I just saw this on ALDJ and can't help but think that this is a ridiculous amount of overkill. Seriously, I think he is intentionally trying to make his rig look complicated just so people won't think that what hes doing is easier than turntables, when the reality is he could accomplish everything that he wants to with at least half the stuff you see there.
What do you think?
http://www.abletonlivedj.com/forum/view ... ht=effects
Wht is PVD doing, SERIOUSLY.
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jonathono2000
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djadonis206
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meep_audio
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can we really be sure all that gear is his in the first place ?
could be a few people playing that night...
assuming its all his, i dont see the point in using rane serato - for sure I think thats overkill, dont know much about the prog tho other than its for djing mp3s, maybe its got some singular & neat trick he likes ?
Like someone in that thread said, could be he's receiving endorsements to use some of that tech - I reckon he'd certainly be the type of DJ to receive these offers ...and probably accept.
could be a few people playing that night...
assuming its all his, i dont see the point in using rane serato - for sure I think thats overkill, dont know much about the prog tho other than its for djing mp3s, maybe its got some singular & neat trick he likes ?
Like someone in that thread said, could be he's receiving endorsements to use some of that tech - I reckon he'd certainly be the type of DJ to receive these offers ...and probably accept.
spreader of butter
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the dark wizard
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from one minute of actually reading the thread I learned (not speculated) that two laptops are his (Live and Serato), that "Serato runs through the cdj's", that "yeah the pic above features the xone... he brought it with him", and "He is now carrying an A&H xone 32 mixer with him to all his gigs". Thus it seems everything that you see is his except the other laptop. Some might think it is overkill, but I think the serato/cdj combo allows you to do things that you can't in Live (though he may not be using them that way, dunno). Anyhow, looks like a fun setup.the dark wizard wrote:ofcourse its not all his, the club has the standard rig which would be cdjs, xone mixer, efx etc. the other laptop is prolly someone elses, looks like hes using his lapy and a couple of controllers
Dell Studio XPS 8100 Windows 7 64-bit, 10 GB RAM. RME Multiface, Avalon U5 & M5, Distressor, Filter Factory, UC33e, BCR-2000, FCB1010, K-Station, Hr 824 & H120 sub, EZ Bus, V-Drums, DrumKat EZ, basses, guitars, pedals... http://www.ryan-hughes.net
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jonathono2000
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i should have pointed out what quandry did - that everything their is his minus the laptop to the far left. with rane serato on the mac second from left and live on the mac to the right.
Im still wondering what someone with this set up could do that they couldn't do with live alone?
As I see it live can do anything serato can do (assuming you're not doing a stoopidfresh dj battle yo!) and that using both simultaneously is pointless aside from saying hey look at how complicated this looks to people that don't know what it is.
I guess my point is that he may not be fooling any of us but he is definitely trying to fool someone.
Im still wondering what someone with this set up could do that they couldn't do with live alone?
As I see it live can do anything serato can do (assuming you're not doing a stoopidfresh dj battle yo!) and that using both simultaneously is pointless aside from saying hey look at how complicated this looks to people that don't know what it is.
I guess my point is that he may not be fooling any of us but he is definitely trying to fool someone.
Paul is by no means a turntablist. Either he is using serato because he is paid to do so or he feels he will be ridiculed for using live solely. Like I said before I wish he would just let go of the beatmatching all together. It's not like he doesn't know what his songs bpms are anyway. What's the frigging point already? PAUL, LET THE BEATMATCHING GO!!!!!!!!!!!!!!
PVD is definitely not endorsed by neither Rane nor Serato. This is a fact not an opinion.DJSK wrote:Paul is by no means a turntablist. Either he is using serato because he is paid to do so or he feels he will be ridiculed for using live solely. Like I said before I wish he would just let go of the beatmatching all together. It's not like he doesn't know what his songs bpms are anyway. What's the frigging point already? PAUL, LET THE BEATMATCHING GO!!!!!!!!!!!!!!
ok i got some information from his interview. can someone explain to me what he is really doing ? final scratch into ableton ???
trance.nu: When you are DJ-ing, you’re using Ableton Live a lot. What do you like so much about it?
