• calkutta

    SHIT,ATLEAST DJTT SHOULD PUT ARCADE BUTTONS ON F1′S SO WE CAN ‘KINDA PLAY EM”…RIGHT

  • Daniel Gibbs

    I dont understand why the F1 wouldnt be velocity sensitive? Especially controlling the Remix Decks.
    Where I use one shot samples from various drum packs.

  • bkbiknerd

    Native Instruments should be considering a bid on MixVibes. It needs video and this is their chance to get a jump on it. They can also certify a lot of their hardware for MixVibes Cross Video. Depending on the offer both companies would win and it would help deflate the Serato dominance.

  • calkutta

    can this be done,or is it possible to map an f-1 super sensitive?

  • http://www.onelifeblog.ca Ryan Dejaegher

    Whats up everybody. I’ve just updated the mapping. The download now includes Controller Editor templates for the Maschine MK1 + Mk2, and the Maschine Mikro MK1 + MK2. The Mikro won’t have any of the knob controls but you still get Pressure FX and Velocity Sensitive Remix Pads =).

    Check it out here: https://maps.djtechtools.com/mappings/2379

  • midiman

    All the tech nerds who find it boring to blend deck a to b and need super freaky techniques to feel like a real dj should remember that REAL dj ing is about MUSIC! Playing the right track at the right time makes you a real dj. Music is the most imortant thing . Not a single effect is needed to entertain party people. We need more music men and less nerds!

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

    • Roguesy

      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

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      Like the great Phil Robertson once said “Move On Nerds!”

  • http://www.onelifeblog.ca Ryan Dejaegher

    I accidentally deleted the mapping while trying to update it. Here’s a new link with a video walkthrough, description, and the right controller editor template: https://maps.djtechtools.com/mappings/2379

  • http://www.onelifeblog.ca Ryan Dejaegher

    What’s up everybody, here’s a thorough walkthrough of all the features in the mapping: http://www.youtube.com/watch?v=0wTDh-L1ixg

  • DJ_ForcedHand

    Very good video! When I made the decision to get my Mikro Mk2, I knew “aftertouch sensitive” effects would be an option I’d explore. Quite honestly, this his the only thing I’d choose to explore inside Traktor until it integrates Maschine software (at least better than it does now). I’ve made the comment about the Remix Decks being “Maschine Jr.” but even with velocity sensitivity inside Traktor, you still can’t trigger more than one cell in a row at a time and the HID color feedback is not as functional as it should be.

    I applaud you for doing this Ryan, I know it takes a long time to make Traktor maps, but the time it takes to think through the solutions (such as setting the modifier for alternate functions) is a struggle. I look forward to watching your walkthrough because I simply do not like to do things without understanding what I’m doing. I think that’s a pretty good reason. :)

    Much luck in 2014!

  • http://www.onelifeblog.ca Ryan Dejaegher

    Hey everybody, just finished doing a thorough walkthrough video of how the entire mapping works. For those of you who downloaded it you may have realized there’s a lot of things in this mapping. This walkthrough will explain everything.

  • Bcrogan

    NI has done a amazing job with Hands On Creative Tools implementation, but they seriously need some breakthrough features with Library and Organization tools. Too many songs get missed beatmatched, and grid points take forever to fix them and they still end up for some reason going out of sync.

    Digital Music Libraries take just SO MUCH TEDIOUS ENDLESS AMOUNTS OF TIME for me. There really needs to be “Idiot Proof” “Set It And Forget It” tools.

    I have noticed that Mixvibes Cross does a MUCH MUCH better job with library tools, like Color Labels, and is more accurate with BPM and automatch.

    Also even though I hated TORQ, it looked like the Elastique Time Stretch function worked better than any other companies auto time stretch function. I need more tools to make adjusting multi genre sets easier.

    Another great tool would be a better “Auto Multiple Cue Points” which you could set to add more than just 1 beginning cue point in the song but lets say, every other 32 beat or automatically know where breaks and buildups were so it could add all 8 cue points upon analyzing.

