February 4, 2010
The Dubspot DJ Academy in NY recently resumed their course on Video-DJing, more commonly know as DVJing. After we heard the announcement, we here at dancetracks decided to dig deeper into the history of the DVJ. In the third and final part of our series, we’ll take a look at the last decade in DVJing, spotlighting the artists and tech that have been on the scene since the turn of the century.
At the end of Part Two, the Roland V5 visual synthesizer (released in 1998) had opened the door for a new wave of performance hardware built specifically for working VJs. Just three years after the V5, Roland / Edirol changed the game again, releasing the V4 video mixer in early 2001. Arguably the first of it’s kind, the V4 was a standout thanks to its built-in MIDI control, which allowed for integration with both audio and visual equipment. It wasn’t long before companies like Korg and Pioneer followed suit, releasing hardware built specifically for DVJs and video performers. Products like the Korg Kapitivator allowed DVJs to playback video samples. In recent years, Korg has also capitalized on the demand for outboard effects manipulators, releasing a line of input/output devices known as the Korg Entrancers. Among today’s most popular platforms, the Pioneer SVJ-1000 is credited for opening new creative avenues by providing DVJs with a more fluid approach to to the craft, one closer in spirit to conventional DJing. 2008 saw the release of the Roland / Ediroal V8, and Serato introduced MIDI support for the Video-SL software plug-in, causing a boom in popularity of Video-SL among DVJs. Great for amateurs and mobile VDJs alike, Virtual DJ also offers software that is compatible with any and all video files.
When it comes to the live performance, the contemporary DVJ’s set-up consists of several pieces of hardware, though it is worth noting that these are just the basic elements; with the amount of gear available today, DVJs are able to create increasingly personalized performance set-ups. Looking at the basics, most (if not all) DVJs use some sort of video mixer connected to at least two different source inputs, which generate the real-time images for the performing artist, usually done via video camera or Vsythnesizer. When it comes to playing of previously filmed or generated imagery, DVJs use DVD players, computers, or even (if they are going for a vintage feel) a VHS deck. Since they are working with video as well as audio, there is also the question of output-based visual platforms. Video projectors, LED walls, plasma screens, these are but a few of the different options for screening images. Often, it will depend on what a venue has to offer. Finally, if a DVJ is looking to add even more to their set-up, they’ll modify the video stream using some form of effects hardware like (for example) the aforementioned Korg Entrancer.
DVJing and advanced video display technology have also caused major changes to the layout of many a club and performance venue. It’s important to remember that a live show for video performers and DVJs essentially means double duty, especially in a club setting. While a normal DJ is responsible only for providing the music, allowing the club’s lighting system to set the visual atmosphere for the night, DVJs are responsible for both aural AND visual stimuli. Not only does it change the bill, but new video display technologies have changed the overall experience provided by many of the world’s most notorious nightclubs. A prime example is Club Watergate in Berlin. Rather than conventional disco lights (which require heavy staging mounts and a small network of wires and outlets), they have a low ceiling with an LED panel display that runs the length of the club (pictured above). This allows the lighting engineer, owner, or performing artist to completely change the color or mood of the club with the simple twist of a knob.
Today, established DVJs enjoy increased exposure and popularity, due primarily to the internet and the advent of social/video outlets like YouTube. Unlike video artists and DVJs of the past, today you no longer need to be present at an event to experience (on some level) a video-based performance. DVJs are present at not only electronic music festivals, but also more mainstream events such as the annual SXSW festival in Austin, Texas. London three-piece DVJ group Eclectic Method has been performed in shows with such acts as Fatboy Slim, U2, and Public Enemy. Similarly, after their remix of the film “Max Payne” attracted hollywood attention, Addictive TV was asked to create an “official remix” of the film Iron Man for Paramount in 2008, as well as one for Slumdog Millionaire in 2009. These are only two examples though, as artists like Sander Kleinenberg, Hexstatic, and Mike Helm continue to garner international acclaim for their imaginative video mixes, CD/DVD albums and live performances.
Although not a relatively new form of expression, the increased popularity and prevalence of video performance and video mixing today can be viewed as a product of a culture that grows increasingly influenced by its multimedia with each passing year. At their best, DVJs remix cultural cues that we find in everyday life, chopping up pop culture and commercial reality to create an augmented sense of the world, one we can all get down to. To many, this feels like a natural next step: computers (especially laptops), which have become so integral to the production, performance, and recording of music, can easily double as a source of visual imagery. It only makes sense that producers would look to maximize the potential of their machines. As computers and performance technology become increasingly integrated (and increasingly compact), the creative possibilities of video performance have only begun to be tapped.
