The evolution of what we now call “DJing” is inseparable from the turntables and mixer. So, what happens when you enter the digital domain and you really don’t need to refer to either device? Many digital DJ controllers have simply mimicked those previous inventions, with virtual tables and a mixer-style layout. To some extent, they must, not only for familiarity but to even make it possible to perform the kind of tasks DJs expect.

Then again, the computer, endless shapeshifter that it is, can do whatever you like. And so we’re beginning to see mass-market controllers marketed at DJs – not just the laptop performer, but DJs and DJ software – that goes in new directions.

Novation Twitch is one such effort. New Yorker Abe Duque takes up the Road Test series for Dubspot. I rather enjoy the lo-fi video as he flies New York to Munich; I could almost imagine the entire video being shot that way. (There you go, CDMers: I now have no excuse not to shoot some video tests for y’all on my smartphone.) And, uh, yeah, been there. Maybe the most ringing endorsement for the Twitch is how snugly it fits into the carry-on bag. I’m pretty sure that’s one of the superb UDG Gear line carrying both his laptop and Twitch.

Getting down to the actual review, Abe Duque – whatever impatient YouTubers may say in comments – does a fine job of coherently covering all of the features fairly and in detail.

Highlights:

• The Twitch is clearly set up to integrate with Serato, though there’s also a Traktor overlay. I’ll be eager to see how it works with Ableton Live, though, as the layout would seem to apply nicely to that.
• Having faders double as effects wet/dry controls is a clever twist, and reveals the intention of the Twitch to focus a DJ performance on mucking around with individual songs and not just queuing, beat matching, and mixing.
• The highlight is probably the slicing control, which uniquely couples the touch strip with pads.

You begin to see how a Twitch performance would come together, with two-deck slicing and dicing and effects controls. Of course, that could be accomplished with other means, but the Twitch embodies a lot of what we’ve seen in the DIY scene and homebrewed controllers, assembling a layout that conceptually reflects all of this track-mangling in the hardware’s physical form. In fact, it’s hard not to think that that scene influenced the Twitch.

This kind of track manipulation was common both with the Akai MPC and Ableton Live. Curiously, the design of the Akai APC40 for Live really doesn’t make that sort of performance very easy, focusing instead on clip launching and mixing.

In practice, Twitch looks promising. It does face a lot of competition. For Serato alone, there are various controller options, and Serato loyalists can expect this and other control surfaces to cater to their needs. The big entry we know is on the horizon is Native Instruments’ upcoming controller and software – something the company has already revealed in some detail prior to its official release. In fact, it’ll be tough to judge Twitch without having seen in person whatever NI has cooked up, as it appears their offering could focus even more closely on the sample triggering / looping notion, again within a DJ paradigm (Traktor).

DIYers, many carrying the banner of “controllerist,” have been pushing DJing in this direction for some time, and back to its original roots, DJing has embraced more inventive ways of really transforming tracks and not just playing them. Now, as those ideas seep into the mainstream, we’ll see if the line between DJing in the sense of playing tracks – and live performance, more as you’d expect in the instrumental vein – continues to blur.
Dubspot Lab Report: Novation TWITCH DJ Controller – Road Test w/ Abe Duque

Oh, yeah, and for something completely different DJ controller-wise, see Dubspot’s take on the compact Allen & Heath Xone: K2.

What should DJing software look like, anyway?

It’s just a teaser, but for once, the idea is simple, straightforward, and clear. Native Instruments have taken their DJ software, Traktor, and combined it with a grid of pads for sample triggering and loops. The upcoming hardware/software combination we expect later this spring.

At the risk of stating the obvious, what’s significant about adding loop triggering to any DJ set is that you can more easily move beyond playing and mixing tracks. Even without drum machines, this kind of manipulation is part of the grand tradition of DJing, made all the more impressive when ground-breaking DJs were able to accomplish it using only a turntables. (It’s perhaps a triumph over the linearity of recorded music in the 20th Century that, at last, artists found a way to subvert recorded music’s permanently-frozen state and reclaim the playback device as an instrument.)

What the upcoming product does is to take the virtual deck metaphor of Traktor and makes each deck a sampling machine. Each deck can trigger one-shots and loops, coupled with the mixing, cueing, and effects possibilities of Traktor as a DJ tool.

The obvious comparison will be to Ableton Live, but here, it’s as significant what is different as what is not. This wording from NI’s description will admittedly sound a lot like Ableton Live and colored renditions of the monome: “Stylish multi-color pads trigger loops and samples, allowing for on-the-fly remixing.” There’s definitely some influence there.