    These companies need to seriously take a break from “Fun Tools” and focus on productivity and organization tools. When dealing with the utter massive libraries that are required for modern DJing, especially open format where the crowd wants to hear anything and everything, it has become literally impossible to keep up and maintain libraries and I have seriously just lost the interest in Djing. Its not fun anymore compared to when I was a kid and just went to buy new records, had 100 records in my bag and had fun just JACKING TRAX.

    I’m utterly sick of spending days trying to update my library. I want to do less library organization and more djing. As it stands now, I spend 70% organizing and 30% Djing.

    • http://www.onelifeblog.ca Ryan Dejaegher

      Hey Bcrogan, couldn’t agree more. Organization is a pain, can you send me a PM (username: rdej47@) I’d love to hear more about what you’d like to see improved.

      • Bcrogan

        Sure ill hit you up later. Do you work for NI?

        • http://www.onelifeblog.ca Ryan Dejaegher

          I wish =P. I’m a software entrepreneur that wants to learn more about the problem. You can also find me at https://www.facebook.com/ryan.dejaegher. I look forward to hearing from you =)

    • http://djsaintrob.com/ Saint Rob,Club mU

      @bcrogan, I LOVE the idea of multiple auto cue points. That’s genius.

      As for library concerns, I think it’s easy to get overwhelmed by the shear number of tracks a dj has at his/her disposal. These days I limit the number of tracks what I “bring” to a gig. This may be done by only having a few playlists to choose from or sometimes only having the tracks in my current rotation on a thumb drive.

      It’s not much different than back in the day when you could only fit 100 records in your box. 100 records seemed to work fine for us back then so why not carry forward that idea? Definitely better to have fewer tracks that you know and love. In general I find that limitations aid the creative process while limitless situations overwhelm the creative process.

      • http://www.onelifeblog.ca Ryan Dejaegher

        This could probably be done with midi pipe, you could trigger a sequence of beatjumps that would drop cue points after each jump. However the results would be inconsistent i’m sure. Great idea though.

    • DJ_ForcedHand

      I too have found that every time I upgrade, I have to re-process most of my tracks. I thought it was just me *even though I pointed to exactly the folder where I kept my stripes*, I just gave up trying to migrate them and just manually set all my markers where I needed them again. Very good call on that,

      Agreed! Color labels (with text tabs) would be awesome. Currently, I believe we have to click on the cue marker to see what the name of the marker is… which is less useful than the preferred method… abbreviated at 10-ish characters (until moused-over either the button or the tab) and displayed at the top of the audio stripe.

      I liked TORQ’s Elastic Time Stretch (now that I look back at the functionality), but I couldn’t really use it well for my purposes. What I really loved about Torq 2.0, was that you were able to assign anything to different sides of sliders and knobs.

      I’m still trying to work with Rekordbox so I don’t know how well that works just yet but you’re right, It would be kinda’ nice to have a program that scrubbed through our tracks and set cue points for start, intro, loops, outros, and even one shots… I’m not sure how that can be automated, but it’s worth exploring.

      I’m also right there with you on the “Fun Tools” part… actually, I’d call what companies are doing is making “Fun Toys” in that these are not intended to be used professionally. I get that there’s the bedroom market, but it seems that less effort is being applied to the professional market and more is being applied to the quick buck world of (disposable) consumer electronics. I suppose that until there’s a meaningful breakthrough with music or technology, this is where hardware producers are going to focus… simply because the technology has caught up to the aspirations of what the artists are allowed to use as tools.

      I’m still hoping that one day, we’ll have the ability to remix songs on-the-fly with our computers from stems… which would then lead me into working with Spatial Sound mixing again… someday.

  • Rayalon

    Nice idea – but, the sustain of the sound is being cut, and the pads act as ADSR rather than OneShot (in Maschine terminology), and that makes it kind of useless for drums :)
    In simpler words – you have to continue and hold the pad for the sound to last as it should.
    Still very cool though!

    The FX routine is being used by myself for a very long time in my MK1.

