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Entry controllers

Half of the questions here are what controller to buy. Here is my definitive list as to which controllers are the best through each price range, and remember, gently used or open box options are basically free money.
ENTRY LEVEL
For casual DJs: DDJ SB3
For aspiring club DJs: DDJ 400
For aspiring turntablists: Traktor S2 Mk3
Pioneers two entry level controllers, the DDJ SB3 and the DDJ 400 are two excellent pieces of hardware for 250 dollars. Traktor has excellent options with their new Mk3 line of controllers, finally competing with Pioneer.
The SB3 is similar to the 400 but has a slightly different layout. The largest is the FX, with the SB3 using a different style of FX controls that is not used in club CDJs but is present in many other older controllers. The SB3 also has larger jogs than the 400, giving a slight advantage to scratching, but they still feel very flimsy and plasticky. However, for 250 dollars, it is a solid option and should be considered for any entry DJ.
The DDJ 400 uses a central FX unit that is styled like a club mixer beat FX unit, making it a better option to learn on for DJs planning to eventually go to nightclubs. While it has smaller jog wheels than the SB3, it makes up for this with larger tempo faders that make beatmatching much easier.
The Traktor S2 has the best jog wheels out of any controller close to its price range. They are 5.5 inches and metal, unlike the light plastic of Pioneer’s entry controllers. However, there is no beat FX unit, with the controller relying solely on filter FX. This is a turning point for many DJs, however for scratch DJs the jog wheels certainly make up for it. A new one will run you for 350 USD, but due to its more durable construction it is easy to find an unblemished used one to save money.
MID LEVEL
For casual DJs: DDJ SR2 or DDJ RR
For scratch DJs: Traktor S4 Mk3
For aspiring club DJs: DDJ 800
The SR2 or RR are identical controllers apart from software compatibility (the SR2 is for Serato, the RR for Rekordbox). They both have full 1 parameter controller beat FX, meaning that in addition to the master knob present on their little brother, the SB3, there is a parameter knob for each effect controlling things like flanger beats, reverb size, etc. The controllers also both have much larger faders, featuring long tempo faders that tend to be expected with higher end gear, larger and more spaced channel faders, and a looser crossfader. The controllers also have metal jogs, a huge step up from the plastic feel of the SB3. Both controllers sit in at 700 dollars.
The Traktor S4 Mk3 pushes the boundaries of jog wheel functionality. The famous haptic motorized jogs simulate turntables and have an incredible feel. The controller has full 1 parameter beat FX as per the standard as well as the high quality mixer FX of Traktor, which surprisingly occasionally use bpm functions set to the master tempo. The controller also has STEM capability. STEMs are a special file tech that may just change the face of DJing. Stems allows you to actually activate and mute the drums, bass, synth, and vocals of songs separately. While the tech hasn’t quite caught on as stem files are quite uncommon, it is a great thing to use for DJs who make a.cappellas and instrumentals of tracks as the instruments and vocals can be set up as a two channel stem file.
The DDJ 800 is the middle child of the Rekordbox Nexus-style controller setup. It has the onboard FX of the DDJ 1000 and the two channel setup of the 400. It has the same jogs as the other pioneer controllers mentioned. This baby has a great feel, proper FX, and should be enough to teach you how to work the style of gear found in clubs.
PRO LEVEL
Best controller for club DJs: DDJ 1000 Best controller for turntablists: S4 Mk3
The DDJ 1000 is something of a revelation in the DJ industry. It perfectly mimics a nexus setup, from the four channel mixer to the identical jogs as compared to Nexus players to the tanklike feel, this absolute unit of a controller has every feature of a club standard setup. Perfect to practice your mixes or learn club gear.
I already talked about the S4, but if you’re a turntablist wanting a controller I got nothing else. Get a DVS setup for crying out loud.
HONORABLE MENTIONS
Numark mixtrack pro
The numark mixtrack pro is the best controller for 150 dollars, but the shortcomings are notable. It uses a strange deck setup that can be very confusing to learn from. It is very flimsy and thin. I didn’t include it in entry level because of these problems as it is important to have a controller that lasts for as long as possible.