But the grand-daddy of all these things is sampling drum machines, the first instruments to popularize triggering one-off or looped audio content from a grid. (Tip of the hat here to Roger Linn and his designs.) Ableton’s breakthrough was taking that sample-triggering grid metaphor and cross-breeding it with the DAW, the all-purpose studio workstation with its channel strips, tracks, and arrangements. In Live, the track is king.

NI’s breakthrough here promises to be seamlessly making each deck – not each track – the focus for sample triggering. And their hardware literally combines the DJ mixing and effects functions with those pads. In the future Traktor tool, the deck, not the track, is king. And that makes all the difference. The deck will behave like a deck for cueing (a common complaint about Live), for one, but it’s also important that whereas Live gives you as many tracks as you want, you’re forced into the limitation of four decks in Traktor. That limitation is neither positive nor negative, but rather something that will influence every other decision you make. (Having looked over the shoulder of Richie Hawtin’s impossibly-enormous Live set recently for Plastikman, with tracks that scrolled on seemingly endlessly, I can tell you this isn’t a minor point.)

Of course, the other amusing point is the timing of when NI is tipping their hand. NI already makes a popular sampling drum machine, Maschine, combining a dedicated controller with software. Akai has just entered the ring with their own revision of the MPC – combining a dedicated controller with software to make a sampling drum machine. NI, for their part, here reveals that their next move is a new dedicated controller/software combo that also adds in DJing.

Anyway, for now, it’s just a video, so everything else is speculation. Feel free to have a look and let us know what you think, which, knowing comments, I’m certain you’ll do in no uncertain terms.

Side note: My brain is fuzzy; can anyone remind me of the capabilities of 4decks? This was, as I recall, a Reaktor patch that combined looping and decks.

If you’re lamenting the demise of the dedicated Lemur display and multi-touch controller – since reincarnated as an iPad app – you might be intrigued by the Emulator. Like the Lemur, the Emulator uses a modular array of touch controls, with more than a casual nod at JazzMutant’s original. Here, though, the touch display is embedded in display hardware. (The vendor provides basically custom software and systems integration; unlike JazzMutant, they’re using off-the-shelf display and touch hardware, though that could actually be a good thing in the long run.)

Most amusingly, you get wooden end caps on this. They’ve even appended “1974″ to the name. It’ll be perfect for the Enterprise bridge I’m building in my living room with shag carpeting and lava lamps.

Specs:
Glass (“chemically-strengthened” — possibly Gorilla Glass or similar), with projected capacitive touch
4 touch points
“Less than 4 ms latency” reported under Windows 8 and Mac OS X
1920 x 1080 display, 22″ (55.8 cm)
15-pin analog, Display Port inputs (via adapter – not sure if you get an actual digital in)
17.5 lbs (7.9 kg)

You can make your own control layouts, or use included ones built for use with Traktor DJ or Ableton Live.

No pricing info yet; shipping February. Updated: Preorder pricing is US$2495. (Thanks, Jeff!) Given the relatively low cost of multi-touch displays, that sounds to me a bit steep, if in line with former Lemur pricing.

Now, of course, because this uses commercially-available displays, you could roll your own similar solution. Linux and Windows 8 are adding multi-touch features that work with these kinds of displays. Basically, what SmithsonMartin sells is an integrated solution with their own software.

But that itself is a potentially-fruitful avenue. We’ll see if they can connect with a market on this, and if anyone else gets in the same game. (I can tell you, I’d be tempted to stick a computer underneath that display and build something all-in-one.

More information:
http://www.smithsonmartin.com/kontrol-surface-ks-1974/

And yes, the obligatory promo video:

German boutique controller maker Faderfox was one of the first to build custom controllers for Ableton Live and Traktor. But amidst bigger-name offerings, the Faderfox devices still hold up. While other, more sprawling controllers struggle to squeeze into a booth, the Faderfox devices are ultra-compact, though still with enough room for your fingers. They also offer uniquely high-end controls and case, and sophisticated control options.

The latest, designed for Traktor – though it could easily be adapted to other DJ and VJ tools – is the DJ-friendly DS3. It really assumes a digital DJing workflow, focusing on triggering samples, loops, hotcues, and effects. (And, nicely enough, could be well-suited to DJs who want to go beyond just pressing play and mixing. We know you’re out there.)

Creator Mathias shares some of the features:

• Controls up to four decks – easy switching between deck A-B-C-D on the fly
• Supports track deck & sample deck mode with easy switching between the modes
• 4 multifunctional encoders – access to all FX and important deck + loop parameters by 6 group buttons
• Dedicated FX assign buttons for quick switching to the 4 FX busses
• Detailed control of all sample slot parameters by 4 encoders
• Browser section with encoder, view and favorite buttons (with additional tree navigation)
• Loop recorder section with encoder and two buttons (with additional copy function to any sample slots)
• 12 extra large buttons for sample trigger and hotcue access
• All controls with double function by holding down the shift button
• 31 LED’s and a 2-digit display to show various informations by feedback data from computer
• About 750 commands – all free to reassign

The only disadvantage I can think of, really, is that you have to toggle between the four decks – a tradeoff of the compact design. Of course, you could always buy more than one.