Paul van Dyk: I’m not just use Ableton Live, I use a combination between Scratch Live and Ableton. I have 2 computers with me and I’m basicly using Scratch Live with time coded CD’s. That signal actually goes into the interface of Ableton Live. Within Ableton Live I have the possibility then to do the craziest things, because it’s a combination of a DJ program with a sequencer program. That obviously enables you to sort of re-arrange the whole track. It’s much more actually like playing live then rather DJ-ing in a normal way of how some people understand it. It’s crazy all the possibilities you have and the options of being creative they are just endless! Electronic music has always been about breaking the boundaries on the creative level as much as on the technological side. And by using those elements of course and these programs and computers and stuff, you can actually push the boundaries again! It makes something even more special. Because of the set up, I can never ever play a track the same way, because it’s always somehow different, it’s always a different thing. That makes it even more unique on one hand, but it also makes it more special to the actual event itself. For example, I can take elements of the track away and just play the strings, the drums or whatever.
Trance.nu: So you have special CD’s for that, since you can remove some parts?
Paul van Dyk: No, it’s a DJ program and it works a bit the same as Final Scratch. With the older systems you had a beeping noise, a time code, on the vinyl. That time code was actually translated through an interface. So the computer program knows exactly where the time code is. And then you hav a program, like a window, where you use something like a virtual card slot. So you can load a track into it. That is similar with Scratch Live, but instead of using analog vinyl, I use a CD with a time code. And that goes into the one computer, usually on my left side. And then this signal, instead of going into the mixer to be mixed, goes straight into the other computer through another interface that’s connected with the other computer on the right side, which drives the Ableton. It’s quite a tricky set up, but it’s great! It’s an amazing way of doing what I do now!
Trance.nu: But do you always use Ableton in your DJ-sets now or do you also still play with CD’s and vinyls in your sets?
Paul van Dyk: I don’t play vinyls. But what I do is pretty much like playing with CD’s. Actually I’m not putting a CD with music there in anymore, because there is the time code on the CD. All I do is skip the CD to the beginning, so the computer program knows it’s in the beginning of the track. Then I load a track in and then I’ll play it!
Trance.nu: If you werent a DJ, what occupation do you think you would have?
Paul van Dyk: I don’t know… Maybe I would be a cook!
Trance.nu: Your latest mixcompilation The Politics Of Dancing Part 2 was recently released. How are the reactions on this one so far?
Paul van Dyk: Very good! You know, people really understood the special approach of how the mix was done. I always said that I don’t really like DJ mix CD’s, because you never can really capture the atmosphere of a club night or an event on a CD. So this is more like a technical concept about combining all the things that I’m doing: Being a DJ, being a musician and being a producer. Imagine track 11, you have the drums and then you take the bassline of track 7 together with the strings of track 5. And it all works harmonic together. This is what the CD does!
trance.nu: When you are DJ-ing, you’re using Ableton Live a lot. What do you like so much about it?
Paul van Dyk: I’m not just use Ableton Live, I use a combination between Scratch Live and Ableton. I have 2 computers with me and I’m basicly using Scratch Live with time coded CD’s. That signal actually goes into the interface of Ableton Live. Within Ableton Live I have the possibility then to do the craziest things, because it’s a combination of a DJ program with a sequencer program. That obviously enables you to sort of re-arrange the whole track. It’s much more actually like playing live then rather DJ-ing in a normal way of how some people understand it. It’s crazy all the possibilities you have and the options of being creative they are just endless! Electronic music has always been about breaking the boundaries on the creative level as much as on the technological side. And by using those elements of course and these programs and computers and stuff, you can actually push the boundaries again! It makes something even more special. Because of the set up, I can never ever play a track the same way, because it’s always somehow different, it’s always a different thing. That makes it even more unique on one hand, but it also makes it more special to the actual event itself. For example, I can take elements of the track away and just play the strings, the drums or whatever.
Trance.nu: So you have special CD’s for that, since you can remove some parts?
Paul van Dyk: No, it’s a DJ program and it works a bit the same as Final Scratch. With the older systems you had a beeping noise, a time code, on the vinyl. That time code was actually translated through an interface. So the computer program knows exactly where the time code is. And then you hav a program, like a window, where you use something like a virtual card slot. So you can load a track into it. That is similar with Scratch Live, but instead of using analog vinyl, I use a CD with a time code. And that goes into the one computer, usually on my left side. And then this signal, instead of going into the mixer to be mixed, goes straight into the other computer through another interface that’s connected with the other computer on the right side, which drives the Ableton. It’s quite a tricky set up, but it’s great! It’s an amazing way of doing what I do now!
