Introducing DaScratch, the revolutionary new touch sensitive controller that will blow your mind.
DaScratch™, a.k.a. the SCS.3d, is the latest innovation in the Stanton SC System control surface line. Revolutionary and compact, this controller is a necessity for any digital DJ looking for ultimate control over their software of choice. DaScratch’s compact and sleek profile makes it a space-friendly addition to any existing DJ gear set-up or can stand on its own as a complete controller solution. What makes this guy different from your average controller?Stanton’s StanTouch™ technology allows you to use traditional DJ-style motions and gestures on a touch-pad style surface to take full control over music and software applications such as Traktor DJ Studio™, Traktor Scratch™, Ableton Live™, Serato Scratch Live™, or any other MIDI compatible software. Minimal moving parts ensure durability from gig to gig.See Me, Feel Me - DaScratch’s layout and portability provide DJs with an unmatched level of performance and control. The StanTouch™ interface can 
be used for scratching, scrubbing, and navigating through digital audio. The tactile buttons, triggers, and virtual faders can also control samples, pitch, effects, cue and loop points, and other mappable functions. Multiple finger touches can even prompt quick kills on EQ’s or transform effects on volume.Hook Me Up - Magnect™ connection system allows multiple DaScratch units to securely snap together, creating a larger control surface with increased performance options.Teach Me - DaRouter™ software gives DaScratch a little brain of its own, allowing customized support for a variety of applications. DaRouter runs on Mac / PC and will automatically load presets that are tailored towards the application the SCS.3d is controlling. A generic preset is also provided for mapping to any application that supports MIDI learn. To learn more about the router and presets, click here.Connect Me - USB connection for easy plug and play connection to your software. Class compliant with Windows XP, Vista and Mac OSX to ensure that drivers are never needed. Bus powered by design to ensure that no external power or batteries need to be used.DaScratch’s center section operates mainly in 3 different modes ” Slider, Circle, and Button mode. These 3 different control layouts can be evoked by any of the mode buttons depending on how the DaRouter preset is programmed.
Slider Mode - Slider mode gives the user 3 variable controls (like faders) that can be used by sliding your finger up and down the areas next to the 3 LED meter bars. This mode can be used for controlling many parameters at once, like an EQ. A slider may be changed by dragging a finger across the surface, or you can place your finger in an absolute position on the slider and its position will jump immediately to that point. Two fingers may be used to trigger from one position to the next. For instance, holding one finger on the bottom of the slider and tapping the top with a second finger will make the slider generate the higher value for as long as that finger remains on the surface. Once the second (upper) finger is removed, the slider will generate the value indicated by the first finger position. We refer to this as a “finger jump”.
Circle Mode - In Circle mode, there is one slider at the center of the circle, and circular slider going around the perimeter of the touch surface. Just like in Slider mode, finger jumps are possible can be performed to quickly change the parameter in real time. This is the mode most likely to be used to emulate the platter of a deck. Circle mode is also the default mode of DaScratch. That is to say that if you plug DaScratch into your computer without using the DaRouter software, it will operate in Circle mode. But keep in mind that without DaRouter, the Mode Selector buttons (VINYL, LOOP, etc) will only send note data and will not change the operation of DaScratch.
Button Mode - In Button mode, the zones highlighted in the diagram will act as triggers to control buttons in the target application. For example, these functions could be assigned to alter loop lengths, jump to cue points, or start clips playing. Multiple buttons may be pressed at the same time in Button mode. Also, you will find some presets use a modified version of Button mode that makes the trigger areas bigger by combining 2 or more button zones.
StanTouch™ - In every mode of operation, you’ll find that the touch sensitive areas on DaScratch will respond to multiple simultaneous touches. This is part of its core functionality, and indeed many cool behaviors and gestures can be developed around this capability.