Here’s a look at the front panel, close up:

The Faderfox runs €250, including VAT (210 without). Unlike early models’ MIDI DIN and 9V battery, the units now simply connect – and receive power – via USB.

DS3 Product Page @ faderfox.de

Walk into a club, and it seems far too often you’ll find a DJ operating Serato or Traktor with their laptop touchpad. At best, you might get a digital vinyl system that’s mostly spinning around and looking pretty. (Some people do amazing things with scratching; some love the feel of cueing on vinyl. Some don’t do much at all.) But at least digital DJs can’t say they don’t have options. Native Instruments’ Kontrol S2 is the latest entry, a two-deck version of their S4 we saw earlier. That hardware is impressive-looking, with unique electromagnetic technology that builds up greater resistance as you make bigger moves.

If that appealed to you, but you wanted a two-deck, two-channel mixer rather than four and four, the S2 should appeal. Native has also released a video with DJ and controllerist advocate Ean Golden showing off what it can do.

The S2 and S4 also sheds some bulk and weight – a marginal, not a radical amount, but enough to make a difference to those traveling. Compare the S4 to the S2 (S4 in parentheses):
Depth: 4.4cm (vs 5.2cm)
Height: 29.2cm (vs 32.2cm)
Width: 43.8cm (vs 50cm)
Weight: 2.7 kg (vs 3.4kg)

Of course, as I look at the amount of space Ean has on that table, it occurs to me that this remains the principle problem. We’ve seen some compact controllers, but they often don’t provide this kind of control. For cramped live situations, DJing can be tough. So that may mean either making tinier controllers or having DJs find a way to fight for more space and new performance venues.

What strikes me is that, in the time since the S4 came out, we’ve seen loads of other options – even one from Ean himself. And that’s a good thing: today’s Traktor user can choose from almost any imaginable hardware, and a few DIY options, for making a custom performance. I hope to see more DJs taking advantage of that. Some of our recent coverage:

Scratch This: A DIY Project Repurposes DJ Controllers as Scratch Inputs; Recycling DJ Gear

Not a Turntable, Not a Knob: A New Inertial Sensor Music Controller, as Artists Explore

New Performance Controllers: Midi-Fighter Pro will Face Grid+Fader Rivals

Novation + Serato Touchstrip Twitch; Pics + Inside Details on the DJ ‘Controllerist’ Collaboration

Closest to the S4/S2:
Virtual DJ Controllers: New Hardware for Serato, Traktor from Pioneer, Numark”

Faderfox 4midiloop: True, Four-deck, Four-effect Traktor Control [lacks jog wheels, but you do get Faderfox's unparalleled quality and more mixing and fx controls - ideal if you want to use your own decks or jogs, too]

And we should note, while it’s a mixer rather than a controller, our friend Minus was all over A&H’s DB4 DJ mixer:
Allen & Heath Xone:DB4 DJ Mixer: Hands-on Preview with Ambivalent (Minus)

All of this means it’s a very good time to be doing creative, performance-oriented (“controllerist”) DJ sets. And frankly, if there’s not enough room at the club where you’re a patron or a player or both, maybe it’s time to go find some space and stretch out those controllerist arms of yours.

On that note, let’s look at some pretty photos of the S2, since NI obliged. (Hint to manufacturers: if you’re jealous of this kind of coverage, just send us some good pictures and videos, already. All tech journalists are biased by product makers actually sending stuff that’s easy for us to post! Mmmm… pictures.)

Traktor Kontrol S2 Product Page

Scratching, meet recycling. Rather than allow MIDI DJ controllers to consign themselves to landfills, a new open source project promises to retrofit these gadgets with scratch capabilities.

Scratch Decoder is a collaborative, open source effort to add or extend obsolete controllers, CDJs, and turntables with digital vinyl control – before they get tossed. Inspired by a 2009 thesis by Swiss student Ramon Mathis, advised by the folks who first developed the Ms. Pinky vinyl control system for Max/MSP, and rooted in years of work, the system is now publicly documented.

The ingredients:
An Arduino hardware board
The encoder sensor and board on a Numark CDX – which this project actually hacks into
MIDI, and Ms. Pinky’s software library

Upshot: add a computer, and you can translate scratch movements to MIDI messages for use with your DJ software of choice.