Denon MCX8000 This controller is LIKE a DDJ 1000 but it isn’t, not quite. It’s around the same price but the jogs aren’t as big, it’s not as durable, and it has a radial deck setup, which can be very confusing.
DDJ200 This is pioneers ultra entry level option. I don’t like to use this term but it’s practically a toy. If it’s all you can afford that’s fine but it is Bluetooth for some reason, it works with IPad apps, and it has no onboard FX selection. It’s designed to be used equally with the IPad and thus it is very very lacking with its controls. I would recommend saving more until you can get a 400 because of these downfalls.
Traktor S8 This thing is hardly a DJ controller so much as a live controller. It has no jogs or tempo faders. It relies entirely on sync, which is a turning point for many DJs. But it makes up for it with full stem deck control. It has individual faders and filter knobs for each stem channel on each deck. It’s a very fun and unique way of performing but it isn’t close to being state of the art.
submitted by ShotgunTurtle816 to Beatmatch

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My favorite experimental dance/outsider music of this year so far

Hello you who is reading this! I did a post like this in March and people seemed to like it, so I now am going to come back and do another for you.
It can be uniquely difficult to find the best new electronic/avant-garde music. It's a genre of music that requires a lot of active digging, with little interaction with the pop sphere, little coverage from music publications, and little accessibility to people who aren't already deep in the rabbit hole. That's why I like doing these posts - to throw some records your way to see if you like them, reach out to the people here who DO like these records, and to provide myself with a little recap about why I love listening to music so much. Sincerely, I hope you get somethin out of this.
My top 5 must-listen records from the last few months:
  • Autechre's NTS Sessions (April, Warp)
    • In a sentence: The most important and ruthlessly creative electronic music of this year, and arguably this decade.
    • Recommended if you like: Aphex Twin, SOPHIE, Arca, Star Wars
    • Why to listen: Autechre are IDM pioneers from the '90s who simply never stopped advancing their craft. This 8-hour release is the culmination of their groundbreaking recent work with algorithmic composition using software like Max MSP to create brainmelting future pop music. If you want to know what future music could sound like, this is probably one of the least convoluted places to look.
    • When to listen: During the eight hours of free time that most of us have readily available to devote to listening to weird computer music.
    • Songs to sample: This is an important question for such a ridiculously long record - with that in mind, here are some essentials. Start with "gonk steady one," a contender among many listeners for the sessions' best piece of music. "violvoic" is another essential percussive track, even darker and more demonic than "gonk steady one". For the most convential dance track, check out the incredible "four of seven". Finally, if you're looking for something more ambient, try the reverie-inducing "e0", or dive in and experience the incredible hour-long closing track "all end", which someone on RYM aptly described as "like listening to stars as they explode into little tiny pieces."
  • GAS's Rausch (May 18, Kompakt)
    • In a sentence: A sublime, genre-transcending formless piece of music in which emotions of doubt, guilt, fear, and power are dyed into the fabric of a repetitive beat.
    • Recommended if you like: Swans, Tim Hecker, The Field, conquering bad trips by embracing them
    • Why to listen: I will quote a brilliant section from an essay in Ethos Journal:
    Voigt’s GAS recordings are atmospheric, otherworldly pieces of music. Throbbing gently under a 4:4 kick, they unspool in long-form, ambient drones and washes concealing barely-audible fragments of horns, strings, record hiss and wind. Voigt follows the lead of the early house and techno pioneers in his compositions, trusting the cold regularity of his kick drum to house the textural swells that unfurl in between. At times Voigt will pull the force out of his kicks, leaving the side-chained washes to represent the beat as absences, percussive pulses of negative space. Texture and beat mutually attract and repel, shifting the listener’s attention from one then to the other as regularity and irregularity phase past one another. The GAS recordings are a space of repetition and reflection: space rather than statement. While uniquely beautiful, GAS is by no means unique in these respects. Instead, the recordings play into a tradition that imagines music along lines altogether distinct from that of the pop song or the classical arrangement. Tracks typically run in excess of eight minutes, dissipating Voigt’s artistic personality in the overwhelming atmosphere and repetition. Absent are the peaks and valleys of the pop song or the breakdowns that characterize the current EDM scene; GAS, like Acid House, or even Daft Punk, relies upon repetition to eliminate the possibility of a denoted meaning of a song. GAS utilizes these patterned, uncompromising repetitions to tap into an ambience that provokes movement from its listeners, just as it dissolves the focal points common to communal musical experiences: the charismatic frontman, the genius composer, the laser-light show.
