten effect types. Set a type (Noise, Echo, Spiral Up, Crush Echo, Spiral Down, Reverb Down, or something customized), and use that big knob for wet/dry.
• Time and Resonance parameters.
• Isolator FX (think EQ, in the terminology of Pioneer’s DJM-1000 mixer).
• Cut/Add, Trans/Roll, Gate/Drive dynamic effects.
• X-Pad sampling with pitch controls, from the DJM-900nexus mixer. Sample right into a drum slot (kick, snare, clap, hat), then roll the samples. Overdub, roll, mute.
• Quantized sampling.
• Release FX – basically, you use “spin back,” echo, or break effects to cut out effects temporarily or for good.

And it’s a USB MIDI controller.

And it’s a controller for Pioneer’s own DJ software (VST and AU).

All of this could be a good thing. Or you can subscribe to the thinking of an anonymous commenter (under the alias Massive Double Facepalm) on the NI post from earlier this week, and instead declare:

awesome more tools for tools to totally fuck over a mix by thinking theyre actually creative producers n shit – theres so much good music out there that speaks for itself and only needs a monkey to layer and blend. Seriously, fuck this shit and the never ending legion of DJs. LOL – DJ’s – LOL

Tech specs:

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

“Spiral up.” I’m telling you: spaceship controls.

http://pioneerdj.com/

For the lover of musical instruments and technology, southern California’s NAMM show is a giant toy shop. It’s work for many of its attendees, of course, but we know many of our readers dream of the objects that will make their next creations. And sure, inspiring lust is not our aim; on the contrary, there is some love that goes into these things. In the ideal, that’s the relationship of creator and consumer. These are things not to be bought and discarded, but kept and really used.

So, we have a different look at the NAMM show, through the lens of CDM contributor Marsha Vdovin, who has been at this show more times than she might like to count. I’ve added some comments about what these devices are and why they’re important. And the next time we see them, these inventions pictured in silence here, we expect them to be working hard on music far from the din and flourescent glare of the trade show floor.

As always, click for larger images. Photos by Marsha Vdovin; words by Peter Kirn:

Roland’s V-Guitar marks a surprising collaboration, bringing the famed American guitar maker Fender together with the Japanese electronic maker to make an “electronic guitar,” merging the two company’s tech on a digitally-augmented Stratocaster. More on this soon – but the extended playing techniques won over many guitarists.

The Danish design aesthetes of AIAIAI have improved upon their TMA-1 headphones with a studio model. Same drivers, same basic design, but a “flatter” response to sound (rather than beefed-up, DJ-ready bass) and closed ear design. It’s impossible to hear anything at NAMM, but I can attest that the new design is far, far more comfy to wear. Actually, if I could have kept these on the whole show to drown out the sound, it would have been great.

An easy place to spot a talented celebrity was at the Dave Smith Instruments booth, at which artists clustered around Dave and Roger Linn. They were on-hand with plenty of tweaks to their stellar Tempest drum machine.

Teenage Engineering’s OP-1 grew up, with new features (drum sounds! MIDI sync – at last), and grew out, with a companion product for connecting sensors and USB host mode that could be a boutique item for music DIYers. We’ll go hands-on with each this year, and while readers were disappointed on a lack of some details (will the OpLab be open source?), we expect to get more details from the Teenagers when the product is ready in the coming months.

Readers of tech blogs (ahem) may miss out on the fact that the vast majority of NAMM is really for guitarists, drummers, and traditional instrumentalists. And yes, that includes glittery, pink products from Daisy Rock Guitars. We’ve concluded this model will be perfect for Sparkle Pony. (And really, if you’re not watching Portlandia to get that reference, get on it. Also, Jenny Conlee is crazy awesome.)

Thin, responsive, and expressive, the QuNeo from Keith McMillen – funded on Kickstarter – proves it’s really happening. With continuous pressure response on its touch controls and bi-directional control, it could be the most anyone will ever have gotten from a US$200 controller. Yes, we’ll be watching.

Pioneer wasn’t showing anything new at this show — they timed those launches over the fall with new controllers like the Ergo. But they did have a glossly all-white lacquer set of limited-edition devices that looked absurdly gorgeous. Now if I want to do my flat over in the style of a Stanley Kubrick set, I know what DJ gear I’ll be buying. (If you don’t know what I mean, watch the end of 2001 again – or the living room in Tron: Legacy, which is more or less a copy.) White is the new generic-dull-charcoal.

