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Indian E-music – The right mix of Indian Vibes… » 2018 » June » 01

Pioneer and Serato get two-laptop B2B DJing with dual USB audio

Delivered... Peter Kirn | Scene | Fri 1 Jun 2018 6:01 pm

One way to keep laptops from disappearing from DJ setups: let more laptops come to the party. Pioneer’s new US$999 flagship controller for Serato does just that, with more connections and two independent USB audio interfaces.

You might expect the monster, flagship controller for DJs to simply fade away – replaced by either standalone hardware at the higher-end, or more mobile devices on the go. But someone must be buying these things, because they keep showing up. Serato’s steady parade of performance features in DJ Pro offers good reason to be loyal to the software, while both Pioneer and Roland vie to give those users solid controllers.

In the case of the DDJ-SX3, this revision emphasizes getting more social – bring more humans in on your session, and connect their mics, instruments, and laptops more readily. And sure enough, with a $999 list in the USA, you do get a lot of functionality – standalone mixer and Serato control surface, both.

It’s also telling that Pioneer place the film about the new release in a studio situation, featuring Mr Woodnote and Mr Switch in the intro:

What’s interesting about the RX3 is in an otherwise incremental update, the new gear, shipping early in June, focuses on stuff that lets DJs relate to crowds and one another:

There’s dual USB support. There are actually two independent USB audio interfaces here — one for each USB port. That means changeovers between laptops are seamless, one laptop doubles for the other if one crashes or catches fire or gets stolen or has vodka spilled on it, and you can also seamlessly play B2B.

More mic. There are twin mic inputs on the rear of the controller, plus a third dedicated mic input on the front. So the front mic lets you talk over a four deck (or two laptop x two deck) setup without occupying a mixer channel, and also keep two mics

The SX2 had the two rear jacks; the SX3 has the three mic configuration. Pioneer and Serato have also added more processing options for the mic: level, EQ, low-cut filter, reverb, compressor, plus (with Serato connected) Serato’s own “color” effects.

So let me explain something. Sitting here in the middle of Berlin, a bunch of minimal/industrial techno DJs are welcome to get puzzled by what I just described. But that’s because you don’t do anything with microphones at your parties. Obviously people who do will find this very useful. (And, hey, techno heads, you could. I just watched Juan Atkins and Model 500 last night, and those guys use mics on every single song. Plus easy mic access could mean this DDJ works well in radio / podcast / streaming situations, too – without requiring an additional mixer.)

Lower latency jog wheels. One of the things I really liked about the new Roland controllers for Serato is their support of extreme low latency. That’s essential if you’re playing with sync turned off or even want to scratch with the wheels as some do.

Pioneer and Serato promise improved low latency performance. That’s a combination of a lot of factors. Pioneer wouldn’t confirm any solid numbers to CDM – those may not matter much, anyway, as what you really want is a test of real-world performance. But they did say the performance gains are “because of mechanical, software, driver and firmware improvements.” All of those elements do contribute to jog wheel latency, so I’m encouraged that they’ve addressed each step of the process. (And frankly, because Serato users are loyal to that DJ software, Serato should want both Roland and Pioneer gear to exhibit that performance.)

And the rest. Otherwise, the value proposition of the DDJ-SX3 is the same as the first DDJ-SX2.

You get a standalone DJ mixer with loads of I/O, combined with a controller with Serato DJ Pro features. The Serato side is all about those performance pads for hot cues, sampling and “Pitch Play”. Plus there’s Serato Flip (coupon included), and the option of upgrading to vinyl control features with Serato DVS. (I need to research where their video functionality fits on this controller.)

Pioneer and Serato also easily one-up Native Instruments by giving you both jog wheels and a touch strip for quick access. I think it’s all but certain we’ll soon see a refreshed TRAKTOR with similar functionality – touch strips are great, but just not all the time.

Where this fits in. Pioneer’s DJ controller line is now kind of dizzying, with a range of controllers for their own rekordbox software from compact to huge, and another line for Serato.

That includes what they call the flagship, the SZ2, which is even bigger. Confused yet?

But no mind. I think if you want Roland drum machine stuff built in, you’ll go with one of those controllers. If you want an all-in-one controller/mixer to use in the studio and then take with you, and you fancy the idea of other laptop artists playing, the SX3 is the one to beat.

The Roland options for Serato have those nice Roland drum machines and such built in, handy for producers. And the Serato options for their part efficiently target DJs doing edits, podcasts, and then transporting Serato practice from home/studio into the club directly.

The rekrodbox options are nice enough – the DDJ-1000 has big jog wheels with on-wheel displays, like a CDJ.

But to me, the big use case for DJs playing clubs on CDJs – which is now a whole lot of you – is going to be just finding something at home to practice on. rekordbox may play into it, but as organization tool for USB sticks before anything else.

So for the CDJ DJ, it still seems to me you’re likely to either beg and borrow time on actual CDJs, or buy used CDJs and a mixer, or consider all-in-one Pioneer offerings.


What I like about the all-in-one offerings is, you get standalone hardware that doesn’t require a computer, and still lets you practice on your rekordbox-ready USB sticks before you, like, trainwreck on some CDJs and empty the floor. More on that topic of practice gear soon. I would rather see DJs enter clubs prepared and comfortable than … not.

Here’s the thing: rekordbox and Serato now have a real corner on hardware choice. And Pioneer, by far, has every market segment covered, from entry-level mobile to high-end player to everything in the clubs. It’s kind of getting to be “which Pioneer stuff do I want?” – even for Serato users.