February 3, 2010
This coming Friday, California’s own Dirtybird records turns five years old. To celebrate their first five, Claude VonStroke N’ Crew are throwing an all-night birthday bash at the Mezzanine club in their hometown of San Francisco. The party will be an all-star label affair, featuring performances from Justin Martin, Christian Martin, J. Philip, Worthy, and the brains behind the bird himself, Claude VonStroke.
If you can’t make it to the party, you can still get a piece of the Dirtybird cake with an all encompassing Dirtybird compilation set for release this coming April. Titled ‘Dirtybird Five’, the three disc set will feature classics, unheared remixes, and all-new Dirtybird tracks. The tracks are organized across the three discs based on era. The first disc (the past) kicks the collection off with a slew of early Dirtybird classics, charting the label’s rise to West Coast House dominance. Not for the faint of feet, Disc two (the present) is a 20-track Dirtybird Birthday Mix assembled by Justin Martin. The third and final disc (the future) features new and unreleased tracks a few Dirtybird a-listers (Vonstroke, Martin, and Sascha Braemer) as well as new tracks from label rookies Hickup, KINK, and Jacob Seville.
Once again, the party goes down this Friday, February 5th, at the Mezzanine Club in San Francisco. Doors open at 9pm and if you get there before 11 entrance is free; after that, the cost is $10 with RSVP. Dirtybird Five will be released this coming April.
RSVP for the Dirtybird 5-Year Birthday Party »
Listen to Dirtybird Records on Dancetracks »
February 2, 2010
Somewhere amidst the big spectacle and 3-D madness that was Sunday night’s annual Grammys, several notable House producers—including Anders Trentemøller, and longtime dancetracks friend Dennis Ferrer—were nominated for Best Remix Recording, Non-Classical. Now whether you care about these sort of industry events or not, it’s worth noting that while house music (and house producers) are often sorely overlooked or swept under the generic definition of “Dance Music,” Sunday night saw some extremely talented House artists among the nominees.
In the end, David Guetta won for his ‘Electro Extended Remix’ of ‘When Love Takes Over’ feat. Kelly Rowland. Overall, it was a big night for the French DJ, as he was also nominated for Best Dance Recording and Best Electronic/Dance Album. While it’s a shame that Dennis F. didn’t win for his excellent remix of Dido’s “Don’t Believe in Love” (posted above), it was still great to see some of our favorite house producers getting a little hard-earned respect.
Here’s a full breakdown of the nominees for Best Remix Recording, Non-Classical:
David Guetta featuring Kelly Rowland - ‘When Love Takes Over’ (Electro Extended Remix) *WINNER
Dennis Ferrer - ‘Don’t Believe In Love’ (Dennis Ferrer Objektivity Mix)
Jean Elan (Röyksopp) - ‘The Girl And The Robot’ (Jean Elan Remix)’
Dave Audé - ‘I Want You’ (Dave Audé Remix)’
Anders Trentemøller - ‘No You Girls’ (Trentemøller Remix)’
January 22, 2010
Listen up New York: this is your chance to party for a purpose. As we all know, the people of Haiti are in dire need of our continued support. The impoverished nation continues to struggle in the wake of last week’s earthquake. While the earthquake relief efforts are on the ground and moving, it’ll take a continued commitment on our part to help rebuild Haiti. To do their part, this coming Sunday Cielo is holding an all-night benefit party for Haiti, with 100% of the proceeds going directly to Doctors Without Borders’ Haiti relief effort.
As you can see from the flyer, Cielo knows how to set-up a good time for a good cause. This line-up reads like a who’s who of NYC veteran DJs. Expect only the heaviest of sets from Joaquin ‘Joe’ Claussell, Sabine Blazin, Jephté Guillaume, Danny Krivit, Hex Hector, Louie Vega, DJ True, Jellybean Benitez, Antonio Ocasio, Josh Milan, François K. and Nicolas Matar & Willie Graff! Twelve hours of A-list spinners, and all it’ll cost you is a suggested donation of $20. Don’t worry if you’ve got work on Monday morning; this party favors the early birds with an open vodka bar from 4-5pm. Look at it this way: you could party hard for five hours and still make it home in time to get a round 8 hours of beauty sleep. If ever there was a reason to stay up late, this is it.
