DigitalSix Soundsystem

BUSY-Summer Promo Parade / studiomix

Thu, 13 Sep 2012 14:18:36 +0700

Thanks for the support all the way down south, we talkin bout Nashville TN!! Showin some love right back, check out this super dope Parade style Mix by our homie none other than Carson Carr aka BUSY aka REAL TIME HAND MOTION. Freak time!!

some of the house music I played this summer
thanks to all the fantastic producers and labels.
Magoo, Oki Koro, Louis Sangki, Jason Sutton, J Paul Getto, Andrew Riley, Jeff Gonzalez, Brian Rescue Hein, Frank H Carter III, YSE, PANG!, Giano Lujan, Marko Gramophonedzie Milicevic II, HouseofStank, Blakfred, Alysha Kid, Hugh Cleal, Wattie Green, Nick Jagger, Bernard Jones, Luthier Eclectic, Mike Newman, Jazzy Eyewear, Kid Enigma, Todd Edwards, Chanson E, Greenbay Jackers, Disclosure, J Lettow.

Oki Koro & Louis Sangki - ANGRY DOLPHIN (Jeff Dougler &...

Tue, 14 Aug 2012 06:44:04 +0700

Oki Koro & Louis Sangki - ANGRY DOLPHIN (Jeff Dougler & Balu remix) got played by 3 Legends that is Derrick Carter, Mark Farina & DJ Sneak. BOOM!

Sultan Lounge & OMP Entertainment presents an evening...

Tue, 14 Aug 2012 06:40:52 +0700

Sultan Lounge & OMP Entertainment presents an evening with..

DERRICK CARTER (CLASSIC, USA)

Supported by Kuala Lumpur’s finest house DJs :

SHAZAN Z, KAMIL LAYALI, ALAM & special guest OKI KORO (DigitalSix Soundsystem, Indonesia)

Audio

Thu, 28 Jun 2012 18:00:15 +0700

Photo

Thu, 28 Jun 2012 17:59:32 +0700

The Last Trumpet Maker part 1

Thu, 31 May 2012 13:30:00 +0700

The Last Trumpet Maker part 1

The Last Trumpet Maker part 2

Thu, 31 May 2012 13:29:00 +0700

The Last Trumpet Maker part 2

This fascinating, 20-minute video narrates the history of the...

Thu, 31 May 2012 13:28:42 +0700

This fascinating, 20-minute video narrates the history of the “Amen Break,” a six-second drum sample from the b-side of a chart-topping single from 1969. This sample was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass and jungle music — a six-second clip that spawned several entire subcultures. Nate Harrison’s 2004 video is a meditation on the ownership of culture, the nature of art and creativity, and the history of a remarkable music clip.

Photo

Fri, 25 May 2012 15:12:32 +0700

Upcoming @IMMIGRANT_JKT !

Mon, 14 May 2012 14:20:15 +0700

Upcoming @IMMIGRANT_JKT !

Photo

Tue, 17 Apr 2012 04:45:35 +0700

Let's talk AUDIO for a sec.

Tue, 13 Mar 2012 10:00:05 +0700

Funktion One are English inventors and manufacturers of professional loudspeaker systems.

Achieving the best possible audio quality is the principle motivating factor at Funktion One. We are intent on sonic accuracy and our technological approach avoids the use of both system EQ (with its inherent phase and headroom problems) and compression driver mid-range (with its inherent harshness and distortion). Our loudspeaker systems also have excellent directional control allowing sound to be focused where it’s needed and minimising out-of-venue environmental impact.

Our designs also focus on maximising efficiency (conversion of amplifier power into acoustic energy) as this tends to produce alive and responsive sound. It also means that less electrical power is required for a given acoustic output making F1 Resolution systems more energy efficient compared to alternatives.

We understand sound to be the most important of our senses and in fact, the root of the structure of the entire Universe. As such, we try to pay the amazing acuity of human hearing the respect it deserves by providing products that deliver as much resolution and detail as is possible. We also pay considerable attention to the emotional effect of not just music, but the sound itself, what you might call its ‘quality’. In a world where everything is ‘dumbing down’ and finesse and subtlety are rapidly disappearing, it is a source of pride to us that we are continually going in the opposite direction, expanding the envelope. On a spiritual level, good music and good sound has the effect of opening peoples’ minds and deepening their consciousness which can only be good for the planet.