    • When to listen: On a cold night in the forest.
    • Songs to sample: It's all one big song! Just start at the beginning and see if it grabs hold of you. Be patient.
  • Yialmelic Frequencies' Yililok (May 18, Leaving)
    • In a sentence: Therapeutic, ASMR-informed music that is just as sublimely beautiful as it is uncannily soothing.
    • Recommended if you like: Suzanne Ciani, Kelly Lee Owens, Kaitlyn Aurelia Smith, Four Tet, being a hippie stereotype
    • Why to listen: This is just fantastic, and so overlooked! If you love electronic music that emphasizes spiritual healing, this is a must-listen. Even if you don't fully buy into it (which is fine - I don't), this is carefully considered music full of sonic subtleties, beautiful chords, and emotional tenderness.
    • When to listen: In a bath, or in bed.
    • *Songs to sample: If you want the ASMR side of things, go straight to "Auric Massage". If you'd like a more well-rounded musical experiment, check out the radiant rising synth melodies of opener "Aggregate".
  • Eartheater's Irisiri (June 8, PAN)
    • In a sentence: Just like the album cover -- an unusual blend of alien grossness and graceful traditionalism, a bewitching potion of harp and hip hop flows, forest sounds and industrial queerness
    • Recommended if you like: Arca, Joanna Newsom, Grimes, Oneohtrix Point Never, Travis Scott
    • Why to listen: This is one of those experimental albums that has such a uniquely singular voice that it deserves all the attention in the world. Alexandra Drewchin's vocals are fluttery and angelic, but her music is often vulgar and frightening - there is always a cathartic marriage between the two polar opposites.
    • When to listen: After dark, walking around somewhere green and misty.
    • Songs to sample: Opener "Peripheral" is the perfect appetizer. "Inhale Baby" is ridiculously creative and a good indicator of the sounds featured on this record. Finally, "C.L.I.T." is the cavernous climax of the album.
  • Réelle's Ghamccccxc vRR (May 25, Danse Noire)
    • In a sentence: A frighteningly discordant album borne out of psychotic episodes, this album plunders the depths of human expression by exploring a realm that feels completely unmapped.
    • Recommended if you like: Arca (again), Amnesia Scanner, exploring your own repressed dark impulses and attractions
    • Why to listen: Réelle harnesses the same traits in Arca's dysphoric dance music to explore their own list of grievances - if you like Arca's ruminations on queerness, gender, and physical form, then you might like the way Réelle explores themes of psychosis, religion, and the body's relationship with the mind.
    • When to listen: Definitely inside, definitely somewhere personal to you. Other than that, the music is so visually evocative that it's super effective anywhere!
    • Songs to sample: "Luciferian" is my personal favorite - jesus christ, the drop in this track hits harder than any other song I think I've heard in this genre of music. "Kissing Myself" is a emotionally wrought ballad in the structure of a dissonant electronic beat, and another essential listen.