Technical Details:
5 Touch sensitive sliders (3 switchable via presets)
1 Touch sensitive continuous rotary control (switchable via preset)
4 Backlit (red, blue) buttons
10 Back lit (red, blue, purple) touch sensitive buttons
9 Backlit touch sensitive buttons (switchable via preset)
USB 1.1 and 2.0 class compliant MIDI controller
USB bus-powered*
System Requirements:
Mac: Power PC G5 or multicore Intel® processor Mac OSX (v10.4 or later)
Windows: PC running Windows XP or Vista
Dimensions (H x W x D): 8.52 in x 4.72 in x 1.38 in 216.5 mm x 120 mm x 35.25 mm
Shipping Weight: 2.64 lbs (1.2 Kg)
*USB hub / port must meet USB power specification
Package includes: DaScratch® Unit, USB cable, and Quickstart guideVideos: http://www.youtube.com/scsystemReferences: http://www.enterthesystem.com/
It’s been busy times of late for Phillip Sollmann aka EFDEMIN. After releasing his first full-length album on Dial in 2007 and putting out remixes for Dessous, Aus, Bpitch Control, Morris Audio and Lan Muzic, he was constantly behind the decks, somewhere, presenting his idea of music.Ably blending deep and classic house, modern berlin and detroit techno. Where Efdemin’s earlier production work was rather focused on slow, abstract house in the vein of Theo Parrish, he has slowly turned to a more functional approach without losing his special sense for deepness.His sound design has become more unobscured and broad. And he knows just how to adjust old school influences to contemporary listening habits. His DJ style, with its eclectic mix of strict but deeply detailed tracks, provides a continual sense of excitement and creates a kind of grace over the night.
We are very proud to announce now Efdemin’s debut mix-cd, including tracks from respected producers such as Scott Grooves, Brothers’ Vibe, Minilogue, Dettmann & Klock, Patrice Scott, Surgeon, Photek and Tobias. Avoiding a selection of easy hits in favour of a well thought out collection of secret weapons, personal favourites and undiscovered beauties, this is a mix that you won’t get tired of hearing.The mix is released on Curle, the label where Efdemin released his biggest track to date, ‘Acid Bells’, that topped last year’s charts. It is the first cd on Curle, a label founded in 2006, with releases from Dub Kult, Mark August, Michal Ho, Anthony Collins and Nico Purman, to name a few, under its belt.
1. The Showroom Recording Series ” Watcha Waiting For?
Satoshi hooks-up with Renaissance once again, marking their trilogy with another landmark mix, further confirming why he is considered a true master of house.The Japanese-by-way-of-New-York Don takes us on a sublime, deep tech-house excursion that draws on some of the brightest luminaries at work in the scene today, from Radio Slave to Layo & Bushwacka!, Jimpster, Motorcitysoul, Marc Romboy, Mlle Caro & Franck Garcia, Jeff Bennett and many more besides… The result is a forward thinking musical blueprint, as Satoshi himself elaborates, “My definition of house remains the same - ‘an open minded, evolving form of dance music’”.The mix, which spans two CDs, is further distinguished by the additional production, be it the keys Satoshi plays on the Shur-i-kan intro or the loops and FX he subtly weaves throughout, enhancing the compilation’s mood and flow. However, the cake is well and truly iced by an exclusive in the form of his own, brand new single; under the guise of ‘Mes’, Madrugada is Satoshi at his unheard finest that will surely have aficionados chomping at the bit.
Always easy on the ear, this is a mix which can be enjoyed any time or place.