The video is in Spanish, so Mudo, who’s on the team, explains:

In the video, Norbert shows, as proof-of-concept, hijacking the encoder signal and connecting it to the digital inputs at Arduino. Then he sets up the software involved (serial-to-MIDI translator and Traktor controller panel) and starts the platter of the Numark CDX (the CDX is a CDJ without the ability to send MIDI from the platter) — all without a timecode CD, of course. It is not perfect right now, but it works at last.

I actually kind of like that it isn’t perfect.

This deserves further explanation for those for whom this isn’t obvious (mainly, most normal people). Typically, digital vinyl works by including a disc (vinyl or CD) encoded with timecode. That way, by looking at the audio playback from the device, as someone moves the record, the audio stream can be decoded in order to tell that, say, they’re scratching the disc.

In this case, a device that lacks that timecode disc and has sensors that refuse to see MIDI can be retrofitted to provide signal to software.

The team in this case is inspired by other experimental turntablists, artists who explore the potential of modifying technology for use in turntable performance technique. The project says it draws from the artistic ideas of these inventors as well as their technological research, looking to the likes of DJ Sniff, Jason Sadural and the Rastieri Project, Aaron Faulstitch, Jesse Kriss, and Scott Wardle.

I’m finishing editing a video interview with DJ Sniff showing of his current rig, but I asked Sniff, aka Takuro Mizuta Lippit, about this project. He points CDM to a range of “hackable gems,” devices for DJing that failed in the consumer market but are now available for creative use in used form.

Examples:

The Tascam TT-M1 is, says Taku “essentially just an optical encoder that rides that spinning platter.” It’s the sensor you can add to something like the CDX – a non-open equivalent of the project above, meant to rescue your CDX from the trash heap.

The Stanton SCS.3M brought to bear a fascinating array of interactive touch strips, a compact, all-touch controller for DJing. It’s a device we covered on CDM when it came out, particularly due to its similarity to [warning: getting obscure] the never-released M-Audio [then Midiman] Surface One controller prototype. The SCS got further than the M-Audio piece in that it was manufactured, but apparently has since been discontinued and didn’t quite take the market by storm. [Fair warning: I don't see confirmation from Stanton that it's discontinued, so its status may simply be, "not the biggest controller ever to hit the market" until we hear otherwise.]

Taku uses that gadget in his work, which you’ll see in the video soon.

In the meantime, to follow these community projects, there are some interesting discussions and sites coming together.

En Español and in English:
Proyecto 1: Scratch Decoder. Convierte tu viejo equipo en un controlador midi para scratch!

Discussion on the DJ TechTools forum of this project:
Which controllers with motorized platter does Traktor support? [a slight misnomer in the subject header - eventually, you wind up with the project here!]

See Ramón Mathis’ dream of an open community for sharing scratch skills, styles, and “tricks” via an interactive e-learning system and community:
http://www.skrat.ch/

What should DJing with a computer look like? We’ve seen over a decade of products that can emulate the vinyl turntable experience, of course. But a native hardware interface for the computer – with all its internal looping, slicing, and effects capabilities – by definition must be different.

DJ TechTools, led by DJ Ean Golden, has mixed writing about technology with designing custom solutions to that problem, interacting with the community on the DJ-centric blog. Ean has released mapping templates for existing hardware, and collaborated on a hardware special edition (Vestax VCI-100) and even a from-the-ground-up product (Novation’s Dicer). I never much liked the term “controllerist,” because the use of MIDI control in computer music is almost as old as real-time music. But what these efforts do is to imagine tangible, touchable interfaces for what the software is doing with the sound.

The custom designs and collaborations culminated in an original boutique controller product, the MIDI-Fighter, a 4×4 grid of mashable arcade buttons. The Midi-Fighter this month gets its first big upgrade: it graduates from being a simple 4×4 set of buttons to adding faders, encoders, and buttons in one of four variations available in the “Pro” series.

Introducing the Midi-Fighter Pro Controllers [DJ TechTools]

The Midi-Fighter Pro will go up against a number of rivals with similar configurations – at their heart, faders + controls + buttons. The Midi-Fighter approach remains unique because of its layer of mapping, but it’s worth considering both the new Pro line and its (friendly) competitors. Together, they’re making what might be considered a new genre of boutique controllers.

Midi-Fighter Pro

Ean Golden announced not one but four variant models in the “Pro” line, replacing what had been a simple 4×4 model. I’m a little partial to the original in some ways – there was a charm to the minimalism of the controller. But these have nice new cases, and of course those additional controllers will come in handy.

The specs:

• US$349 – trade in an existing model to upgrade for $249
• 3 pounds
• MIDI over USB, class-compliant drivers

There are four configurations. They’re pretty similar, differing in fader/knob attributes and mappings.

Beat Masher: Two crossfaders at right angles, one knob (mapped to filter), four preset buttons. Targets Traktor Pro.