Like the flyer says, the turntables will be spinning for a round twelve hours, from 4PM to 4AM. Sunday night soldiers, this is your chance to prove your mettle. Get ready to flex that philanthropic muscle on the dancefloor.
If you can’t make it to the party, we encourage you to follow the link below and give whatever you can to Doctors Without Borders.
Donate to Doctors Without Borders »
January 20, 2010
After the Dubspot DJ Academy in NY resumed their course on Video-DJing, more commonly know as DVJing, we here at dancetracks decided to dig deeper into the history of the DVJ. In the second part of our series, we’ll take a crash course through roughly forty years of video-tech history, taking a look at the early dials and wires that lead to today’s high-end DVJ-specific gear.
Although audio synthesizers were being manufactured commercially as early as 1938, it wasn’t until the 1960s that imaginative engineers had both the hardware and technical know-how required to construct synthesizers capable of creating animated images. In 1962 engineer Lee Harrison claimed the first major breakthrough of the decade, creating the ANIMAC hybrid graphic animation computer (which would evolve into the SCANIMATE by the 1980s). As the decade progressed, Dan Slater’s custom vsynths, the PCS VIDIUM analog XYZ sequencer and finally the CVI Quantizer & CVI Data Camera (both released in 1969) continued to push the limits of synthesized video. It should be noted that although they were working to advance the visual medium, the technicians of this period tended to follow Robert Moog’s innovative ideas regarding voltage-control and standardized signal ranges between output modules. After all, it was sound synthesizers that provided the foundational work on which video synthesizers would be built.
Steven Beck at the controls of a Beck Video Weaver
Thanks to a new wave of interest in both synthesizers and computers, significant advances in the field continued throughout the 1970s. Analog synths like Eric Siegel’s EVS Electronic Video Synthesizer & Dual Colorizer paved the way for further innovations such as the awesomely named G.R.O.O.V.E. (Generated Real-time Output Operations on Voltage-controlled Equipment) and the VAmpire (video and music program for interactive real-time exploration/experimentation). Video artist and computer engineer Steven Beck created both the Direct Video Sythnesizer (1970) and later the Beck Video Weaver (1974), synthesizers that were way ahead of the curve in that neither one had any video inputs, instead creating the images through a series of controlled oscillations. Other landmark creations of this decade include the VSYNTH, the Paik/Abe synthesizer (created in part by famed video artist Nam June Paik), the EMS Spectre, the Rutt-Etra Video Synthesizer, as well as the Cromachron, one of the first digital vsynths on the market.
During the 1980s, video synthesizers, computer imaging and video editing technology came together in such a manner that facilitated an era of widespread video-synth utilization. After a major drop in the cost of transistor and integrated circuit technology, the same equipment used by professionals and television studios was affordable for the average nightclub owner or free-agent VJ. 1981 saw the release of the CEL Electronics Chromascope, which was one of the first visual synthesizers manufactured for commercial distribution. During this time, seminal VJ Merrill Aldighieri was creating her videos for Hurrah by using 2 U-matic video decks to mix live clips (generated in-club via a video camera), film loops, and occasionally stock footage. Two years later, the Fairlight Computer Video Instrument (or CVI) effectively changed the game. A hybrid analog/digital video processor, the CVI did what no other contemporary synthesizer could: add complex digital effects to video sources in real time. Unlike the club-friendly Chromascope, the more advanced CVI was used primarily by television studios and by directors looking to add post-production effects to music videos. As evidenced in the video below (taken from the long-running BBC program, “Tomorrow’s World”), the CVI was cutting edge back in 1984, gaining widespread attention for its low price, easy interface, and impressive features.
As rave culture’s notoriety and popularity grew, the NewTek Video Toaster and other desktop editing software saw increased usage by DVJs. The Mac provided the one of the earliest known computer programs created specifically for VJs, known as the Vujak. Created by Lisa Eisenpresser, Jay Haynes, and Brian Kane (in part for use by his video art group Emergency Broadcast Network), the Vujak operated on a real-time video midi controller and was capable of utilizing QuickTime, which had only recently been released. The ’90s also saw the proliferation of high-level video (or visual) mixers. Again, while many of these were originally designed with television production in mind, it was only a matter of time until mixers like the Panasonic WJ-MX50 and the WJ-AVE5 became the equipment of choice for working VJs. This was also the era of music visualization software, as the image-generating programs became popular across clubs and dominated screen savers the world over.
