Thursday, October 28, 2010

"Friday Feature" 10.29.10 Scarifice by Pure



Boards Of Canada
Broken Haze
God Is An Astronaut
Glen Porter
Joe Beats
Cannibal Ox Ft. Rob Swift
Dday One
Mr. Cooper
Lights Out Asia
Four Tet
Villian Accelerate
Fid Mella


I've first got invloved into mixing back in 97' after i got involved in the hiphop scene as a Bboy, Pure was born. From 97' to the early 00's i got involved in the underground scene by attending and hosting numerous events.

As time passed by my love for music grew. I started to dig and look for music that span over numerous genres. During the mid 00's to the present School, Family Life, and full time employment where my main objectives. Due to my full schedule i decided to take a little bit of time from mixing but in late 08' i decided to start a small blog. came about and i went on a rampage posting numerous mixes which i received alot of good feeback from people around the world. So here i am using the art of mixing to express my inner creative side for people to enjoy.

The music is the main reason why i do this. And i love the fact that i usually start with a track and then have no idea where it'll end up, that form of discovery makes the mixing process that much more rewarding.

Download here:

More info on Pure Music

CD Bikini?

I'm more of a record man myself.. but to each their own.
I can see some women pulling it off.. maybe not her LOL!!

Looks like Panasonic's Technics 1200 turntable really has been fazed out.

The Technics SL-1200 MK2 MK3 MK4 MK5 M5G MK6 LTD & GOLD are a series of turntables manufactured since October 1972 by Matsushita under the brand name of Technics. S means "Stereo", L means "Player". Originally released as a high fidelity consumer record player, it quickly became adopted among radio and club disc jockeys. Since its release in 1978, SL-1200MK2 and its successors have been the most common turntable for DJing and scratching. The MK2 presented several improvements, including to the motor and casing. Since 1972, more than 3 million units have been sold. It is widely regarded as one of the most durable and reliable turntables ever produced. Many of the models manufactured in the 1970s are still in heavy use. Rappers have referred to the turntable in pairs as "1200's", "Tee 12's", "Technics", "Tec 12's", "wheels of steel" and "the one and twos".


The talk of Panasonic ending production of the 1200 has been floating around
for quite some time now. I never thought it was official until now.

I saw some articles about certain models of the 1200 being fazed out but
I was still very hopeful that there still would be a few versions still made.

Here are a couple articles I have come across that make me think the end is near.



Dead spin: Panasonic discontinues Technics analog turntables

October 28, 2010

5TOKYO (TR) – Fans of analog music were dealt another blow when consumer electronics company Panasonic announced earlier this month that it would be discontinuing the audio products within its Technics brand, most notably the legendary line of analog turntables.

On October 20, the company said that it was winding down production of the Technics SL-1200MK6 analog turntable, the SH-EX1200 analog audio mixer and the RP-DH1200 and RP-DJ1200 stereo headphones due to challenges in the marketplace.

“Panasonic decided to end production mainly due to a decline in demand for these analog products and also the growing difficulty of procuring key analog components necessary to sustain production,” the company said in statement issued to The Tokyo Reporter.

Last year, Japan’s last remaining vinyl pressing plant, owned by the production company Toyo Kasei, produced around 400,000 discs from its multifloor factory in Yokohama’s Tsurumi Ward, a far cry from the industry’s peak of 70 million four decades ago.

Panasonic said that sales of analog decks today represent roughly 5 percent of the figure from ten years ago. At present the company has no plans for putting analog turntables back on the market.

The SL-1200 series turntable, which enjoys a massive following in the DJ community and with vinyl audiophiles, had been in continuous production since 1972. Since then 3.5 million units have been produced, making the brand’s purple and grey logo (“Technics” written twice) an icon in clubs.

The Technics brand had achieved its widespread popularity largely due to its durable Direct Drive (via magnets) turning mechanism and its heavy 12.5-kilogram base (composed of what is known as the Technics Non Resonance Compound), which isolated the platter so as to reduce feedback and the chance that the cartridge would jump.

Japan’s DJ community was abuzz, notably on the social-networking site Twitter, following the announcement. Tatsuo Sunaga (dubbed “The Record Chief”) said in an email that the announcement was unfortunate.

“I’ve been using these products for around 20 years and rarely suffered a breakdown,” explained Sunaga, who is a club DJ, spinning jazz up and down Japan, and the author of “I’ll Take That Record!” — a chronicle of a three-year vinyl-buying spree. “This type of excellence is something not seen globally, and I think the fact that one doesn’t need to purchase subsequent models as being the reason for forcing the move.”