XX Fader: Two cross-faders side-by-side, two knobs, four buttons. Targets turntablists.

Cue Master: Looks quite a lot like the XX Fader, but expression faders have multiple parameters in the mappings, and the knobs are dedicated to filter and echo.

Super Knob: Four preset buttons, four knobs, targets Serato cue + effect + sampler controlers or either four-deck or two-deck configurations in Traktor.

The Midi-Fighter line differentiates itself from other grid control rivals in two ways: first, it uses arcade buttons, which have long been loved by DIYers but haven’t seen much (any?) use in commercial music products. Second, the included mappings are heavily DJ-centric and performance-oriented. Other controllers have tended to be more software-agnostic, or, at the opposite extreme, control a range of software functions rather than being configured specifically for performance (as I’d argue is true of the Akai APC and Novation Launchpad for Ableton Live).

To put it more simply, DJ TechTools are the first hardware vendor – big or small – I’ve seen embrace gaming combos as a metaphor for music control. (It makes some sense.) Aside from the aesthetic choice of using game-style arcade buttons, they literally have combos in the fashion of a fighting game – hence the name.

Here’s what that looks like with the “Classic”:

Super Combos – Controllerism meets Street Fighter

And here’s how Ean uses it in his own set, playing with the Pro model with Q-Bert:

Now, a bit on some of the rivals:

Livid’s Block

The Midi-Fighter looks very nice, indeed, but at US$349, it’s getting close to the $399 price of the Livid Block. The two are a study in contrasts. First, the similarities: the Block also combines a grid with continuous (fader/encoder) control, it comes with software for custom mappings, there are custom housing options, and it has plug-and-play USB MIDI that’ll work on any Mac, Windows, or Linux system. (Or iOS, for that matter!) They’re also both boutique controllers produced by independent vendors and made in the US, in collaboration with a community of interested customers. That’s a trend that I think is healthy for this industry as a whole.

Now, some of the differences. The Block has significantly more controls and I/O for your extra $50. You get a light up 8×8 array of pads in place of the 4×4 buttons, additional triggers, and lots of knobs. In fact, I think the Block has the most flexible controller and I/O arrangement of any of its rivals. Add to that MIDI jacks for connecting hardware and expansion jacks, and the Block is powerful.

The Block is still a valid choice for DJs, with Ableton Live and Traktor Pro control templates available (and plenty of customization possible, beyond that).

That’s not to say it’s better than the Midi-Fighter Pro for everyone – some will appreciate the simplicity of the DJ TechTools offering. It’s nice to have different choices.

I covered the addition of expansion on the Block earlier this month:
Control with Room to Grow: Livid Adds Expansion Jacks

(I should also mention the monome, the design of which clearly inspired the grid on the Block. There’s certainly nothing saying you couldn’t combine a monome with other controllers for continuous controls, as many have. Ditto the Novation Launchpad. But I’ll stick to the direct rivals here.)

Electrix Tweaker

Because of its DJ-centric design and marketing, the Tweaker may be of more interest to would-be Midi-Fighter Pro buyers. Like the Block and Midi-Fighter, it combines pads and faders. But it adds a significant twist: velocity-sensitive drum pads.

At the heart of Tweaker lies a grid of 32 rubber pads backlit by RGB LEDs, and 8 velocity sensitive drum pads. There is a channel strip on each side of the grid, and a crossfader centered underneath. Each channel trips is comprised of a fader, three backlit rubber pads, an analog knob, and three push encoders with red LED rings. The navigation section at the top of the unit has a large browsing encoder and a four-way selection push grid (left, right, up, down).

Tweaker is fully USB bus powered and also has MIDI In and Out ports. More info and release date coming soon.

The excellent DJ site Scratchworx has the only shot I’ve seen of a prototype, along with analysis that’s, frankly, better-informed than mine as far as this model — so go check it out!

Electrix are back. The Tweaker cometh…

Other than that, we don’t know much about this beast; stay tuned. My guess is, with the extra controllers, it’ll be significantly more expensive than the other options here.
http://www.electrixpro.com/tweaker.html

Which Controller for You?

These are just a few options. DJ readers, I’d love to hear from you. (And live PA folk, too, for that matter.)

More analysis of the DJTT announcement, also from Scratchworx:
Fighting MIDI and winning – Midi Fighter Pro

(Okay, you’re not really fighting MIDI because it’s a MIDI controller, but … still, it’s a great article!)

The question of how to build controls to fly today’s live laptop music sets – whether “DJ,” “live PA,” or something else – remains open. We’ve got an inside look at the newest entry, the most recent device to explore just what should be mapped and tactile, and what should be left behind. Amidst various look-alike mixer-and-deck controllers, it fits in with those pushing to make computer control a hybrid of traditional DJ metaphors and new computer ones.