Situated by the river Spree, known for it’s first-rate lineups of international talent and of course it’s famous wall to wall LED dance floor installation, the Watergate Club in Berlin has quickly become one of the world’s leading dance music clubs.Only 5 years after it’s official opening the club now goes a step further and releases a characteristic Mix CD series delivering only the finest DJ Mixes by some of club’s most exiting residents and guests. With the focus being put not only on the music but also on the packaging and design, this series will quickly become a truly sought-after collectors item and will surely stand out in flood of mediocre music and mixes that often dilute the market.“Watergate 02″ is a perfect distillation of the cream of melodic minimalism and deeper dancefloor moments from Ellen Allien’s right hand man, Sascha Funke. Four Tet’s remix of Nathan Fake’s ‘You Are here’ gets the mix rolling with an optimistic Krautrock vibe, followed by the Miss Kittin remix of Ellen Allien’s ‘Alles Sehen’ before settling into Zander VT’s driving tech-house cut ‘Get Down’ and maintaining the housing vibes with the WIghnomy bros remix of Minilogue & Kab’s ‘That’s a nice way to give me feedback’ and onto Dave Aju’s anthemic ‘Crazy Place’. From here on there’s suitably streamlined and luxuriant tech house from Sten, Funke himself, Koze, Patrice Scott’s succulent ‘Visions of Mantanda’ and finishing on a pure ‘95 vibe with Acid jesus’ remix of Milch’s ‘Housefrau’. Guaranteed business-class house goodness.
Since infiltrating the formerly all boys Vakant team this summer with her ‘Move In’ EP (VA020), Dinky has brought with her a welcome infusion of freshness and bloom to the otherwise dank locker room. Now, all nice settled, comes her third album via her new Vakant home. ‘May Be Later’, like the artist, is the prototypical combination of beauty and brawn.It’s been a long ride to get to this point, one that started in Dinky’s native Chile growing up playing piano. Thanks to her musical family, she was exposed to lots of different styles of music whose influence can still be heard today in her production and DJ jet-sets. Dinky experimented with several art forms which brought her first to modern dance and choreography. As a teen, everyone from Brian Eno to Prince shared air time before finding electronic music in the mid-nineties via her sister who was conveniently living in Berlin at the time. Records from Plastikman, Aphex Twin, and Carl Craig were among her first.Around the same time, lifelong connections were made in the Santiago scene to people like Ricardo Villalobos, Dandy Jack, and Luciano. Not long after and while still a teen, Dinky was sharing stages with those same people. Via the Berlin connection Dinky experienced places like E Werk and Tresor and heard the pioneering sound coming from people like Jeff Mills, Hell, and Stacey Pullen.
In the late nineties Dinky moved from Santiago to New York City to join the Martha Graham School of Contemporary Dance. Naturally, she also got into the NYC scene discovering American House, the evolution of techno, and parties like Body and Soul, NASA raves, and Twilo. Soon, at 23 and armed only with an MPC 2000, her original productions began. Dancing during the day, she was making a name for herself as a DJ by night eventually hosting regular underground parties with Magda until the forced exit. In 2003 due to post 9-11 visa restrictions, Dinky left NYC for Berlin. It was definitely a good move, thank you Department of Homeland Security. With her new home came chart topping productions, mega club residencies, live performances, and international recognition.Fast forward 2008. ‘May Be Later’ bridges sound and mood from the summery and sublime to the dark and throbbing. While ‘Mars Cello’ floats and warms, ‘Burdelia’ chugs somewhere between Chicago and early NYC house. ‘Fade Me In’ zips along with furious kink and dubious vox by Dinky´s longtime friend Jorge González. ‘Seven 2 Seven’, when aimed at 8am Berlin ravers, massive freak outs ensue. ‘She is Moving’ features minimal vocalist extraordinaire Big Bully, together they attain that vital equilibrium of naughty and nice. The album closes with ‘Mind’, an electronic fusion moving, looming, eerie, and reassuring.‘May Be Later‘ is an open door to Ms. Alejandra Iglesias’ development exposing the path, connections, and influences that brought her here. The beach, NYC underground in all its flavors, Berlin, the stage, Detroit, electronic waves from all directions, Chicago, mega-clubs, it’s all here and it’s all her own.