Then, in 1998, the ever-intrepid Roland Corporation released the V5 Video Canvas. Far from a perfect machine, the V5 was only capable of a 640 x 480 pixel resolution, but it was the first in a wave of compact and affordable machines that could compete with professional video equipment. Among the more impressive features, the V5 featured solid-state circuitry capable of storing inanimate images, an input for a microphone, and a basic video mixer that could perform picture-in-picture, wiping, tile generation, and solarising. Like many before it, the V5 was originally aimed at the home-video market, meant as low-cost editing equipment for corporate presentations, meetings and for domestic use by amateur videophiles. However, the V5 quickly became must-have tech for performing DVJs. Released alongside other Roland video products such as the A6 Audio Station, the A6 OP1 Digital Interface (for the A6) and the SI80S video/Midi Interface, the V5 set off a new wave of innovation in the field of video synthesizers and mixers, one that continues to this day. It also redefined the Roland Corporation as a leader in not just audio, but also audio-visual technology.
Be sure to join us in our next and final installment in our series on DVJing, where we’ll take a look at the scene and the tech since the turn of 2000.
Read Part One of our DVJ history »
January 15, 2010
Long before the bounce of his first house beat, Jamie Thinnes was a budding fisherman. After moving to the Golden State with his parents in the early ‘90s, Thinnes found himself drawn to the strange sounds of the Los Angeles nightlife, frequenting all-hours dance clubs and sand-swept beach parties in search of the latest Cali-House. It was only a matter of time before Thinnes got his hands behind the decks, and soon the young fisherman was also an up-and-coming DJ, making his name with low and lush beats, the kind that could only come from the West Coast. After graduating from a recording engineering program, Thinnes and close-friend Dean DeCosta founded Earthtones Recordings in 1997, which would soon become Seasons Recordings.
Thirteen years later, the Seasons name now spreads across three companies–Seasons Recordings, its sub-label Seasons Limited, and Seasons Sportfishing. Known for keeping the tradition of organic California House music alive, Seasons Recordings hosts a diverse roster of artists including Franck Roger, Jay Tripwire, JT Donaldson, Undercover Agency, Swirl People, 2nd Shift, Eddie Matos, and more. So when he’s not busy running the labels or recording tracks, Thinnes leaves the headphones on shore and takes to the sea as captain of his own chartered fishing boat. Dancetracks recently got Captain Thinnes on the line to talk a bit of Cali House, the motions of the ocean, and what it takes to turn from one set of Seasons to the next.
How long have you been making music?
I’ve been involved in music since the early 90s as a DJ, and I started Earthtones / Seasons Recordings in 1997.
How long have you been sportfishing?
I’ve been fishing since I was six or seven with my father, fresh water bass fishing growing up in Texas. And I didn’t start the Seasons Sportfishing division until 2007.
What were some of the house acts that inspired you to make music?
I grew up in the LA Warehouse after-hours scene with Doc Martin, listening to Dubtribe live obviously, a lot of the WickedDJs, which is Garth, Jenö, Thomas and Marky, you know a bunch of British DJs that landed in San Francisco. They were really inspiring for me in the beginning. They were the ones I wanted to hear at the party.
What do you use to make music?
Logic mostly. Obviously it was a lot more outboard synths, a lot of vintage synths in the early days. Now it’s Logic, a lot of outboard gear for mixing. Then after we get everything laid out and sequenced we’ll mix in a bigger studio. It’s all kind of condensed over the years to just a computer and some outboard gear to make it nice and warm. That’s about it.
As a business plan, which came first, seasons recordings or seasons sportfishing?
Definitely Seasons Recordings first, then the sportfishing about ten years later. When the music started to go digital and production became more and more streamlined, I found I had more time on my hands. That’s when I came up with the business model for the fishing industry, because I had all that extra time during the week to run a new business. So that’s when we found out we could do both, just a couple years ago.
Do you run them simultaneously, or is there a break between businesses?
The music industry is a twelve month business. So I run the that side of things year-round, and the fishing is spring and summer. So it’s split six months out of the year, and then the other 6 months become full-time for the music.
Do you have a hard time switching gears between businesses?
They are two opposite worlds, I can tell you that. It took a little while to switch over, they are both big passions of mine so at the end of the day it is pretty easy for me to do. They are at two opposite ends of the world for sure.
Are there any parallels between fishing and music-making?