Meet the Twitch. The result of a collaboration between New Zealand DJ software developer Serato and UK hardware maker Novation, Twitch deviates from a number of norms.

First, while made with Serato, it’s explicitly designed to support Ableton Live and rival NI Traktor via upcoming updates. That’s something we’ve seen among general-purpose controllers, but usually the main selling point of DJ-specific gear is some sort of tight integration. (That said, you will see in the specs that they promise ITCH support for Serato will be “one-to-one.”)

Second, the developers tell us they’re heavily influenced by the monome and controller hacking communities.

What you get is a do-everything controller and audio interface, all in one box. There are beat slicing features, mixing and effects, a replaceable crossfader, and touchstrips that can be used for various purposes, which promises to be flexible enough to suit a range of applications. And unlike some rivals, the inclusion of an audio interface and USB bus power could make this more practical in the typical plug-and-play gig situation. More on how the applications work in the video:

The resulting tool even carries the “controllerist” moniker promoted in the past by artist/technologists Moldover and Ean Golden.

The Twitch has touchstrips, faders, knobs, and buttons, a strange hybrid of a lot of different ideas. I’m still wrapping my head around it – and whether this will feel like a genius cockpit for music or a Frankenstein combo of other controllers. But the Twitch at the very least looks less like the result of a product planning meeting and more like exactly the sort of thing digital musicians, DJs, and readers of this site might design for their own purposes.

It also promises to be more compact. (Akai’s APC made one misstep there – unfortunately, DJ booths are too often measured in handfuls of square inches, and even those atop the flimsy plastic cases that cover the turntables.) Straight from the source:
Weight – 1.8kg (just under 4 pounds)
Dimensions – 350mm W x 275mm D x 65mm height (13.8″ x 10.8″ x 2.6″)
– not bad.

Product Manager Dylan Wood of Serato writes us from Auckland to explain how the design came about, and how it came to fruition. It’s a great glimpse both of their design thinking and how you translate a product like this to the market. Dylan says:

The collaborative design process kicked off a couple of years ago when we first started to talk to Novation. We didn’t have to have too many conversations before we realized we had quite similar ideas about where live performance and controller technology was heading. The very first time we exchanged concept drawings at a Messe show they turned out to be really similar in terms of form factor and control set, which is always a good sign. On my way back to New Zealand after the show I visited the Novation HQ in the UK and spent time with Lars and Matt from the their team to progress the idea of a new style of DJ controller forward. We had this common idea to combine the realtime live feel of Serato DJ software with the Controllerist elements that Novation are known for.

A tip of the hat has to be given to MLR and the Monome community at this point. We’d all be using community apps on the lemur (I was going through a Monome obsession at the time and was mid Arduinome 128 build). After watching endless youtube videos of performers doing amazing things with buttons we came up with the concept of the Slicer. The Slicer is like a rolling window of cue points that moves through a song in time with the music. It does MLR style loop chopping and mashing but over a whole track instead of just short loops. It gives a DJ or performer a way to cut up and re-perform their music without having to edit or sample it manually and was something that no other software is doing in the DJ context. After we’d struck on this as being a core feature for the product, we exchanged a few updated concept drawings and I headed back to New Zealand.

Being at literally opposite ends of the world made for an interesting challenge. As Lars and I worked further on the concept, someone always had to stay up to the middle of the night so we could talk on the phone and keep developing the ideas. We got Lars down to New Zealand and spent a week or so locked in an office around a table listening to tunes and bashing the design into shape.

With the software and hardware engineering talent that we’ve got at both ends we were able to dig deep into some of the new features we were adding, like the Touchstrip, ensuring that we were implementing a solid method of control. The firmware and software interaction our engineers have come up with makes the strips feel really responsive in all the different modes.

Several rounds of hardware prototypes and lots of testing with our in house DJ’s means we’ve ended up with something that feels great, even to someone used to more traditional control like turntables or CDJs. The most arduous of the real world tests devised during this process was to ensure that the Touchstrips would work really well in sweaty, live club conditions. It involved a bare touch strip PCB with a live USB connection, and a jar full of marmalade. A thoroughly English test for the robustness of the product!

The beta process has been a passionate one – as there are a lot of keen musicians and DJs at both companies there have been some fairly epic conversations around exactly how a feature should or shouldn’t work. As well as in house DJ’s we’ve also got a crack team of external beta testers that work with us on various different projects. We heavily utilize private areas of our forum for beta communication and it makes working on projects a little more community based in a lot of ways, as it’s all about conversations with real people that are actually using our products. This kind of iterative user lead feature development process can sometimes take a long time, especially when you’re working on something that is a bit adventurous feature wise, but the results are worth it as you end up with something that feels really good to use, which has been thoroughly sanity checked by real end users.