To coincide with the tenth anniversary of Bedrock parties in London and the fast approaching 10th anniversary of Bedrock Records; John Digweed releases the triple-disc mix ‘Bedrock 10 Past, Present and Future’ through his own Bedrock Records.Compiling and mixing a stunning collection of remixes that shine new light on the label’s back catalogue alongside the cuts that are currently representing the distinguished Bedrock sound.From its inception in Hastings during the mid-nineties and subsequent progression to Heaven on 8th October 1998, the Bedrock parties have consistently been a byword for forward-thinking, underground electronic music that attracted the absolute cream of national and international DJ-ing talent (as well as being THE industry hang out). The list is almost endless, but among those appearing over the years, Sasha, Carl Cox, Danny Tenaglia, Josh Wink, Danny Howells, James Zabiela, Deep Dish, Hernan Cattaneo, Darren Emerson, Basement Jaxx and Xpress 2 have all rocked the Bedrock dance floor at one stage or another. Reaching far further than it’s UK-based home, Bedrock has touched down at festivals and club nights across the globe, with America, Japan, Ibiza, Romania, Australia and Dubai just a few of those countries lucky enough to absorb the full Bedrock experience.Around the same time as those initial parties at Heaven, John set about creating a label that would fit the ethos of the club night’s innovative and cutting edge music policy and Bedrock Records was born. Even in its embryonic stage around 1999 the imprint seemed destined to set the dance music stratosphere ablaze with its maiden release ‘Heaven Scent’ garnering an almost unanimous “instant classic” billing. The highlights to date have been almost innumerable but Science Departments ‘Persuasion/Repercussion’, 
Steve Lawler’s ‘Rise In’ and Saint’s and Sinner’s ‘Pushin’ Too Hard’ and Guy Gerber’s ‘Stoppage Time’ as well as albums from Pole Folder and Suicide Sports Club have all provided some truly standout moments. More recently the future of the label has been masterfully entrusted to Israeli wonder-kid Guy J, who’s soon to be released debut artist album ‘Esperanza’ serves as a fantastic snapshot of where Bedrock Records is at in 2008.So to ‘Bedrock 10 Past present and Future’ and to honour this massive occasion John has drafted in a careful selection of remix heavyweights to shed new light on some of the labels biggest tracks along with a tidy fistful of the labels freshest output all blended to perfection in the inimitable John Digweed mixing style.
In a genre where artists often struggle for identity, Jon Gaiser is one of those rare producers whose sound is instantly recognisable. The solo projects, collaborations and remixes he’s created over the course of his output on Minus, all contain a very specific signature to the point where his tracks come alive, communicating in a language that speaks with the strangest, most intoxicating of tongues.His highly anticipated debut album, Blank Fade, is no exception, and it sees him pushing the envelope even further resulting in the most comprehensive and impressive body of work he has accomplished so far. Alongside this he has taken full advantage of the vinyl, digital and CD formats on offer to not only produce a collection of stunning individual tracks but also to mix them together in a way that typically reflects his live performance. The body of the tracks remain the same but Gaiser works the seamless transitions to the max by extending the intros and outros to reproduce those magical live moments when a third place momentarily slips into view. In doing so he has created an experience where the whole piece becomes greater than the sum of the parts.Blank Fade represents a mixture of tried and tested ideas generated on the road (such as the show-stopping first single Trunkated) and new material written during Minus’ 10 weeks of silence. The main premise for the album is to start in one place and end up in another without realising and seeing how 