Funktion One has also pioneered the Ambisonic surround Sound System for large-scale events and could claim to have more experience in the implementation of this exciting spatial technology than any other organization. This emerging technology has been used by the Chemical Brothers, Glastonbury Festival, London’s Millennium Dome central show and more recently at The Glade Festival.

Upcoming THIS weekend!

Tue, 13 Mar 2012 02:14:00 +0700

Upcoming THIS weekend!

Ravelex Electronic Dance Music Awards 2011

Fri, 24 Feb 2012 06:14:00 +0700

It is an honour for us to be nominated in REDMA 2011 and it is because of your support throughout the year that we are included in this year’s categories. We would hereby like to extend our gratitude and ask you to take the time and lock in your votes. Many thanks once again for your contribution to the local Electronic Dance Music Scene and your support for local artists.

This year’s categories:

REDMA TOP 50 DJs - OKI KORO (DigitalSix)

Resident DJ of the year - OKI KORO (IMMIGRANT, Jakarta)

HOUSE DJ of the year - OKI KORO (DigitalSix)

Music Course of the year - DigitalSix Studio

Click HERE to lock in your votes.

Voting starts from 20 February - 8 March 2012.
You will need a Twitter account to log in.
There are plenty of categories in REDMA 2011, do vote in all of them.
Happy voting :)

Photo

Wed, 08 Feb 2012 20:42:00 +0700

INDONESIA’S RAYMOND MARIO IS THE FEATURED ARTIST FOR FEBRUARY...

Wed, 01 Feb 2012 17:30:00 +0700

INDONESIA’S RAYMOND MARIO IS THE FEATURED ARTIST FOR FEBRUARY over at www.eastendmusic.net

One Path to DJ Happiness

Mon, 30 Jan 2012 17:22:00 +0700

This article will not help you get famous or lead to gigs in front of 10,000 people. It will not help you do more amazing technical feats or impress your girlfriend with mad remixing skills. If either of those are your goals in DJing, please stop reading now.

THE MUSIC THEORY

Music, at its core, is a collection of vibrations. Some vibrations make certain people feel warm and fuzzy while the exact same song might make another person cringe and vomit.

When writing music, you get to carefully pick the exact collection of vibrations that perfectly represents your artististic “fingerprint”. Some people have a similar fingerprint, and love your music, while others simply don’t. The size of a band’s following may be less a reflection of their PR power but simply how many people share a similar taste. Bands that are really authentic seem to collect die hard fans over time that span decades and fads.

Digital DJing is a very powerful extension of this concept. Instead of writing each song from scratch, we can go out and collect music that makes us feel amazing in volume. If a DJ stays true to his core and collects music in that theme, chances are his fans will have similar taste and love all of it too. That my friend, is the simple recipe for a long and happy DJ career- if it comes from the right place.

PICKING THE WINNERS

This is where I am going to diverge strongly from the standard practice of being a popular DJ, and instead offer a path to becoming a happy DJ. Normally, you might be inclined to put together sets based on the following criteria:

Dancefloor potential
Popular tracks
New and fresh tunes
Rare tracks no one else has
The latest fad

Instead, what if you picked out a playlist that contained:

Timeless music that you love from the first listen to the 10,000th
Tunes that get you personally dancing through the entire set
Songs you would have on your iPod
Songs you really want to share with others

If you do a good job of attracting like-minded people to your shows, they will also love your music and everyone will walk away fulfilled. In that context, it doesn’t matter if there are 5 people or 500. You will be a truly happy DJ no matter what the outcome. If you happen to be one of the lucky few that blows up playing a sound they truly love – awesome. Double backflip 360 with cherries on top. If not, no problem, each gig was never a compromise and always fun.

SAGE ADVISE OR SPACE CADET CONCEPT?

This approach certainly will not be for everyone as there is no “right” path for musical bliss. Personally, I came to this conclusion after 15 years of DJing both ways:

Option 1: Playing songs that the people want to hear but I personally hated.

Result: Really bad physical and emotional side effects followed by epic stage 4 burn out.

Option 2: Playing music that I love, while focusing on attracting an audience that shares similar taste.

Result: I’m in love with DJing again.

THE FLIP SIDE

There are some DJs out there playing clubs, bars, weddings and parties where music they may not personally like is absolutely required. I am not suggesting you try to ram your personal taste down the general public’s throat. No, that is a fast track to unemployment. Instead I am suggesting that you might try to build a career or a sound around music you really love. I have a good friend that really, authentically loves great pop music and makes a killing playing mainstream clubs without ever burning out.