But even if turntable manufacturers targeting top DJs continue to shrink their output, Sunaga sees those who prefer analog today as being too obsessed with the format to allow it to become extinct. “I don’t think analog users will lose interest,” he said.

Regarding the Technics brand itself, nothing has been decided other than the discontinuation of the mentioned products, the statement said.

Info a:

Info b:

Info c:

Saturday, October 23, 2010

LinnDrum II

Roger Linn. A pioneering figure in the world of electronic music. As important to Hip Hop as the artists who created it. Without the MPC where would we be? One thing is certain. We would not have the technological innovations that inspired so many artistic breakthroughs. The evolution of electronic music has always been directly linked to the tools used to create it. The MPC 60 & the MPC 3000 are to Hip Hop what the Strat & SG are to Rock. Roger Linn’s designs have helped define a culture.

Third design:

The LinnDrum II. It’s a collaborative effort between Linn and Dave Smith. The instrument is still in development and this is the third design revision. I like it the best. A classic blend of the old and the new. The wood panels remind me of the vintage synths that inspired the early years of electronic music. The sloped angle of the display panel is similar to the 60 mkII and the LM-1. It’s spacey looking without the stripped down plastic box aesthetic found in so many other samplers on the market. It looks like an instrument where others look like expensive toys.

Modern updates give us all the benefits of todays technology. USB, a monitor out, a built-in analog synth, a turntable-pre for direct sampling, analog I/O…and who knows what else? They’re not saying much. No tech specs have been released beyond what’s visible in the photos. Production has been delayed and we probably won’t get any final details until they’re ready to launch. If you’re interested you can sign up for their mailing below in the update from Roger Linn. Solid


Preview: LinnDrum II

LinnDrum II is a drum machine that’s currently in development. Following on my (Roger's) early drum machine products like the LM1-1 Drum Computer, LinnDrum and Linn9000, as well as the MPC product line I originally designed for Akai, the goal of LinnDrum II is be a new musical instrument for the real-time creation and improvisation of beat-oriented music, both in live performance and in the studio.

Originally conceived as a collaboration with Dave Smith, along the way we discovered that Dave’s customers and mine wanted different products and it would be too expensive to make a product that met the needs of both. So it’s going to be a Roger Linn Design product, but still contains many benefits of Dave’s earlier involvement.

There’s still plenty of work for my small company to do, but when we’re closer to release we’ll be posting more information on this page. For now, I can only say that while it won’t be an analog product it will introduce a number of creative and fun ways to create beats, and will provide a very high degree of hands-on, real-time control of beat and sound manipulation in an intuitive way designed to guide new and surprising ideas from the musician’s head with very little effort. And I suspect most people will find the price less than they were expecting. Please hold your questions for now; as more information is available, I’ll post it here and significant updates will be sent to our LinnDrum II Email List.

I recognize that this product has been in development for a while now. However, the fun for me in designing a product is to try to implement it in a new way that surprises and delights, and for better or worse I tend to take my time getting the details right. Thanks for your patience. Roger Linn

Second design:

First design:

Originally found here:

Friday, October 22, 2010


Please take this for inspiration though it may come off harsh.

I am not the perfect dj, and yes art is subjective! Just this afternoon, I decided instead of roaming through the radio stations (educating myself on random tunes), while driving to Evanston (which is beautiful this time of year) I would listen to mixes that other “dj’s” had given me recently. Though I will not name names (I could LOL), I was utterly disappointed to find that these individuals either are not mixing at ALL or doing it poorly.

Having come from being awed on the dance floor and wanting to convey the feelings that one LIL LOUIS happened to evoke in me (as a kid), I became obsessed with listening to and figuring out how dj’s transitioned from one song to another. I was slow about calling myself a dj because I knew that Chicago was (and still is) a breeding ground for dj’s AND of course harsh critics. When one comes from vinyl; straight arm pitched dial tables, to standard technic 1200′s, to cdjs, up to mixing software (serato), you learn the ropes. The entire trip is MOSTLY based on tuning ones ear, translating through the equipment to the crowd.

Of course there has been many debates about technologies influence and the trend of djing, with everyone from random celebrities, to little kids playing dj hero, assuming that they can rock a party. My issue is TITLE. In my opinion if you aren’t even attempting to MIX 2 mp3s, vinyl or cds TOGETHER seamlessly (or close), you are not “MIXING” and I’d almost go as far as to say NOT DJING. Scratching, transitioning, even dropping tracks, ON BEAT is a part of the art. I even respect cats hollering (though I hate the air horn) over tracks when transitioning from song to song.