Most definitely. With music, you can shut the door, get into the headphones and step away and lose yourself in the music. The fishing side of it is the same kind of thing. When you’re fifty miles off-shore, fishing for marlins and stuff, it’s the same thing. There’s no phone. It’s just you, out there with the water. It’s a similar state of mind, being away from everything and just relaxing, doing what you love.
How was the fishing this year?
2009 was a really great season for us. We’ve done really well on the Marlin fishing, that was really good. Usually April through June for us is White Sea Bass and Yellowtail, which are basically island fish, you fish for those off the Catalina Islands, San Clemente Islands, which are Islands about 26, and then another 50 miles off-shore from Los Angeles. Then we moved the boat down to San Diego July through October, and that’s where we fish more of the pelagics, which are fish that travel in the warm water currents like tuna, marlin, and dorado. Those fish come from down south in Mexico and then start swimming their way up here, so that’s what we fish in the summer.
How do you choose what gets released under the Seasons Recordings label and what gets released as part of Seasons Limited?
Well basically, the first label that we started was called Earthtones Recordings and we did about ten releases between I think ‘97 and ‘99. Then we came into some trademark issues with the name, somebody owned “Earthones Records,” turns out they made nature sounds music, basically the stuff you’d hear on airplanes, soothing nature sounds or whatever. But anyway, in the year 2000 we changed the main label to Seasons Recordings, and Seasons Limited was when we would do super-limited runs of 500 units per release and it just took on a sub-label life of it’s own.
Seasons Limited is usually more European artists, so we have Franck Rogers, Charles Websters, the SUMO Guys, whereas Seasons Recordings has been more stateside guys like JT Donaldson, Jake Childs, Iz and Dizz, guys like that, so I think that the labels are divided on that. More European artists on Seasons Limited, more statesiders on Seasons Recordings.
Do you have any plans to extend the Seasons name into any other business ventures?
No plans yet, but I’m sure that down the line we’ll find something new to get into. Right now it takes pretty much all my time to run these two companies, so I’ve got my hands full.
Have you ever taken any Djs out for Sportfishing?
Yeah, you know I’ve been trying to get Dennis Ferrer to go. He’s a big sport-fishing fanatic, I mean he loves to fish, him and his son go all the time. So i’ve been trying to get him out on the boat. We’ve taken a couple of guys fishing that have come through town, but more or less it’s been local guys, local artists. But when DJs and artists come through town I always try to say, “Hey, if you have a day off let’s go fishing,” this and that you know? I’m still trying to put that trip together with Dennis though.
What can we expect from Seasons in 2010?
We’ve got a slew of new releases, a new Restless Soul coming out, this time with Jose Carretas remixes. It’s a continuation of the project that we did called And I Know It (with Zansika) that was originally for Seasons Limited. That one will be out really soon, and then for Seasons Recordings we have a couple new things, including another CPen single, some new things coming up with that. Then we’ve got some other releases coming up after that, but those are further away. So y’know, we’re going to keep pushing along, doing our best to keep the quality music coming.
Listen to Seasons Recordings on Dancetracks »
Listen to Seasons Limited on Dancetracks »
Go fishing with Seasons Sportfishing »
January 12, 2010
Created by German design collective lab binaer, this ingenious turntable-based light sculpture was made by applying light-sensitive phosphorescent paint to the turntable and replacing the needle cartridge with an LED light. As you can see in the video, this changes the table’s function, creating a visual player out of an audio player. Unlike most visual displays of it’s kind, this sculpture is not dependent on a POV (persistence of vision) effect. Instead, the LED cartridge creates the individual characters by exposing the paint to specific patterns of light pulses which are controlled via an outboard microcontroller.
Titled “Death Calls the Tune,” the piece is a visual statement about news, death, and memory. What you see displayed are real news bulletins, all related to death, strung together to create a never-ending flow of headlines. The cycle of bright and fading text is meant to represent the cycle of our collective memory, mirroring the way that forgotten thoughts are so quickly replaced with new information.
January 7, 2010
Not going to say too much on this, other than it is simple and superb. All recordings are ‘in B flat’ and therefore harmonically mixes with each other instrument recording. There is a FAQ on the site if you want to know more. Dive right in and start the videos.
In B Flat [www.inbflat.com] »
January 6, 2010
Science Fiction fans take note: Create Digital Music has just posted a link to a free download of the forward-thinking compilation Music For Our Future. Jointly curated by CDM, Pitchfork, and XLR8R, and sponsored by the SyFy network to coincide with the launch of their new series Caprica, the compilation is loaded with electronic music that was selected with today’s version of tomorrow in mind.