If DJing is just a creative and fun way to make money, then who cares – play whatever the club owner wants. If you want to truly love every minute of the journey however, and be a really happy DJ, it might be prudent to stay true to yourself and your passion – whatever that form may be.

LIFE IN A NUTSHELL

This article is a great example of the theory in practice. Some readers will loathe the content and find it annoyingly philosophical.

“Dammit Ean, lay off the hippie feel good kumbaya $h%† and show us how to beatgrid already”.

Others will connect with the concept and may come away with a fresh idea. The magic is that both are totally right – it’s just a matter of perspective and personal taste.

Paint Your DJ Gear White!

Mon, 30 Jan 2012 17:10:00 +0700

Pioneer also seems to be finally jumping on the special edition white train, announcing that they’ll be producing limited runs of 1,000 units of the CDJ-2000-W(hite) and 500 units of the DJM-900nexus-W. They look snazzy, but at a striking price point of about $500 higher than the non-white editions, don’t plan on rushing out and buying ten of them. The CDJ-2000-W has a MSRP of $2150, while the DJM-900nexus-W will run $2399.

Traktor 2.5 and Kontrol F1 Announced By Native Instruments

Mon, 30 Jan 2012 17:06:13 +0700

Native Instruments had a party last night to celebrate the tenth anniversary of Traktor, and there they unveiled their powerful new version of Traktor as well as the new piece of hardware we’ve been waiting to learn more about, the Traktor Kontrol F1. Read more about NI CEO Daniel Haver’s semi-official announcement last night!

NI CEO Daniel Haver in front of Traktor Pro 2.5, holding a Kontrol F1

Editor’s Note: Looks like the video of the official announcement got taken down from YouTube, but you can get the idea from the screencap above.

We’ll have complete details on both the Kontrol F1 and Traktor 2.5 later this week, but for now we’re excited to see that Traktor is taking things to the next level with Ableton-style clip launching and performance modes that will continue to drive innovation in the DJ software world. In the video that was taken down, Daniel Haver refers to the new Traktor F1 and Traktor 2.5 Remix Decks as a package and feature set that he calls “Ableton-in-a-DJ-way”. Here’s his words from Saturday night:

“So those of you that like Ableton but actually didn’t feel that it’s quite a DJ product, (…) this is it. We take the whole production clipping aspect right into a DJ application, and these pads light up in just the same color as the cells in the Remix Decks.”

The new Traktor Remix decks mentioned in the video seem to be a promising step forward, and hopefully they’ll be completely open for intense mappings on not only the F1, but also on other controllers. In case you missed their official teaser video of the F1 and some of the Remix Deck features, check it out below.

Also mentioned during this announcement, the Kontrol F1 is set to drop early April, and that will most likely be concurrent with the release of Traktor 2.5. We talked to some folks at Native Instruments about the new software and they told us:

There are new Remix Decks set in a 4 by 4 configuration of clip launching units.
The sync mechanism for the loops has been totally revamped.
The software is expected to drop some time around April concurrently with the F1 controller
No word yet on if this will be a paid or free upgrade.

An Introduction To Mixing with DJ Isolators

Mon, 30 Jan 2012 17:01:19 +0700

It’s time to take a closer look at the powerful audio devices known as isolators. In today’s article, we take a look at what a DJ isolator is, how they came to be, how to mix with them, and who the modern auteurs of isolator mixing are.

WHAT IS AN ISOLATOR?

In basic terms, an isolator is a high quality, standalone DJ EQ with large knobs that’s attached to the master out. In contrast to traditional EQs, they are generally not used for the purposes of mixing, but instead to shape the sound and add color to your set. Isolators also feature wider frequency ranges, smoother pots, high quality amplification circuits, and much more gain per band (sometimes double).

In understanding how isolators work, it’s important to look back at the history of DJ technology. Isolators (and DJ EQs) come to us by way of their predecessor, the active crossover. Popularized by Richard Long Associates in the 1970’s, this device was a monumental leap forward. Brought about by new advances in discotheque sound systems, the active crossover allowed the DJ to split their mixer’s signal into bands by sending it through an op-amplification circuit and then through filters. These filters (low-pass, bandpass, and high-pass) route their respective frequencies to separate outputs which are then connected to their associated power amplifier and speaker–lows to woofer, fullrange (and later, mids) to drivers/horns, and highs to tweeters. This is called multi-amplification. Splitting the sound in this way results in greater speaker efficiency and higher fidelity in comparison to previous passive crossover designs that utilized one power amplifier for the entire system.