Akai’s MPC Renaissance is unlike any other mass-market controller we’ve seen. It’s actually substantial, something that feels like a vintage MPC even though it’s designed to work with software (pictured). The audio circuitry is straight out of the modern MPC, but there’s a switch for “vintage” modes – think 12-bit output when the MPC60 is enabled, for instance. Akai told CDM they built the software in-house, but we also learned at NAMM that they licensed time-stretch tech from iZotope, giving their upcoming MPC software generous audio-manipulation abilities.

The Renaissance will cost you, with a street expected well over a grand, but that makes it even more welcome that the same superb pads and response curves are also on the maker’s MAX49 keyboard and cheaper MPC Model.

Just expect to wait: these were prototypes, and there were still some bugs to work out.

The Renaissance is for the MPC die-hard; the MPC Studio is the model that will directly take on Native Instruments and Maschine. It’s slim, sleek, and still has great-feeling controls. And while that makes it compelling competition for Maschine, I’m gratified to see this whole market expanding, new workflows for performance and production, and a push to better quality in the controllers. The days when computer gear meant “cheap and plastic-y” are mercifully at an end. Speaking of which –

Akai’s MAX49 keyboard could be a new model to beat. The keyboard action is satisfyingly springy, with a new keybed not seen in previous models. The pads are identical to those on the Renaissance, and feel more the way proper MPC pads should. Not everyone will love the light-up, touch-sensitive resistive faders, but I found with a bit of pressure, they worked well – and that means never having to worry about a fader catching up with the value in software. You also get serious features: Control Voltage, a full complement of MIDI ports, and aftertouch. Did I mention Control Voltage? It’s nice to see a controller keyboard with a slightly premium price, build, and features.

The last surprise from Akai was this MPC DJ. The company says it’s a prototype only, and had little more to say about it, but it’s fascinating to see the MPC and turntable controls converge.

Moog’s Minitaur was my favorite synth of the show. It just sounds consistently brilliant, no matter which way you turn it or play it – and I accordingly noticed it was the synth the most people were actually playing on the show floor.

This is what a 24-karet KORG MonoTribe looks like, alongside a silver-plated model. There’s little more one can say. It is, of course, one of a kind — and already spoken for.

The other thing of beauty at the KORG booth: a limited-edition reverse-key SV-1 keyboard.

iOS accessories were numerous, but a few were genuinely useful. IK Multimedia’s iRig Mic “Cast,” for instance, is coupled with handy software for podcasters, as a quick tool for interviewing or podcast recording.

It’s not a new product, but one of the reviews to which I’m most looking forward is this Eers product. It promises custom in-ears you make yourself, rather than the enormous cost of getting them custom-made. Stay tuned on this one – protecting your hearing and making on-stage gigs go well is perhaps as essential as gear can get.

The just-intonation Hymnatron from the Dewanatron crew was one of the most compositionally-compelling instruments at the show, with a unique sound, tuning, and key layout. And it looks mighty handsome in this one-off wooden case.

LiveWire’s modular was among the many dreamy modular rigs at Big City Music and Analog Haven, two Los Angeles hotspots for analog modulars. Did we mention space was more plentiful and inexpensive, and gigs more generous, in LA than in NYC, Chicago, or San Francisco? Funny coincidence, that.

Many modules graced this show, but the most intriguing was not analog, but digital – think digital algorithms in an analog, patch-cord-modular hardware workflow. Tom Erbe, maker of long-beloved SoundHack (the app, and then more recently the plug-ins) put some of his sonic wizardry into a module, collaborating with one of our favorite modular builders, MakeNoise. The result: the MakeNoise Echofon. As such, it’s a perfect emblem of our Create Digital Music, Create Analog Music philosophy. Dear Berlin friends: let’s plug this into your monster modulars, okay?

Big City Music is a wonderful place. The other candidate for best new module: brilliant creations by Metasonix, as previewed here. We’ll be watching for these to be patch-able, too.

Casio had its classic CZ-1000 synth on-hand at its booth. The Casio XW isn’t quite a successor to the CZ, though it does include some of those waveforms and phase distortion sounds. What it does appear to be is a very affordable, do-just-about-everything workstation at a fraction of the price of any of its rivals. For someone who wants a jack-of-all-trades gigging keyboard, this could very much be a contender.

Our friends at Beatport are evidently getting into the hardware business. The most interesting launch wasn’t a set of TMA headphones with Slimer-green cords (I’ll take the Studio model, thanks, or just a non-Danish set of studio cans). Instead, I was intrigued by the eminently-practical line of gigging cords Beatport is working on with Hosa. They include features live digital musicians and DJs badly need, like color-coded cords you can find easily at a show, and hinged USB cords you can cram into tight spaces. More on those soon.