Gaiser’s music works like a soundtrack to some hidden nocturnal habitat, full of weird and wonderful creatures that stalk the darkness, it’s not long before we’re lost in the forest of his imagination.Eerie and atmospheric, Volve sets the scene perfectly, drifting amid a wash of distant echoes and ghostly EFX before a solitary kick drum punctures the darkness. Face Down continues the theme, gradually picking up the pace as the beats begin alternating around a tight, metronomic snare. A pulsing sub bass loop carries the groove while abstract vocal cut-ups penetrate deep into the subconscious. With a perfectly executed mix, Ground effortlessly switches to a 4/4 kick pattern as Gaiser slowly turns the screw, continuing the unearthly vocal theme against a sparse backdrop of crackling electricity and metallic drones. Suddenly we’re in classic territory as Ciliate With lets fly with a trademark bass riff that’s soon joined by one of those memorable bleeping call and response riffs that could only ever be the work of Gaiser.Whether Or Not maintains the tension with an equally urgent bass line and a brutal snare that powers head first into a swarm of warping synth lines, before Substance B turns in a percussive frenzy that’s as devastating as it is intuitive and will create absolute mayhem on the dance floor. The CD overlap into Comma, Fade is as good as they get, ushering in a more subliminal groove driven by a funked up bass/organ riff and cantering percussion, while Leave It dims the lights once again with pitched down vocals and distant, drifting sirens that add a hint of menace to the mix.This all sets things up perfectly for Trunkated - a real powerhouse of a track, that’s as complete as anything you’re likely to hear this year. Every element is honed to perfection from the molten bass to the irresistible percussion parts, from the mischievous, dancing bleeps to the twisted synth motif that seems to rip through the delicate fabric of reality. Descending Order then goes into freefall, releasing the pressure value as distant melodies gently eat into your serotonin supply and you lose yourself in the breakdown. One After continues the theme utilising a sliding, bass driven variation of the preceding melody as the beats finally begin to thin out, allowing the slow, ambient drift of Outline to smooth out the fragmented memories of what has gone before and draw things neatly to a close.Finally, the unmixed digital download album also includes the bonus track Rate 78.17, a beatless exercise in bass manipulation that represents another experimental string to Gaiser’s bow and in doing so, suggests there’s much more to come from this exceptional producer, musician and live performer.Release Date: November 17th, 2008 on Minus
The Stanton Warriors and fabric records are pleased to partner for the next installment of arguably the most revered breaks compilation series in action today - STANTON SESSIONS VOLUME 3.One DJs, DJ Magazine’s Number One Breaks DJs, and DJ Magazine’s 50 Best Remixers Of All Time.Their last edition, ‘Stanton Sessions 2’ was immediately voted Album Of The Year on Annie Nightingale’s BBC Radio 1 show which, added to the salutations following their FABRICLIVE 30 mix including Timeout Compilation Of The Year and Breakspoll Compilation Of The Year, meant the collective breakbeat breath was baited for Session number three.
“Coming off the back of an absolutely mental worldwide tour schedule we thought it was the right time to drop another Stanton Sessions comp. It’s going to be the 3rd installment of the series and contain all the unique tracks, edits and remixes that define our sound today. We have been playing and running our Sessions nights successfully at fabric for 8 years now, so it seems only natural to continue this partnership with the release of Stanton Sessions Volume 3.” - Stanton Warriors. Stanton Warriors have remained unrivalled in their genre for more than a decade. They have achieved international success through their own productions, numerous high profile remixes / collaborations for such luminaries as Missy Elliot, Fat Boy Slim, Basement Jaxx, Mylo, Freeform Five, and Busta Rhymes to name a few. They have also built an extended fan base, playing to huge audiences all around the globe. This long awaited third installment in their seminal “Stanton Sessions” delivers an unsurpassed mix for the electro & breakbeat aficionado alike, including some exclusive SW remixes specially crafted for this session & unreleased tracks ( Yo Majesty ” Club Action - SW RMX, SW - Blaze -Baobinga and ID RMX ) .
“ It’s a hugantic 3rd release! love it.. the champions of bouncing beats and booty basslines deliver another benchmark album. and as always lead the rest of the pack into a new phase for the scene..the wise should follow! listen..watch my head nod, can you see the look on my face…big grin, eyes shut..I’m right inside that monster bass groove. - Tom Middleton” put simply,one of the most exciting mixes i’ve heard for years ” - Tony Vegas (Scratch Perverts)
Spirits of SoulJust Ask Me Mtima Muziki
DJ: Shannon HarrisAffiliation: UrbanicityCountry: USA