Other great albums (in order of how much I think you should hear them):
  • Tourist Kid's Crude Tracer (May 18, Melody As Truth)
    • Released on Jonny Nash and Suzanne Kraft's excellent label, this is an album from an American artist who makes dreamy, longform pieces in the style of Oneohtrix Point Never's shapeshifting drone music. The music here is blissfully rapturous ("Discourse II", "Petrol")
  • Jenny Hval's The Long Sleep EP (May 25, Sacred Bones)
    • This is a fucking amazing concept EP by - who else? Jenny Hval - about sleep, but also so much more. It carries her trademark intimate vocal delivery, and trades her previous album's harsher feelings for the warm fingerprint of a live jazz ensemble. The opening track "Spells" is a contender for song of the year - the EP's closing track is a remarkable poem that sends shivers down my spine.
  • Baba Stiltz's Showtime EP (June 8, XL)
    • Everyone hates this, and I think it's fucking tight. Baba Stiltz is quickly getting a reputation as a sort of Ariel Pink figure in the club music world. On his debut EP for XL Recordings, he's consistently funny as hell, and flips samples better than Kanye, I'll say it. Even more, he has sort of a weird ear for bangers - the final two tracks go unusually hard after repeated listens. ("I'm a DJ... " he sings on track 1, before adding, "with a good soul." "Treat you good girl." "Try to make it work.")
  • Kwes.'s Songs For Midi EP (April 6, Warp)
    • Rich, evocative MIDI music that takes the nostalgia-washed, deconstructionist work of other artists like Mount Kimbie and Aphex Twin and turns it into gaudy synth pieces that twinkle and contort before your eyes. Kwes. made this for his niece Midori.
  • Leon Vynehall's Nothing Is Still (June 15, Ninja Tune)
    • An insanely ambitious piece of work by emotional house music deity Leon Vynehall, about his parents' immigration to the US from the UK. Orchestral from the start, weaving in misty ambience and Philip Glass-esque keys. Then there's that Leon Vynehall sound - if you're not familiar, it's warm, indebted to funk and house music, and will make your heart hurt even when it isn't four-to-the-floor. Check out "Movements", "Trouble", and "Ice Cream".
  • Elysia Crampton's Elysia Crampton EP (April 27, Break World)
    • An insanely dense little EP that packs hundreds of samples into short, melodic beats. It is Crampton's attempt at fusing Andean styles of music with pop music in order to prolong the legacy of the indigenous Bolivian people she is a product of.
  • Jon Hassell's (Listening To Pictures: Pentimento Volume One) (June 15, Ndeya)
    • Jon Hassell is just as influential to modern experimental music as Brian Eno, his former collaborator. Hassell invented "fourth world", a crazy important musical movement, google it and read up it's super cool! And the 81-year-old is back after a long break with a new album that is startlingly modern-sounding. You can hear Hassell's familiar trumpet in here, but you also hear the erratic clicks and ambient rushes of what has to be algorithmic audio software. It's maybe the only album of its kind so far. Do check it out.
  • Skee Mask's Compro (May 15, Ilian Tape)
    • A lot of you might of heard this, but hey, it's a great album! Skee Mask blew up at a young age as SCNTST, but has slowly but surely perfected a sound which is surprisingly mature and insightful. This new album Compro is the full realization of that sound, a mixture of old breakbeats, modern techno beats, and ambience. The breakbeats are intelligently manipulated, the ambience is beautifully emotional without ever crossing the line, and the techno adds a sheen to the album. Just a really fucking good album.
  • Chevel's Always Yours (March 30, Different Circles)
    • If you like the sexy slowed-down techno pop of Andy Stott, check out this release. Chevel makes bare-bones techno that often removes the beat, or keeps the beat and removes everything else. It's expertly engineered, and just like Stott, unusually elegant and sexy. Also, the title track goes HARD.
  • Barker's Debiasing EP (June 1, Ostgut Ton)
    • This EP is a new release on Ostgut Ton, the in-house label run by the people from the infamous Berghain club in Germany. You'll be surprised, then, to hear that this release is techno of the very non-Berghain sort - warm, melodically rich, imaginative, and ALMOST COMPLETELY WITHOUT PERCUSSION. It's fantastic.