    Thanks for sharing,
    Rotem

    • http://www.onelifeblog.ca Ryan Dejaegher

      Hey Rayalon, yes unfortunately due to the nature of the mapping the Slot volume resets to zero after a pad has been released. To my knowledge there isn’t a way around this at the moment.

      As far as the sound cut off goes you’d need be conscious of how you layout the sounds. The other workaround is to rotate the controller the way Mad Zach rotates the F1 in this article: http://www.djtechtools.com/2013/11/14/mad-zach-soundpack-techniques-remix-decks-and-ableton-push-sequencing/

      • Stewe

        Hey Ryan, I can imagine setting a modifier that remain the volume position in max value once the pad CC starts decreasing the value. I just need to plug my BASE controller and test this first (only velocity pads at me). Will PM you tomorrow with a state.

        Stevan.

        • http://www.onelifeblog.ca Ryan Dejaegher

          Awesome Stevan, if anyone can figure it out, it’s you =)

      • Rayalon

        You can probably use aftertouch thru the Controller Editor to fix the “Sustain” issue, by continuing to send a cc (something that behaves like hold).
        Rotating the controller is only relevant depending on how you arrange your samples…It actually makes more sense to add a modifier that “rotates” the orientation of the mapping, as if you physically rotated the controller…:)
        Thanks for the reply.

        • http://www.onelifeblog.ca Ryan Dejaegher

          Got it. If you’re creating your own remix sets then it’s probably easiest to just layout them so they don’t cutoff.

          • Rayalon

            One more thing: if your’e playing One Shots in Traktor, and want to have velocity – you might as well drum them in Maschine and be done with it, since there is no “SYNCING” required when playing One Shots (unlike Loops)…:)

          • http://www.onelifeblog.ca Ryan Dejaegher

            You could definitely do that, the one downside to running Maschine through the same soundcard is you don’t have any fader/eq control (depending on your setup). If you’re using a Z2/S4/S2 which run in internal mixing mode then you have no control over Maschine’s output, it just goes out the master.

          • Rayalon

            You have a Master Volume knob on Maschine Hardware, which is like having a “fader” for Maschine’s volume. All EQing and FX can also be done within Maschine as well. When mixing internally it’s not an issue at all. When mixing externally – you can route Maschine to have its own fader and EQ :)

    • Chaser720

      You might be able to map in some reverb/delay on the release/engage of the next pad in the same slot to smooth the transition out at bit. Would take some work though and idk how effective it would be.

  • DJ Acido

    that is a question that i was going to ask…. can we use this with the F1? can a custom mapping be achieved for this? great info on the articles as always….

    Thanks,

    • http://www.onelifeblog.ca Ryan Dejaegher

      Hey DJ Acido, how’s it going? Unfortunately the pads on the F1 aren’t velocity sensitive so it’s not possible at this time.

    • DJ_ForcedHand

      Everything but the velocity sensitivity. This is the same problem with the Launchpad.

  • Mark Smith

    Is this somewhat how a MIDI Fighter would work for effects for Traktor with the difference being that a MIDI Fighter’s buttons are not pressure sensitive? Also are the Kontrol F1′s buttons pressure sensitive? This article’s timing is so perfect as I am preparing to program and play with my F1 in a few days so that I can finally incorporate it into my workflow and performances. Thank you for another great article guys!

    • http://www.onelifeblog.ca Ryan Dejaegher

      Hey how’s it going Mark. Unfortunately neither the MF or F1 have velocity sensitive pads/buttons. However the Maschine Mikro would work for this.

      • Mark Smith

        That’s really good to know as this would be a great addition to a setup as it isn’t too big. NI should make an F1 Mk2 with pressure sensitive buttons. It would be more expensive though I am sure.

        • Rayalon

          They kinda did, with the integration of maschine…It’s an F1 on steroids.

          • Chaser720

            That’s been the story of NI’s life lately. They kinda almost did it.