Thanks, all. Lastly, I want to thank everyone I got to spend time with at the NAMM show, and particularly Marsha Vdovin, who is responsible for these photos and keeping our schedule together. NAMM is always too crowded and too short, but it can lay groundwork for a whole year. And I’m excited for this Year of the Dragon. Be seeing you.

For the rest of our NAMM coverage:
http://createdigitalmusic.com/tag/namm/

Photos by Marsha Vdovin / Words by Peter Kirn.

What should digital DJing look like? It’s an open question. If you aren’t willing to contend with the (potentially-unreliable) combination of real vinyl control records with computers, the question becomes what DJing technique hardware should embody. Writing for CDM, Ambivalent of Minus Records was most enthusiastic about advanced hardware mixing in Allen & Heath’s Xone:DB4. Boutique manufacturer Faderfox focuses instead on advanced, four-deck effects and control, minus the big, record-mimicking platters.

The big players, though, are focused on a kitchen-sink approach that combines turntable controllers with integrating mix, effect, and transport controls with software. We saw Native Instruments’ Kontrol S4, integrated with their own Traktor software, in August. Now, Pioneer and Numark are showing up to the NAMM trade show with their own entries. Numark has one dedicated to Serato; Pioneer is actually releasing two devices, one for Serato and one for Traktor.

Here’s a snapshot view of that hardware. Interestingly, while other manufacturers (inexplicably, I think) try to time all their announcements for tomorrow, Pioneer and Numark seemed eager to get out ahead of the other announcements.

Pioneer DDJ

Pioneer DDJ-S1
Pricing: US$1599 suggested retail
Software: Serato ITCH
Availability: March 2011

Specs:

• Two-deck design (perhaps a demerit, but I think nonetheless likely to be popular, as four deck operation is far from a given with most DJs)
• Inputs for two mics, one aux (RCA)
• Balanced master outputs (2x XLR, 1x RCA)
• Plug-and-play USB connection
• Effect controls, deck controls
• Library navigation, including an LED that shows you position, search, and slip playback (and needle drop-style transport, as on the Numark)

S1 US Product Page

Pioneer DDJ-T1
Pricing: US$1299
Availability: February 2011

Specs are similar to the S1, but with:

• Four deck operation
• Less visual feedback: in exchange, you give up the LEDs with position, VUs. (Personally, I like the four decks, but more of this will break down to preference for Traktor versus Serato.)

T1 US Product Page

Smartest marketing pitch: Pioneer touts that the design and audio fidelity both come from pro Pioneer DJ equipment. That could be a strong selling point, and a draw for people who have been loyal to Pioneer hardware who haven’t yet made the leap to the computer – even if the Numark is cheaper and does four channels of mixing.

Good analysis elsewhere: DJ Tech Tools has extensive practical analysis of both designs.

Numark NS6

Pricing: €999/£799 (not sure on US$ price)
Software: Serato ITCH

Specs:

• 4-channel DJ mixer with standalone operation
• 24-bit audio interface with balanced XLR output
• Touch-sensitive, illuminated wheels with 3600 ticks of resolution
• Effect controls, deck controls
• Library navigation
• USB connection, sends standard MIDI messages

Tasteless product branding award goes to… “Strip Search,” a handy feature (emulating needle drop onto tracks) that unfortunately recalls enhanced security at airports. Bad. Worse, on the NS6, it’s “enhanced strip search.”

Good analysis elsewhere: Skratchworx has some smart insights, including the likelihood of Traktor and Virtual DJ mappings and a competitive price. They actually give the nod to Numark here on price, build, and having two extra channels.

http://www.numark.com/ns6

Snap Reactions

What about the jog wheels? And what about NI? Pioneer and Numark may both face stiff competition from Native Instruments. NI frequently emphasizes to me the quality of the wheels on their Traktor Kontrol S4, which use eddy current breaks so that as you rotate them faster, resistance increases, making the feel more natural for the control scheme. And speaking of NI, they have announcements coming this week, too.

What about space in a DJ booth? Even in some pretty high-end, spacious clubs, DJ booth real estate is at a premium. It’s hard to imagine comfortably pulling off what Numark has in their screenshot at top. Pioneer has designed their controllers in such a way that they fit over top of the keyboard on your computer. (See image below) Advantage: Pioneer.

Is this really the kind of DJ controller everyone wants? This is my big question. Integrating with DJ software in this way certainly looks practical. But I can’t help but wonder if these designs won’t change over time as DJing is no longer about turntables. That could make unique new touch interfaces or Ableton Live controllers or unusual assemblages of looping hardware something that differentiates DJs.