Bucking the trend of many free mixes, Music For Our Future is an incredibly enjoyable and accessible collection of tracks. Although it comes to us by way of the dreaded promotional tie-in, this is far from a throwaway effort. The individual curators excelled in bringing their own distinctly fresh perspective to the table, selecting tracks that represent where we’re going by looking at where we are. Even if they don’t always hit the mark, it’s a fun concept, befitting of the first week in a new year.
From dubstep to dance, from indie to ambient, Music For Our Future is eclectic in the best sense of the word, presenting listeners with a carefully balanced journey through contemporary electronic music in all its varied forms. The compilation kicks off with the stellar “Gravity, a laid-back track pulled from A Certain Distance, Lustine’s latest album on Ghostly International. If for nothing else, the compilation is worth it for the 10-minute back-to-back pairing of White Rainbow’s “Raw Shanks a Million” and King Midas Sound’s “Outta Space (Slow Version).” There’s also fair amount of looping going on, best exemplified on the spastic “Uffe’s Workshop.” CDM’s Peter Kirn even got in the mix, rounding out the compilation with the debut of his atmospheric “Anaxagoras.”
If you haven’t gotten any new music since the turn of the decade, Music For Our Future is a great (not to mention cheap) way to start your 2010.
Download Music For Our Future here »
Click here to read Create Digital Music’s full breakdown, including interviews with White Rainbow, Richard Devine, and Lusine »
December 17, 2009
Around the holiday season, we here at dancetracks have at least three favorite traditions: warm alcoholic drinks, rosy cheeked women, and of course, gift-giving goodwill. Knowing that it’s not always easy to find the right gadget or gift for that special DJ on your list, we’ve compiled a short guide to help you make it through the 2009 shopping season without worrying about a gift receipt. So from books to bags, controllers to clothes, these are just some of the gifts we wish we were getting this year.
Akai Laptop Series Controllers
 Although similiar to the KorgNANO controllers (which were a big hit when they came out last year), the Akai Laptop Series Controllers are a step above thanks to their slightly higher level of quality construction. These sturdy little controllers are tools, not toys. Consisting of two separate, specialized USB-MIDI controllers–the LPK25 keyboard and the LPD8 pad–the Akai Laptop Series Controllers combine three of the most desirable features for today’s DJs and producers: they’re stylish, easy to use, and extremely convenient. Each weighing under one pound and measuring a little less than 13 inches in length, you really can’t get much more compact than the Akai Laptop series. You could go smaller (and a bit cheaper), but then you’d be forced to sacrifice features that are otherwise only available as part of bigger, bulkier controllers. Priced at roughly $70 a pop, the Akai controllers are the perfect cost-effective gift for on-the-go music makers. Find Akai controllers on Turntablelab »
Mono EFX Series Bags
Monocase music bags are all about security, and their new EFX series of DJ-specific cases are no different. Both the 365 DJ and the Producer feature waterproof exteriors and double thick lightweight padding. There’s a bit of difference between the bags, so before you buy it’s best to evaluate what kind of DJ you’re buying for. The 356 DJ is better suited for smaller laptops, vinyl, as well as hardrives and serato units. The Producer is a bit more compartmentalized, with pockets specially fitted for cords, drives, software controllers and larger laptops. Mono cut down on the zippers for increased access, and the slim dimensions on both bags makes for easy navigation through train, plane, and crowded club alike. If you’re looking to give somebody the gift of secure equipment transportation, these are the way to go. At $139.99, the Producer is the slightly cheaper choice, as the 365 DJ Pack currently goes for $189.99. Monocase official online store »
Novation Launchpad for Abelton
Speaking of mobility, as far as this year’s best controllers go, it’s hard to top the pure portability and function of the Novation Launchpad for Abelton Live. The perfect gift for any avid fan of Abelton Live’s Session View, the Novation Launchpad is lightweight, stylish, and easy-to-use. Outside of the 64-button 8×8 controller grid, the Novation Launchpad features dedicated scene launch buttons perfect for performance track selection and manipulation.Even if you don’t use Abelton, the Novation Launchpad can be used as a standard Midi controller with any DAW Software. The Novation Launchpad ships with a dedicated “Launchpad edition” of Abelton Live 8, and costs $199. Novation Launchpad on Turntablelab »
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