        • DJ_ForcedHand

          Well… they sorta’ did by making the Mikro Mk2. The biggest differences between the F1 and Mikro Mk2 (other than price) is the F1 has volume sliders and the Mikro Mk2 has velocity sensitivity/after touch. Sure, the F1 is integrated into Traktor, but as we move forward, we should see the entire Maschine line-up being better integrated. Looking into Maschine is recommended if you’re trying to lay in your own beats.

  • Bcrogan

    Anyone who has ever DJ’d at clubs, especially in big cities like New York know, all of this super time consuming extra stuff is pretty much a waste of time to do. Ive been scratch / battle / hip hop djing since I was 16 in 1998 and have high technical djing skills. When I’m playing out in the city, people just care about hit dance trax and hip hop and not at all about extra technical geek stuff. When I do technical scratches that took years to learn, no one gives a hoot and when I have used some of Ian’s efex , the drunk dance floor doesn’t know the difference.

    • http://djsaintrob.com/ Saint Rob,Club mU

      I definitely hear where you are coming from, but these type of crazy advanced set ups is sort of what this site is all about. Some of us just want to geek out.

      • http://www.onelifeblog.ca Ryan Dejaegher

        Yes this can be frustrating indeed but DJing would be quite boring if it stopped at learning to mix 2 songs together. I have to do stuff like this, even if I never use it out it’s always fun to challenge yourself and see what’s possible.

        • https://soundcloud.com/sam-steensen samsteeno

          Yeah, you work hard at what your passionate about, and I’ll keep pushing myself and working on improving my skills as a DJ because it’s what I love doing, and it’s how express myself, especially by being creative in making my sets unique.
          I love to entertain a crowd, but I don’t DJ because others love it, I do it because I love it.

          My opinion: DJing is all about live performance; and in some ways, just mixing AB subtracts from that.

          What else do you guys think?

          • http://www.onelifeblog.ca Ryan Dejaegher

            DJing comes down to mixing music. If you do that through simple A-B mixing that’s fine, if you do crazy transitions that’s fine too.

            The key is to find the style that works for you.

        • midiman

          If you are bored blending youre tracks it only means youre music suck..

        • Old Man DJ

          I hate this philosophy. I don’t understand how suddenly, what has been immensely popular for the past 20 years is “quite boring”. DJs have been rocking crowds with careful/clever mixing and good track selection since the beginning. And if your selection is on point that’s all it takes! Don’t forget that!

          • http://www.onelifeblog.ca Ryan Dejaegher

            You’re right quite boring is a bold term to use for A-B mixing. A-B mixing works and from the crowds standpoint most people are satisfied with mixing between 2 songs.

            My problem with it is coming from a DJ’s point of view. Hypothetically lets say a DJs ability is measured solely by their track selection and their A-B transitions between those tracks. By this measure it’s easy for anyone to be a great DJ with track selection and smooth transitions. This is because anyone with Shazam/Beatport top 100 and a DJ software with sync can do the exact same mix as the next guy (i’m generalizing here and leaving out eq/fx). Back in the day it wasn’t as easy as Shazaming a DJ’s set, finding a DJ’s setlist or going to iTunes and buying $1 hits. Great DJ’s invested the time digging in record stores and building a unique track collection. If you wanted to be as good as the next guy you had to invest the same time digging and the same amount of money. Again by the measure of A-B mixing and track selection it’s way too easy now for anyone to sound like the next guy, we’d all be “great DJs”. DJTT noticed a similar problem at the superstar level in an older article, The Age of the EDM Rockstar:

            “Really playing with the crowd is the key power and responsibility of a DJ, which can easily start to disintegrate on big stages. Most modern EDM stars play the same songs, in the same order, in every set, at every festival – “Levels Syndrome”, as our staff has started to call it.

            The Levels Syndrome: Hearing the EXACT same version of a song at various tents and stages all day long. Most notably Avicii’s “Levels” in the last year.