I think the Pioneer units are prettier. I’m sorry. I’m shallow.

What do you think? Let us know in comments.

Here’s a unique chance to step onstage with electronic duo Justice – well, through photos, at least – on tour in Brazil. Behind a stack of Marshall Amps and other gear that looks ready to push back an invading horde of Barbarians with a battering ram, these two have some very lovely goodies for live laptop performance. No plain-vanilla DJ sets here.

Our friend Fabio “FZero” writes:

I came across some pictures of the gear Justice used to play in Rio. They were taken by a guy which works on Circo Voador (the place were they played) and uploaded to orkut. I’ve downloaded and zipped them to make things easier.

The name of the photographer is Henrique Kurtz and his orkut profile is at http://www.orkut.com.br/Main#Profile.aspx?uid=3218703684024828269

3 x Jazzmutant Lemur (THREE LEMURS. It’s good to be rich, I guess.)
2 x MacBook Pro (one is probably backup)
1 x Korg MicroKorg
1 x Korg ZERO8 Live Control
1 x Pioneer DJM800
Software: Ableton Live

Get up close and personal with the laptop rig itself. Okay, you may not be able to afford three Lemurs, but this wouldn’t be hard to scale to other setups. And there’s plenty here to make a “live PA” performance really a performance.

All photos © Copyright Henrique Kurtz. Used for createdigitalmusic.com by permission of the photographer. (Thanks, Henrique – beautiful shots!)

Single Knob Filter [Project Page]
SKF-VST at Google Code [Source, VST Download]

It’s apparently a big improvement on an Ableton forum solution that used 127 different filter instances in a rack.

I’m aware of the goodness of Single Knob Filter thanks to the Aurora open source DJ mixer project (see yesterday’s write-up); they assign an instance of the plug-in on each of the Aurora’s two mixer channels. Aurora’s Matt originally had the SKF plug-in in their Ableton template, but I encouraged them to replace it with Ableton’s Auto Filter for cross-platform compatibility and ease. That said, for plain DJ filtering, this it the One True Knob.

Now, go forth and use it on some crazy experimental noise soundscape you’ve been working on, just to spite cliche.

DVJing: Pioneer Wants You to VJ with Pictures of Their Gear
DJ gear maker Pioneer is banking on the potential popularity of VJing in DJ sets. They’ve got quite a nice site up (good) and are giving away free clips of their gear rotating around (pass).

Sony HVR-V1P HDV Camera: Smooth Slow Motion Test
Jaymis has a new toy. This new toy shoots 200 frames person second. That means super-smooth slow-mo footage. Have a look, because it was enough for Jaymis to end his ban on gear from Sony.

Wearable Wrist Brace VJ Controller
This has potential for music, as well; it’s a wrist brace with embedded sensors and RFID tags, for wireless, wrist-based music control!

Motion Graphics on Trampoline
Anyone using graphics apps will appreciate this one. And anyone using Macs will appreciate the appearance of the hated colorful beach ball of doom.

To keep up with the latest on Create Digital Motion, be sure to grab the RSS feed.

Pioneer, known for their DJ software (and their superb video scratching hardware, the DXJ-X1 as covered here previously) have opted to release a software-only solution. But unless I’m missing something, the new DJS software has little going for it other than the Pioneer name. All the basics are here: MP3 support with built-in ripping, auto mixing, on-screen waveform cueing, cue points and looping, fader start features, and so on. Other than that, though, looks fairly bare-bones, and Pioneer is entering an already-overcrowded market here. This might appeal to Pioneer fans, except — don’t you guys own hardware?

Further commentary and 51 comments (and counting) from the turntablist haven, Skratchworx

So if I’m so bored by this and it’s two weeks old anyway, why am I bringing it to your attention? Because you get to enjoy . . . (drum roll) . . .

Pioneer’s Groundbreaking Explanation of the QWERTY Keyboard!

“The DJ can assign basic functions to a particular key on the PC keyboard. By doing this for frequently used functions, the DJ can establish his or her own playing style – on a keyboard.”

Other software developers, you’re on notice. Pioneer has discovered that by assigning functions to QWERTY keys you can . . . press . . . QWERTY keys and . . . do stuff. If you want to look cool: get a nice big shoulder strap for a Bluetooth wireless QWERTY and play it Keytar style. (Sadly, this works better for QWERTY-mapped synth lines, not DJing. It also helps if you wear a Devo hat.)