Titling yourself as a “dj” and getting gigs to play out and simply playing one song after the other without honing and using the skill as stated above is NOT DJING (in my opinion). Call it selecting, call it hosting or toasting. When i think mix cd’s i think MIXING. A cd with spaces (dead air) between each song is not a mix it’s a compilation. I don’t care if you have the hottest music taste, find the rarest grooves, unearth every bob marley and michael jackson tune never heard.

People need to know that mixing and djing is an art and learn the true fundamentals. You only add to why ipods can easily be used to replace dj’s doing otherwise.

Listen to your tunes and find out what sounds similar and work on mixing and transitioning. No one is perfect at it and yes some rely heavily on editing or djing software instead training their ears.

I am applying this way of thinking to my next endeavor (production) as well stay tuned!

Even the best of the best can learn new and different things, I love this cat and his videos! Peep and be inspired!

If you want it to be real work at it. There are far too many ways to learn.

Originally posted at Phatoms blog:

Monday, October 18, 2010

"The Story of the Sample" Sunday 10.24.10 @ Crocodile DJs: PNS, RUDE ONE, SHON DERVIS & JDLP


A night of original Samples.. The music used in Hip Hop, R&B, Drum & Bass,
House & Electronic Dance Music.. DJs: PNS, Rude One, Shon Dervis & JDLP

No cover - Drink specials _ Free Popcorn & Mini pizzas (8pm-2am)

+ 8:30pm showing of "COPYRIGHT CRIMINALS" This documentary examines the creative and commercial value of musical sampling, including the related debates over artistic expression, copyright law & more.

Sunday, October 24th 2010 @ Crocodile 1540 N. Milwaukee Ave. (8pm-2am) 21+

Event page:

Copyright Criminals from IndiePix on Vimeo.

New Dope Chi Town Hip Hop "Heat" Twista feat. Raekwon. Produced by the LegendaryTraxster & No ID

Sunday, October 17, 2010

R.I.P. Eyedea (Eyedea & Abilities) Rhymesayers

One of the Twin Cities most beloved musical talents has passed away. Micheal "Eyedea" Larsen, a longtime Rhymesayer, singer, lyricist and fixture in the indie hip-hop scene died early this morning, just a month shy of his 29th birthday.

Friends of Larsen said his mother, Kathy Averill, found him this morning.

"It is with great pain and sadness that I tell you my son Mikey (Eyedea) has passed away," she wrote on his personal Facebook page. "At this time we kindly request your respect and our privacy as we process this devastating loss. On behalf of Mikey's family, close friends and fans, thank you."

Part of the Rhymesayers crew from its early days and a creative force to be reckoned with behind the mic, Eyedea painted beautiful and often abstract pictures with his lyrics, revealing the raw, serrated edges of emotion. He and his DJ, Abilities (a.k.a. Max Keltgen) were champions of their crafts and best friends since the age of 14.

Eyedea's mom, with whom he was very close (and who also was like a second mother to Abilities) has set up a memorial fundraiser via Facebook.

memorial fundraiser via Facebook

More info on Eyedea

Saturday, October 16, 2010

(DJ movie filmed in Chicago) "Polish Bar" Opening @ the Chicago International Film Festival Sat. 10/16, Sun. 10/17 & Tues. 10/19


Director: Ben Berkowitz
96 min.
World Cinema

The wayward son of a prosperous Jewish clan, Reuben spins discs at a club and sells drugs on the side, telling himself that it’s only until he makes it as a big-time DJ. But a visit from his Orthodox cousin and the looming consequences of his recklessness cause him to question the life he’s chosen. Filmed and set entirely in Chicago, could this be the Windy City’s own Mean Streets? Starring Oscar® nominee Judd Hirsch, Grammy-winning rock star cum actor Meat Loaf, comedy legend Richard Belzer, Boardwalk Empire's Vincent Piazza, and Rubicon's James Badge Dale.

Polish Bar

A brilliant team of filmmakers and actors, including a great deal of Chicago’s best talent, join writer/director Ben Berkowitz for his latest feature film Polish Bar. Set and filmed exclusively in Chicago, this promises to be one of the most exciting films to come out of the Windy City in recent years. The Chicago International Film Festival is lucky to be presenting the World Premiere screening of this exciting new project. Where better to launch such a Chicago centered creation?

The wayward son of a prosperous Jewish clan, Reuben spins discs at a club and sells drugs on the side, telling himself that it’s only until he makes it as a big-time DJ. But a visit from his Orthodox cousin and the looming consequences of his recklessness cause him to question the life he’s chosen. Filmed and set entirely in Chicago, could this be the Windy City’s own Mean Streets? Starring Oscar® nominee Judd Hirsch, Grammy-winning rock star cum actor Meat Loaf, comedy legend Richard Belzer, Boardwalk Empire’s Vincent Piazza, and Rubicon’s James Badge Dale.