            Now by no means am I hating on A-B mixing. Most of my sets are A-B mixing and stuff like this video is just me trying to push things forward for myself. As you said for the past 20 years A-B mixing has worked and the crowd is fine with it. However from a DJ’s point of view and I expect more from any DJ at this point. If you’re going to rely on track selection, then I want it to be something i’ve never heard before (depending on where you are the audience will agree or disagree), if you’re playing familiar stuff then I want to hear what you can do with it to make it your own and make me wonder “how did they do that?” I believe deep down we all crave identity and to be unique at some level. Now if you were blindfolded and you were listening to one of those superstar DJ sets, would you be able to tell the difference?

            I saw DJ Shadow this past year in Seattle and he was playing his set that got him kicked off the decks at Mansion in Miami (http://www.djtechtools.com/2012/12/17/kicked-off-the-decks-5-tips-for-djing-at-nightclubs/). Not only did I not recognize a single thing he played but he was cue juggling, scratching, went crazy on the the CDJ tempo fader, then he started to use a roland drum pad to play his own beat on top. It was the best $30 i’d ever spent. Now how can Shadow, who is really putting on a show be punished while “superstar DJ’s and festivals” take $300-$400 out of your wallet and all they do is play the past years hits?

          • midiman

            ..because all that the average club/festival people want to hear is familar , well known songs and they want it loud! If you go to an metallica concert you want to hear the songs you know and not songs you never heard. Cool techniques are cool and pleasing for the artist but they mean nothing to tje crowd. Dj shadow is skilled but he is a nobody compared to david guetta who only plays well known songs who has a big smile on his face , doin the jesus pose while being on stage..

          • doe

            wise words ryan, absolutely agree in every sentence.

    • chris

      during the set(?) there is not much time. But in my reason, you have to check your sound before you play.

      but btw: i love it, when something is sliding and moving

    • Jayvee

      This is something you mostly do for yourself and your DJ/promoter friends. Sure, it’s easy to entertain a crowd with AB mixing, but it’s much more fun to add something extra and challenge yourself.

    • DJ_ForcedHand

      Yeah, unless you’re real-time mashing up songs, the crowd doesn’t really care what you’re doing. I know that most of my tricks and skills are basically for myself unless I’m reaching out to a group (which can be as small as one) in the audience and playing to them.

      Playing the hits AB is boring after you get over the initial rush of playing to LOTS of people… the game then becomes playing it safe and playing what people like… and as Frank Herbert says “Fear is the mind killer”. Sooooo, even if you think no one else cares what you’re doing, you’ve got to keep pushing… never let fear or boredom set in.

      • http://www.onelifeblog.ca Ryan Dejaegher

        Love that quote, you’ve got the right attitude =)

    • calkutta

      i-agree,but-this-is-more-for-when-u-are-djing-inna-club-with-top-notch-djs….or-for-your-album—again-these-are-just-ideas-not-life-savers….sorry-my-keyboard-space-and-capslock-are-broke.
      free-agent-jktta

    • carlitos dj

      Im a Dj too since 1999 and you re right the people only want to hear commercial music and not the last hit that came a week ago and only a few appreciate the work when you do a special mix or effect or even a live mashup

  • calkutta

    did this to my AXIOM 23 pads….truly a big/great difference….mos def took a minute….but using a MIDI turntable PDX 3000,the touch sensitive effects are once used,and never ever able to stop-rad as all hell…thanks fella’
    FREE-AGENT

    • DJ_ForcedHand

      How did you solve the ramp up effects without ramping them back down when you released the button? Did you have an effect control release or a kill button?

      • http://www.onelifeblog.ca Ryan Dejaegher

        Hey Forcedhand are you referring to the video or a comment?

  • Eddi Gee

    Great job on this! I believe this is what the most of us are waiting for :
    a proper and complete integration of the Maschine Hardware/Software in Traktor.
    NI have done it partially with the mapping on the 2.6.6 Version. But we all know that there are more integration possibilities. It reminds me when they didn’t integrated the CDJ’s with the Advanced mode like Serato at the time but only in Standard mode. NI did the Advanced integration in Traktor vert late but they did it. And I believe it’s going the same way with Maschine, maybe with Traktor 3 who knows ?