  • Sonae's I Started Wearing Black (April 13, Monika Enterprise)
    • Not the most glamorous release on this list, but still an amazingly nuanced one. Sonae explores the phenomenon of "hauntology", as popularized by the philosopher Jacques Derrida - check out this awesome video - and inhabits it to express a feeling of existential fear about modern times. Expect hulking ambience, punctuated by smooth, thudding, writhing techno beats.
  • Proc Fiskal's Insula (June 8, Hyperdub)
    • A must listen for fans of Hudson Mohawke, Rustie, and all cute electronic music (Giraffage, Tennyson, etc.) Proc Fiskal makes instrumental grime beats - his beats have gained a reputation for being artsier and more thoughtful than other artists' more functional beats. Well, on his debut album he goes ALL IN on the artsiness, sampling old recordings of his friends and personal memories to make a personal diary set to the tune of hyperactive digital grime music.
  • Matt Karmil's Will (April 27, Smalltown Supersound)
    • Matt Karmil is a house producer by trade, but he takes things down a notch for this album, crafting a beautiful continous mix of rhythmic ambience. There are smooth static atmospheres and looped melodies all over this record, and when percussion does emerge, it's a patiently anticipated and well-earned surprise.
  • Will DiMaggio's At Ease (May 11, Future Times)
    • Will DiMaggio's debut album for Future Times, one of DC's best dance labels, is an ebullient take on the misty, jazzy house music that has spread across North America like wildfire in the last few years. It's just a really good record. Check out "Steppin W Friends" and "All Good".
  • Patina Echoes (May 25, Timedance)
    • Timedance is a London label run by Batu, one of the key figures in the UK's current oddball techno scene, and this is a fantastic collection of the label's various modernizations of the techno sound. Check out Bruce's delirious psychedelic sounds, or Neinzer's delicate crescendo of a track, or the dreamy washing-machine sound of Rae's "Sleep Rotation". It's all good.
  • O$VMV$M's O$VMV$M (June 1, The Trilogy Tapes)
    • The Trilogy Tapes is a label devoted to dance music run through a dusty, grimy filter. Think Ariel Pink's sound quality, but King Krule's emotional palette. This release is a 20-minute, 12-track collection of vignettes, an unpredictable and often emotional series of recordings that is pleasantly diverse and imaginative for such a dark kind of aesthetic.
  • Flowers From The Ashes: Contemporary Italian Electronic Music (April 13, Stroboscopic Artefacts)
    • A compilation of music from techno producer Lucy's label, which features HEAVY HITTERS of the game like Caterina Barbieri, Neel, Chevel, and Ninos Du Brasil. If you know these names, you'll probably want to listen. If you don't, suffice it to say that this is what its title chalks it up to be: a fantastic who's-who of contemporary Italian electronic producers.
  • Paul de Jong's You Fucken Sucker (April 6, Temporary Residence)
    • Paul de Jong takes The Avalanches' plunderphonics approach to music and brings it to a decidedly more experimental place. You Fucken Sucker is unpredictable from start to finish. The last track is not many people's favorite, but it sure is worth one (1) listen. If you choose to try the full LP, you have been warned. But also, you're probably making a good decision. For all its brazen experiments, this record is often arrestingly beautiful.
  • Michal Turtle's Return To Jeka (April 28, Music From Memory)
    • Music From Memory is one of the best ambient/new age labels out there, and they've released another archival from '80s European dub-pop artist Michal Turtle. These is some trippy-ass music. Just beautiful, too. Highly recommend.
  • Thiago Nassif's Três (April 13, Foom)
    • Thiago Nassif is a Brazilian artist who works with a band most of the time, recording songs that are heavily indebted to the mid-century Brazilian pop music we all love. Why I'm recommending this is its off-kilter way of re-interpreting these influences, from discordant St. Vincent-esque rock to the final track, which is the only Brazilian song with a trap beat that I have ever heard.
Wow I hope you liked reading this! I'm sure I'll be back in like 3 months with some more. Also I love Autechre, maybe I'll write a guide to the new music? LMK if you'd like that. PM if you like the music! Thank you!
-Owen
submitted by signalmodulator to indieheads