For tickets and more info go to:
Chicago International Film Festival - films & schedule - Polish Bar

Movie score by DJ Major Taylor

(Catch him doing a cameo in the film)

Movie Trailer

More info & Tickets: Chicago Film Festival

More info 2

Best DJ Tweet ever by DJ Major Taylor @majortaylor


Friday, October 15, 2010

Chicago's Emphasis Recordings goes digital..

Emphasis Recordings.. found by Chicago DJ / Producer Steven Tang
aka Tang, Misguided, Obsolete Music Technology is now available digitally.
(Full catalogue)

Link to site


Stay tune for mix feature on CDJT.

Friday Feature 10.15.10 DJ Pratt


DJ PRATT first hit the scene in 1997, but the love of DJing started long before that. Many years prior, he became intrigued by watching his cousin work the “wheels of steel”. There was something engaging about witnessing his favorite songs being played on a rotating platter and then hearing an interesting sound come from the turntables that he would later learn was called the “transform” scratch. The classic Transformers cartoon, from which the scratch was named, was already a favorite of young J Pratt and the love for the DJ artform just grew from there. He tried for many years to convince his parents to buy him “one of those DJ starter kits”…to no avail.

Fast-forward to 1997 and he finally saved up to get his own set of Technique 1200s. He quickly discovered that he had a natural knack for the turntables and less than a year later saw the release of his debut mixtape, “The Experience,” with his DJ partner, Nikoless. The next few years found him releasing more mixtapes, DJing for local Chicago crew B-Movie Fiendz (until the group called it quits), rocking some parties, DJing on Time Travel radio, joining the Vinyl Addicts, and lending his scratching talents to some demos and releases.

In 2001, he took a long hiatus from the turntables, but eventually found that walking away from that “rotating platter” wasn’t as easy as he thought… Eventually (and recently) he was drawn back in. His natural ability and passion allowed him to pick up right where left off. He first returned to the scene in 2010 by providing the cuts for PNS & Zavala’s split instrumental project, “Canciones Modernas” (Fieldwerk Records). He immediately followed that with some tour dates with Dark Time Sunshine, a new mix (“In My Honest Opinion”), and some guest mixes on WRLR 98.3 LP-FM RadioActive.

With no signs of slowing down, letting up or anymore breaks from the turntables in sight, DJ Pratt is back in full effect with a variety of mix concepts and projects in the works


1) Anti Pop Consortium - Ping Pong
2) DTS - Return Of The Agenda ft. JFK aka Ninjaface
3) Blade - Will Survive
4) LootPack - Cliches
5) Greenhouse - Next Generation
6) Freeway & Jake One - One Thing ft Raekwon
7) Large Professor - Get Off The Bullshit
8) Fierce - Crab
9) Tony Da Skitzo - Who U Talkin 2
10) Latryx - Say That
11) Blahzay Blahzay - Sendin Dem Back
12) Natural Elements - Bust Mine
13) Ill Bill - Gangsta Rap
14) Grav - C'mon
15) Mass Hysteria - Eat Em Up Mike
16) Neak - City Of Wind
17) Slug - River(Opus Remix)
18) Push Button Objects - 360 Degrees
19) JFK - Beautiful Thing
20) Pale Soul - Altered Species
21) Mr. Voodoo - Lyrical Tatics
22) Cage - Got Wet ft Tame One
23) Juggaknots - Troublesman
24) Dumbfoundead - Bosses ft Alpha Mc & Open Mike Eagle
25) Skech185 - The Truth

Link to mix

Friday, October 8, 2010

BLUE GROOVE LOUNGE est. 1994 Chicago


Her first love.. (Oldie but goodie)

CDJT Flashback Videos

"Friday Feature 10.8.10" DJ ADAM ROCK - HOUSE MIX (Reworked)

Started out mixing with two of his mother's turntables with no pitch
now lets make it simple !!! Im not gonna stroke myself

Adamrock has been mixin since 1984. He as been in many dj teams until he created his own
"The Untouchable 5 D.J. Team".

Early 80's

Won many battles as a teen dj and mixed on hundreds of flyers.

Mid 80's

Club and bar scene

Early 90's

Joined WCYC 90.5 fm and was an on air personality
co host of "The Best Of The 80's Show" with Tom Ramos.