So lots of software development and plenty of hardware prototypes later, here we are. We’re really excited for Twitch to see the light of day. I for one can’t wait to see the kind of crazy button smashing videos that users are going to post up on youtube of themselves using this thing. It’ll have come full circle at that point.

Thanks, Dylan.

Dylan also sends CDM exclusive video of a stress test of the touch strip … combined with marmalade.

Full specs:

Availability: Early July 2011
Pricing: US$599.99 MSRP / $499.99 street (UK GBP 399.99 including VAT est. street)

Bundled Serato Professional – so not a limited version of the software
Tactile multi-function touch strip
“Slicer mode” for chopping up beats
Compact and portable (they do claim it’ll fit in your bag and the DJ booth – we’ll test that!)
“One-to-one” ITCH control for Serato
Aluminum top plate
2-in, 4-out audio interface
“High-quality” replaceable cross-fader
Software effect control
USB bus-powered
Mic/aux input
Switchable booth outputs (master + cue feeds)
MIDI compatible

Full details: Novation Twitch

Traktor 2 is a new “generation,” says Native Instruments, of its flagship DJ software, along with upgraded hardware interfaces. The upgrade is so capable, simply calling it a “DJ” product may be inadequate. Just as Ableton Live’s user base grew to incorporate DJs, Traktor’s capabilities move easily into live performance and remixing, too.

It’s still Traktor. But drawing on Traktor’s background, it’s Traktor as a DJ tool that, aside from just playing auto-beat-matched tracks, can transform into a sampling and remix tool with some far-out sonic effects, for a more dynamic live show.

However you classify yourself, the update promises both expanded usability and, for those who do want to go deeper, more extensive live sonic manipulation.

New features:

• Redesigned UI you can actually see. NI calls it “high-visibility”; I’d call it “squint proof.” While I’ll need to use it first-hand, it may at last resolve one of Traktor’s most glaring deficiencies – that the UI was too darned hard to see.
• Four sample decks and the Loop Recorder. I love Ableton, but too often users fail to limit the number of simultaneous samples. Four samples playing at once really is often more than enough, so the four-deck metaphor makes a lot of sense. Coupled with loop recording, you could forget that Traktor is marketing at DJs and have a pretty nice little looping program; I’d been tempted to test it as such to see how it stands up. For people who do call themselves “DJs,” meanwhile, it’s an opportunity to really set your live numbers apart.
• Big, colorful wave views. High-resolution, color-coded waveforms (and lots of viewing options) let you focus on visual mixing with wave views. That should both please some digital die-hards and offend purists, so we’ll see how people comment online to this one. (Flame war, perhaps?) At the very least, it can make your workspace look nicer.
• SoftSync. I’m looking into this, but NI says it’s a new automatic beat-matching mode that keeps multiple tracks in sync without “manipulating phase.”
• New effects: Tape delay emulation, Bouncer (pitch delay) effects, and Ramp delay.

There’s a whole lot to the UI rebuild; it’s not only bigger, but cleaner, adds more waveform feedback, and tons of customization options, all intended, evidently, to make the UI easier to see and use.

Obligatory promo video (as with any manufacturer, put your hype-filtering glasses on … now!):

And Ean Golden over at DJ TechTools already has an in-depth walkthrough:

There’s also a great feature-by-feature walkthrough in the UI that rivals what you’ll find from Native Instruments site:
Traktor Pro 2 @ DJ Tech Tools

To me, the addition of sampler on all decks, a loop recorder, and extra effects make this the first DJ-dedicated tool you could really see as a live tool. For people coming to DJing from producer backgrounds, I think that’ll be welcome.

On the hardware side, the Audio 6 and Audio 10 represent big improvements, too:

• More I/O: 6 or 10 inputs instead of 4 or 8 on the previous models. NI suggests you use the extra stereo in as a loop or sample in, an effect/send return, for an external mix, or other … stuff. Yeah, it’s handy to have.
• 24-bit/96kHz Cirrus Logic converters, +12 dBu outs
• Better LED indicators
• New Direct Thru function patches an input directly to the output even without a computer connected. (Hmmm… handy if your computer crashes, huh?)

You also get a copy of Traktor LE 2, the new Traktor 2 version of their lightweight DJ tool.

There are loads of great interfaces out there for production and recording; what might appeal about the Audio DJ interface line is its live features – even if you’re more on the live PA / live electronics side than DJing per se.

Mac and Windows support; I’ll be curious if the unofficial / unsupported Linux drivers remain compatible, as there – with far fewer good choices – NI’s stuff tends to be a great choise. (I use an Audio Kontrol 1 right now with my Ubuntu setup, and get some fantastic low-latency performance.)