Trance.nu: But do you always use Ableton in your DJ-sets now or do you also still play with CD’s and vinyls in your sets?
Paul van Dyk: I don’t play vinyls. But what I do is pretty much like playing with CD’s. Actually I’m not putting a CD with music there in anymore, because there is the time code on the CD. All I do is skip the CD to the beginning, so the computer program knows it’s in the beginning of the track. Then I load a track in and then I’ll play it!
Trance.nu: If you werent a DJ, what occupation do you think you would have?
Paul van Dyk: I don’t know… Maybe I would be a cook!
Trance.nu: Your latest mixcompilation The Politics Of Dancing Part 2 was recently released. How are the reactions on this one so far?
Paul van Dyk: Very good! You know, people really understood the special approach of how the mix was done. I always said that I don’t really like DJ mix CD’s, because you never can really capture the atmosphere of a club night or an event on a CD. So this is more like a technical concept about combining all the things that I’m doing: Being a DJ, being a musician and being a producer. Imagine track 11, you have the drums and then you take the bassline of track 7 together with the strings of track 5. And it all works harmonic together. This is what the CD does!
LOL. I have no idea, what he is talking about. I think he's too far up his own ass for even him too understand what he's talking about 
hossegor wrote:ok i got some information from his interview. can someone explain to me what he is really doing ? final scratch into ableton ???
trance.nu: When you are DJ-ing, you’re using Ableton Live a lot. What do you like so much about it?
Paul van Dyk: I’m not just use Ableton Live, I use a combination between Scratch Live and Ableton. I have 2 computers with me and I’m basicly using Scratch Live with time coded CD’s. That signal actually goes into the interface of Ableton Live. Within Ableton Live I have the possibility then to do the craziest things, because it’s a combination of a DJ program with a sequencer program. That obviously enables you to sort of re-arrange the whole track. It’s much more actually like playing live then rather DJ-ing in a normal way of how some people understand it. It’s crazy all the possibilities you have and the options of being creative they are just endless! Electronic music has always been about breaking the boundaries on the creative level as much as on the technological side. And by using those elements of course and these programs and computers and stuff, you can actually push the boundaries again! It makes something even more special. Because of the set up, I can never ever play a track the same way, because it’s always somehow different, it’s always a different thing. That makes it even more unique on one hand, but it also makes it more special to the actual event itself. For example, I can take elements of the track away and just play the strings, the drums or whatever.
Trance.nu: So you have special CD’s for that, since you can remove some parts?
Paul van Dyk: No, it’s a DJ program and it works a bit the same as Final Scratch. With the older systems you had a beeping noise, a time code, on the vinyl. That time code was actually translated through an interface. So the computer program knows exactly where the time code is. And then you hav a program, like a window, where you use something like a virtual card slot. So you can load a track into it. That is similar with Scratch Live, but instead of using analog vinyl, I use a CD with a time code. And that goes into the one computer, usually on my left side. And then this signal, instead of going into the mixer to be mixed, goes straight into the other computer through another interface that’s connected with the other computer on the right side, which drives the Ableton. It’s quite a tricky set up, but it’s great! It’s an amazing way of doing what I do now!
Trance.nu: But do you always use Ableton in your DJ-sets now or do you also still play with CD’s and vinyls in your sets?
Paul van Dyk: I don’t play vinyls. But what I do is pretty much like playing with CD’s. Actually I’m not putting a CD with music there in anymore, because there is the time code on the CD. All I do is skip the CD to the beginning, so the computer program knows it’s in the beginning of the track. Then I load a track in and then I’ll play it!
Trance.nu: If you werent a DJ, what occupation do you think you would have?
Paul van Dyk: I don’t know… Maybe I would be a cook!
Trance.nu: Your latest mixcompilation The Politics Of Dancing Part 2 was recently released. How are the reactions on this one so far?
Paul van Dyk: Very good! You know, people really understood the special approach of how the mix was done. I always said that I don’t really like DJ mix CD’s, because you never can really capture the atmosphere of a club night or an event on a CD. So this is more like a technical concept about combining all the things that I’m doing: Being a DJ, being a musician and being a producer. Imagine track 11, you have the drums and then you take the bassline of track 7 together with the strings of track 5. And it all works harmonic together. This is what the CD does!