I could fault Pioneer for that, being the juggernaut they are. But then, it’s not just scale or the “industry standard” impact of the CDJ or market domination. If DJ makers want to compete, we’re going to need some new ideas.

Pricing is SRP £969 in the UK / 1099 EUR in Europe, both including VAT.

Pioneer DDJ-SX3

Serato DJ Pro


The post Pioneer and Serato get two-laptop B2B DJing with dual USB audio appeared first on CDM Create Digital Music.

12 Years of the Broadcast Law Blog – Where We Have Been and What We Are Looking at Next

Delivered... David Oxenford | Scene | Fri 1 Jun 2018 4:19 pm

In 10 days, we’ll mark the 12th anniversary of my first post welcoming readers to this Blog.  I’d like to thank all of you who read the blog, and the many of you who have had nice words to say about its contents over the years.  In the dozen years that the blog has been active, our audience has grown dramatically.  In fact, I’m amazed by all the different groups of readers – broadcasters and employees of digital media companies, attorneys and members of the financial community, journalists, regulators and many students and educators. Because of all the encouragement that I have received from readers, I keep going, hopefully providing you all with some valuable information along the way.

I want to thank those who have supported me in being able to bring this blog to you.  My old firm, Davis Wright Tremaine LLP helped me get this started (and graciously allowed me to take the blog with me when I moved to my current firm six years ago).  My current firm, Wilkinson Barker Knauer LLP, has also been very supportive, and I particularly want to thank several attorneys at the firm (especially David O’Connor and Kelly Donohue) who help catch, on short notice, my typos and slips in analysis for articles that I usually get around to finishing shortly before my publication deadline.  Also, a number of other attorneys at the firm including Mitch Stabbe, Aaron Burstein, Bob Kirk and Josh Bercu have contributed articles, and I hope that they will continue with their valuable contributions in the future.  Thanks, also, to my friendly competitors at the other law firms that have taken up publishing blogs on communications and media legal issues since I launched mine – you all do a great job with your own take on the issues, and you inspire me to try to keep up with you all. 

I’ve posted over 2000 articles in the last 12 years.  That works out to almost an article once every other day.  But there never seems to be any shortage of topics to write about.  In fact, what is in short supply is time – as clients and life need to come first, and blogging gets worked into the schedule when it fits.  But writing this blog has become an important part of my legal practice.  It has, I think, helped make me a better lawyer, as it has given me an incentive to keep up to date on developments in the law and in business that affect broadcasters and other media companies.  The articles, and the opportunities that the articles have opened for speaking and otherwise contributing to industry discussions, have introduced me to many people in the industry who are there pushing these developments.  Interacting with those actually in the business trenches provide even more to write about.

When we first started the blog, I don’t think that I was sure how it would turn out.  But, among the many goals that I set in my first post, was the following:

So some days, the blog may just report on FCC actions. Other days, we may link to interesting or provocative news stories that we see in the trade or popular press. But sometimes, we will tackle more fundamental issues. For instance, one of the first questions we’ll have to address is just what the broadcast industry is today. While we could limit the stories in this blog to just matters about the over-the-air broadcast industry, that narrow view would be far too limiting. Broadcasting is no longer an island unto itself. Instead, each day it becomes more and more clear that the world that traditional broadcasting inhabits is one that goes far beyond those narrow areas that the FCC has traditionally defined as a broadcast service. Thus, we will be pointing out developments and legal decisions that impact not only traditional over-the-air radio and television stations, but also those in the myriad “new media” that are now so crucial to any understanding of the broadcast industry. Media “convergence,” which has for so long been nothing more than a buzz word thrown around to make it seem like we’re thinking about the future, is finally here, and cannot be ignored in a discussion of the broadcast industry.

Looking back, that may have been an ambitious goal, but it is one that we continue to try to achieve. In fact, in the last couple of months, we published articles on the Music Modernization Act, legal issues for broadcasters in digital and social media advertising, a Supreme Court decision that may provide broadcasters with new revenue from advertising for sports betting, efforts to regulate online political advertising, and potential reform of the radio ownership rules based on the plethora of new media outlets for audio entertainment. It is clear that the initial vision of a broadcasting industry that has expanded far beyond its traditional over-the-air bounds was not just the first question that we would address, but it is one that we address every week.

And there still is an inexhaustible supply of issues that we need to follow. Of course, the current FCC is very active reforming the regulatory landscape for broadcasters, which will no doubt prompt many articles. Copyright issues are also more important than ever – look for articles in the near future on what’s next for the Music Modernization Act and on how Alexa, Google Home and other voice-activated legal assistants raise royalty considerations for program providers. Expect more coverage of changes in the broadcast ownership rules, and in many areas affecting the advertising landscape, including legal issues raised by programmatic buying (about which we have written before – see for instance here and here).

Thanks again to all our readers.  Keep reading, tell your friends about the blog, let me know if I can ever help you (I am, of course, a lawyer whose clients provide the resources to track all of these issues), and we’ll see what happens as we celebrate future anniversaries of the Broadcast Law Blog.

How Dortmund’s Oma Doris Club Is Keeping The City’s Underground House Scene Moving

Delivered... By Daniel Melfi | Scene | Fri 1 Jun 2018 11:31 am

The post How Dortmund’s Oma Doris Club Is Keeping The City’s Underground House Scene Moving appeared first on Telekom Electronic Beats.

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