Mid 90's

Club and bar scene

Early 2000's

Mobile gigs -where the money is


Back on the fm dial WIIT 88.9 fm as co host of "THe Street Beat Mix Show "
with John "Smokin "Acosta.

He also created his own internet show called "Da Clubhouse"
First airing on chicago partymix internet radio.


Da clubhouse joins Lower Level Radio
Fully loaded follows that year.

2009 to present

He creates & Da clubhouse joins chitown music radio.


There is too much info to cover this is just an outline of my career.
I am happy to have come across and shared the night with many
Dj's in my life all different in thier mixin skills .

I do believe that in order to be a real DJ u must learn the basics as your
beats ...turntables.... cd's ... then software in order to get the full appreciation of the skill !!!

Adam Rock


Keep pushing on
I dont want nobody
Take me up
Everybody be somebody
Riverside lets go
Getting over you
Hey hey hey
Esamba 2010
Groove jet
Follow me 2010
Mexican fever
He le le
So in love with you
Let me think about
I love to like it
Make it funky
Dirty talk
Que va caer
Deep swing music 2010
Ill house you 08
Super bomb
Watch out

Link to mix: Sept house mix 2010 reworked - dj adamrock by DJ ADAM ROCK

Check Adam out every Monday night on "Da Club House"
Internet Radio show (8-11pm CST).

Tuesday, October 5, 2010

iHeartBobby (Caldwell/Common/Dilla)

The Hue Collective "Styles Beyond Many" Featuring Black Spade aka Stoney Rock and Simeon V.

Some new lean featuring Detroit heat in Waajeed (Platinum Pied Pipers) combined with some Texas (Dallas) edge in JT Donaldson (collectively called The Hue Collective 2010). Then take some St. Louis flavor from Black Spade and add the GO-ILL counts, Simeon & Race - The Primeridian...and BAM! You get and extra special blend in this joint "Spaces Beyond Many". spin yo head to this one!

"Styles Beyond Many" Black Spade, The Primeridian, (produced by JT Donaldson and Waajeed [The Hue Collective])

Link to their new music:

Check out more of their music at the bottom right hand side

When a DJ "cheats" by DJ Nando

Is it ever ok to use a pre-mixed CD or a pre-programmed DJ Set using software like Ableton Live at one of your DJ performances? This has been a burning question for quite some time and here are my surprising thoughts on the matter.

YES! In certain situations, it may actually be acceptable to "perform" a preprogrammed DJ set. There are an endless number of scenarios where you may have to opt for resorting to a prerecorded set and I'll outline just a few. The main thing to keep in mind is that ultimately, it's your skill and reputation for delivering consistently good performances that is on the line and in some extreme (and not so extreme) situations, this may be the best option for you.

Acceptable situations, in my honest opinion include:

1. When you have worked hours and hours on programming your set only to arrive to the venue and discover that they have not provided the minimum acceptable grade of equipment you requested. Let's face it, nobody still uses Denon DN-1800f dual cd decks, and if the venue has them installed, I would just cue up one of my mixes on my iPod on and hit play while going to the bar and using those 2 free drink tickets you probably got from the promoter.

2. When it is a large "concert" venue which has not provided you adequate DJ Monitors/Stage Monitors. The PA's at these venues will undoubtedly have a 1 sec. or greater delay built into their system to protect their concert PA sound system from knuckleheads that like to run everything into the "red". Trying to beatmatch live while listening to the echo of what you just played is nothing but a horrible trainwreck during each transition.

When you are the MAIN HEADLINER at a massive indoor/outdoor event. The promoter has obviously paid you a disgustingly large sum of money for your "DJ act" as some superstar globetrotting DJ and does not want you to disappoint the 1,000+ people who paid good money to hear and see you perform with your cool "pyramid" and "rubiks cube" LED lighted DJ booths. Ableton Live can not only control your music, but can trigger your lightshow precisely when you want it.

When you know you only have a short amount of time to perform and setting up your laptop, midi controller, external sound card, and rewiring the dj booth would take longer than the time you are allotted to play.

Unacceptable situations include:

1. The venue/bar has adequate equipment and decent monitors. Nobody wants to watch you fist pump and dance behind the decks while holding a beer in one hand and your hands "tweaking" the knobs on the mixer when it’s obvious every other DJ before you was actually beatmatching, and doing it well.

You have a minimum of a 45 minute set. You should arrive early enough to setup your gear and listen to most of the previous DJ's set so as to not repeat any of their song selections and get a feel for the "vibe".

When both 1 & 2 are met, AND you are getting PAID!

Please comment with your opinion and feedback!


Sheriff Nando