Dj TechTools spent some time with Glitch Mob, the Ableton dj crew turned live band, and dug into the details on how they make their new bombastic show work technically. Read on after the break for the full interview on what they like and don’t like about Lemurs and more!

What kind of a concert is the new Glitch Mob Set?

To some people going to the Glitch Mob is a full on rave party and to some it’s an experimental electronic rock concert. We take you on a ride.. we are not afraid to have tender moments and also crush them over the head.

What kind of technology do you use live?

Basically we have a bunch of midi controllers and perform our music through Ableton Live using a series of samplers. We use a combination of traditional instruments like guitar and bass, which run through Ableton, and we also use touch screen controllers called Lemurs made by Jazz Mutant.  We also use Roland V Drum midi controllers.

Before this bigger live show, you did a mash-up remix set. How has the transition gone?

The transition has gone well. The biggest difference now is that we stop between songs where before it was a continuous dj set. It feels good to be up there playing the songs, which is what this show was all about- playing the songs from our new record. Its a heavily percussive album so we wanted to get up there and actually play the percussion.

Are you getting the band effect (stop and watch) or are people still dancing?

I think its a fair bit of both. I noticed last night, playing in LA that there was a whole chunk of people dancing the whole time but then there is a whole different group that is just fascinated by what is going on. I actually think that’s amazing because if people are dancing the whole time it would not matter if we were up there with instruments or a turntable. I have noticed that this is a really cool mix of the dance party and a show you can watch.

How do you make computer technology playable and not stiff?

The way we have the live set set up is that we use a series of samplers instead of launching clips. We previously used clip launching, but for this particular set we have essentially sampled (note for note) every melody and chord progression from the record so we can re-play that exact melody live. Obviously,  due to the fact that it is live there will be that humanistic feel and error involved.

How much does each song then evolve as you play it live?

We have the opportunity to riff.. but we try to keep it as close to the way the record was written because this is the first time most people have heard the record but there are moments where we can throw in a little. There are improvised moments- like we always do a drum solo every single night and every single night it comes out a little bit different.
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Are the controllers you are using expressive enough?

We are always looking for stuff that we can bash harder and tweak more. I imagine a keyboard with big giant keys. We were just over at the Moog factory and checking out the midi-theremin which could get worked in some-how.

The Jazz-Mutant Lemur literally takes center stage, how well do they work for you?

They are not perfect. For example, you can hit them, but you can’t really whack it. Its also not the most accurate or responsive of interfaces. Like, if you have an air bubble in your screen you will get weird anomalies sometimes.  The visual feedback is awesome but its not precise. Its cool because we can actually show people what we are doing because they can see the correlation between visual and audible.

How do you manage to play so many different parts with one controller?

The way we have designed our set, we could not really perform without it (the Lemur). We have written some scripts where Ableton will basically fire off some midi to the Lemur and the Lemur will change pages and then you are ready to play your next part.

Lets say we play 8-10 parts in a song and some of the parts are back to back with only a 16th note between the 2 parts. So with this set-up, you don’t have to press the next page button- Ableton does it for you. Basically, by the time your done playing the end of a phrase, the Lemur page will change and your playing a completely new instrument with a completely different layout with pads and stuff all custom designed for that part. That’s one thing about the Lemur thats important for us.  We could not just have 16 buttons, some of our melodies have anywhere from 4 notes to 12 notes so it has to flexible and open.

So your willing to trade the loss of tactility and errors in exchange for flexibility?

Yeah – not that this is a good thing but when there are those minor errors then its obvious that we are playing up there. When you hear a dropped note, then its like- ok this is live.

We are often talking about one of the drawbacks of Ableton is its rigidity and the fact that it is so hard to screw up.

It actually took us a lot of engineering hours to make Ableton be able to fuck up. It was 2 months solid of trial and error programming to really get things tight but now everything is running pretty smooth.

Get more info on Glitch Mob including tour dates at their website.

This on-ear micro metronome is only slightly larger than an earring, yet it offers all the features and functionality of other conventional metronomes, making it ideal for rhythm training, and since it’s so inconspicuous, you could even pop it on your ear during a performance.

The MM-1 features a unique design that combines the convenience of a compact device with the flexibility and accuracy of digital metronomes giving you more than enough support for complete rhythmic development.

It fits comfortably, attached to your ear emitting a rhythmic pulse that can only be heard by the musician using it. As with most conventional metronomes, there is a tempo range from 40 to 208 bpm, which is adjusted by buttons on the device along with 1/4, 2/4, 3/4, 4/4, 5/4, 6/4, and 7/4 time signatures.

Additionally, the MM-1 offers duplet, triplet and quadruplet beats, which makes this product ideal for drummers who play complex beat patterns while incorporating alternative time signatures.

• Long-lasting lithium battery allows up to 500 hours of cable-free usage
• Dimensions: .64” wide X 1.83” long X .66” deep
• Weight: .2 oz.

Let’s face it, the metronome is one of the least glorified musical accessories, I mean it’s a strict teacher meting out tough love. If you’ve ever gotten frustrated trying to play with one you know what I mean. And so there hasn’t been a whole lot of metronome development over the years.