Even the audio interfaces get their own video:

And a bonus video of Traktor Scratch:

Pricing:
TRAKTOR PRO 2 – $229 / 199 EUR
TRAKTOR SCRATCH PRO 2 – $669 / 599 EUR
TRAKTOR DUO 2 – $119 / 99 EUR
TRAKTOR SCRATCH DUO 2 – $399 / 349 EUR

S4 users get the new Traktor for free; other upgrades available. On the interfaces:

TRAKTOR AUDIO PRO 6 $279/249 EUR (that’s the bargain, in my opinion)
TRAKTOR AUDIO PRO 10 $449/399 EUR

Okay, now with your hype goggles off, let us know what you think.
Traktor Lineup Page

TouchOSC has become something of a standard on iOS for touch control, thanks to desktop editor apps for custom layouts and high-contrast, Lemur-style controls. Last Thursday was all about wired MIDI on iPad, so it seems only fair to show what people are doing with wireless and OSC. I’ve got a few good selections from my recent inbox.

DJing with Traktor

Above, the latest version of Traktor Pro templates, for iPhone or iPad, from Milos:

http://androidosc.blogspot.com/

It’s got some extensive functionality, and since Milos used Pure Data (Pd) to translate to MIDI, you can use it with both the Mac and Windows versions of Traktor. Milos doesn’t yet have an iPad, so he’s collecting money to invest in one.

Arovia has their own Traktor layout, aptly titled “nano” as it’s fit into a small area.

From over the summer, here’s a different approach to using Traktor with touch, turning instead to one big wheel.

Ableton Live

Malaventura has assembled a “kitchen sink” approach to working with Ableton Live, with a do-everything Live template.

A touchOSC layout for iPad that contains a step sequencer monosynth & drum machine, a ambient generator, a psychedelic fx unit & operator synth controller. All designed for works in iPad with touchOSC, OSCulator and Ableton Live in your computer. The layout and all the files necessary are zipped in this link:
http://www.archive.org/details/MalaventuraTouchoscSuite

It’s a really involved set of layouts; it’s not quite as sophisticated as something dedicated like Touchable, but then again, since you can run both, you may just give it a try and use it for certain editing workflows.

The one caveat – and this is a catch on a lot of these patches – is that you need Osculator in order to use it. More on that gripe in a moment.

As seen on Synthtopia

Working with Hardware

Last week, I showed my preferred means of editing MIDI devices – using, you know, MIDI cables. But I can see the appeal of wireless control, too, in certain situations. Using The Missing Link wireless hardware adapter (see our detailed look at two wireless solutions last month), you can work with conventional hardware.

Via Matrixsynth, there’s a nice template for the Waldorf Pulse.

Palm Sounds points to a Yamaha DX7 editor, complete with SysEx. (Isn’t there supposed to be an actual link there somewhere, though?)

Some Friendly Criticism of the State of OSC Touch

I do see opportunity for progress in all of this, however. Constructive criticism, for all of us:

• The lack of native OSC means way, way too many kludges. Osculator is a cool little app, but you shouldn’t need it to do OSC; the whole point of OSC is that it’s a simple, universal networking protocol. We either need native support in apps like Ableton Live, or we need to use something else – period. Having to use go-between apps makes it a step backward in these applications from MIDI.
• Why not edit on the device, or even generate layouts automatically? Part of the beauty of touch layouts is on-the-fly controls. There’s plenty to explore here, from layouts that generate automatically after an exchange of information over OSC to on-device editing. One of my criticisms of the original Lemur was having to use a dedicated editing app, and that was more than five years ago.
• Why not use the browser? Wouldn’t it be great for editing and control to move seamlessly between desktop browser and mobile, or between mobile platforms?

I’m burying this in this article just because I’d rather spend time working on those things than complaining them, but it’s worth saying, partly because I’m sure others are thinking the same way. (And developers thinking that way have the chops to do something about it.)

Also, in answer to everyone griping about a good Android solution, I’m personally waiting for a usable Android tablet and not just handhelds. That means I’m seriously bummed that the Motorola Xoom may cost US$800. Sorry, at that point, I spend money on synths instead.

Knobs rock.

All of that said, I do think there are some great solutions here, and they work right now. Looking forward, we can build the next generation even better.

In the meantime, go grab TouchOSC. It’s fantastic software, and supporting it means an increased likelihood of developer hexler getting to continue to iterate on his own great work. (He’s a really nice guy, to boot, as well as a talented developer; I know he isn’t exactly getting rich on this thing, but sales really do support developers working on apps they care about.)

http://hexler.net/software/touchosc

What layouts are you using? Got any you want to share? And what do you want to see in touch controllers?