A consequence of this device was that not only did it make things sound better, but it also offered the DJ control over the gain of these frequency ranges via potentiometers. Early disco mixers with an eye towards enhancing their sets were quick to pick up on the fact that they could use their crossovers for dramatic effect. Caught up in the creativity of the moment these DJs learned to cut the signal going to the sub, amplify the signal going to the tweeters, and in general, work the overall sound as it went through the system.

The RLA crossover was an incredibly popular design and could be found in many of New York’s most famous clubs during the heydays of disco and house (Studio 54 and Paradise Garage being two big ones). Yet, despite its onetime popularity, the active crossover as a DJ tool had some drawbacks. Since it allows the DJ direct control over the volume of a given band’s speaker, the active crossover can cause blown speakers and hearing damage in the hands of someone that doesn’t know what they’re doing. Though still used to divide frequencies today, active crossovers are generally not used for dramatic effect (of course, there are some exceptions).

The progression from crossover to isolator is a simple one. The only real difference between the two is that the isolator collects the three bands into a ganged stereo output. This process castrates the crossover by making it effectively worthless for tri-amplification purposes. The DJ then no longer has control over the volume levels of each part of the physical soundsystem but instead is responsible for the relative volume levels of the bands in the overall master mix.

HOW TO DJ WITH AN ISOLATOR

You might imagine that DJing with an isolator is similar to DJing with a DJ EQ. You would be fairly correct in that assumption. Yet, isolators afford more control over the music. When you roll off the bass on an isolator it takes out much more of the bass frequencies. For example, the E&S X3004 gives you control of everything from 10-300 Hz. Contrast this with the Pioneer’s DJM 800 bass EQ (10-100 Hz) and you get an idea of the difference in frequency range between built-in EQ and a dedicated isolator. Here’s a video of someone adjusting the frequencies on their E&S as a demonstration (note: it’s modded to not have as much gain).

Since the crossover days there has arisen an unofficial school of DJ technique that almost rivals turntablism in its complexity. Different than turntablism however is that none of these techniques have official names. Sure, you can cut the bass (who can’t?), but can you add tremolo to the midrange and make it sound good? The art of isolation is an art of unsubtle manipulation of dynamics and the easiest way to become inspired is by learning through example.

Joe Claussell (above) is considered by many to be one of the most prolific (and controversial) isolator users. His fingers never leave the knobs and he manipulates the individual frequencies to create a staccato effect that emphasizes the vocals and dramatic tension of the music. You’ll notice that his touch creates an almost broken effect in the rhythm.

Similar, but more laid back, is Theo Parrish who, while he’s still all over the isolator, lets his tracks breath. His style isn’t so much to create new rhythms so much as to play with the tension of the music and emphasize individual sonic elements in the music (such as the electric piano line). Watch the above video and witness what the smoothness of an isolator can do in the hands of someone who has a lot of balls.

On a different tip is Derrick May who utilizes the isolator as an entirely rhythmic tool. He uses his isolator to create a jagged sound sculpture with abrupt moments spent on each band. He’s constantly changing frequencies and this creates layers of depth to his otherwise loopy and one-dimensional track. Again this is another way that isolators can be used, to create dynamic rhythms. If you watch him, you can see that he almost looks like he’s playing the drums.

Final Notes

The past three videos all showed examples of people going nuts on the isolator. While it can be fun to do this from time to time, unless you are one of those top-notch DJs above, you ought to bare in mind the following axiom: “everything in moderation.” Going Joe Claussell on an audience that’s not attuned to it will only result in people wishing you would stop. A part of playing with dynamics and understanding how to use an isolator is to know when to let a track rest and allow the dancers to enjoy the music as it was recorded by the artist. Understand this and perhaps someday you’ll be able to achieve the level of euphoria exhibited in the next video.

POPULAR ISOLATORS

- Gary Stewart Audio ISO X
- Electronique Spectacle E&S X3004
- Dope Real Model 3300
- Thrive Bender
- Systems By Shorty SBS S3X
- Vestax DCR-1500
- Alpha Recording Systems ARS Model3500
- Bozak Iso-X

via DJTECHTOOLS