KORG snuffs that state of affairs by bringing new possibilities to the world of the metronome by asking questions that before seemed pointless like, what makes a metronome better than others? They have found the answers to those questions and worked them into their line like no other music company before. That a subtler metronome is a better metronome is what KORG has proven with MM-1. Just don’t lose it!

Korg site: MM-1

Customization and Control for the Scratch DJ

The curve control on the cross fader is altered via dials on the front of the unit, as are the channel curves and the fader-out lag. It has a highly customizable cross fader, with double fade control that allows each half to be controlled separately. The DJM-909 also incorporates fader control into its unique visual display, letting users view their adjustments on its screen. Additionally, the crossfader feel can be adjusted to meet users’ individual needs.

Durability that Makes Sense

If you are going into battle, you will need some (metaphorical) armor. The DJM-909 boasts some of the most durable components in the industry. Control knobs are sturdy yet responsive, and transform switches can be flipped easily without fear of deterioration. The cross fader is durable and incorporates what is fast becoming the industry standard: the Pioneer developed non-contact magnetic cross fader. Like a monorail, the fader is allowed to reach its full potential in speed by never touching the bar it floats over – also meaning it will last a lot longer. It is really meant to take a beating. A touch screen effects display means less moving parts, which in turn means less parts breaking or needing to be replaced. It also clears the mixer of unnecessary knobs and switches, making movement around the interface smooth and easy.

The DJM- 900 is ideal for those seeking to have a long-lasting and customizable scratch battle experience, and can also be employed in studio without fear due to Pioneer’s long-lasting dedication to sound quality.

Pioneer site: DJM-909

Freshly designed with a smooth industrial look, the T.50’s outer appearance reflects the range of professional features packed inside. Such features include its ultra skip-resistant straight tone arm providing precision tracking while scratching or hosting the rowdiest crowds. 2 Start/Stop switches allow DJ’s the choice between either battle set-ups or mixing, and a pitch control slider with an adjustable pitch range of +/- 10% will give you the flexibility and control to keep your sound clean and consistent.

Other standard features included on the T.50 turntable are:
2 RCA outputs and ground connector
2 speed full-manual DC motor with 33 and 45 rpm motor speeds
Fully equipped with Stanton 500B cartridge mounted on headshell
Slip mat and cloth dust cover
All cables and connectors included

If you’ve been holding out deciding on your first professional DJ set-up; are looking to upgrade to the quality deck your beloved vinyl collection deserves; or just need something casual to kick tunes on in your spare time without dropping your spare cash on unnecessary bells and whistles look no further. The Stanton T.50 turntable will satisfy your every need and save you bread for your next visit to the record store.

Manufacturer’s Product Details: Stanton

With outstanding audio quality and numerous features, Numark’s 5000FX 5-Channel Tabletop Mixer throws a solid punch. Packed with effects and sampling capabilities, your audience will go wild for the amped-up sounds you throw out.

The Numark 5000FX 12-inch 5-Channel Tabletop Mixer gives total control of audio performance. Scratch, mix and loop music with ease. Best of all, the mixer is 12 inches in size, taking up very little space on your table.

Numark 5000FX 12″ 5-Channel Tabletop Mixer’s Many Features

2-zone outputs
5 channels include 3 phono, 2 mics and 9 lines
18 second audio buffering for scratching
Looping
Dual BeatkeeperTM auto detects BPM
Effects processor offers echo, delay, distort, scratch, vocal kill and more
EQ offers bass, middle, treble and channel kill
Master balanced and unbalanced XLR outputs
Reverse audio with bleep effect
S/PDIF outputs
Sampler contains 30 seconds of memory, looping and BPM sync

Because the 5000FX offers vocal stripping, you can turn your mixer into a karaoke machine. The mic input offers frequency response levels of 20 Hz to 15 kHz.

Numark 5000FX 12″ 5-Channel Tabletop Mixer contains a lot of power for the price. Not only will you be amazed by the range of function, but also your audience will love every second of your show.

Numark site: 500FX

E865 Is Designed For Quality Live Sound

Featuring superb transient response and a 40 Hz- 20 Hz reproduction, the Sennheiser E865 & E865S Handheld Supercardioid Dynamic Microphones ensure that other on-stage levels will not drown out your lead vocals. An electret condenser allows the microphones to handle extremely loud sound levels up to 150 dB SPL.

The capsule of the Sennheiser E865 & E865S Handheld Supercardioid Dynamic Microphones feature a blast/pop protection plate to protect the diaphragm from extreme sound pressure levels. With dimensions of 1.9” x 7.72” and a weight of approximately 11 ounces, the E865 is the perfect size for onstage use.

The Sennheiser E865S Handheld Supercardioid Dynamic Microphone comes with an on/off switch. This makes it easy to make sure the only sound that goes through the PA is the sound you want going through. Take a look at the extended specs:

• Transducer: prepolarized condenser
• Frequency Response: 40 Hz-20 kHz
• Polar Pattern: Supercardioid
• Front-to-Back Rejection at 1 kHz and 120 degrees: >25 dB
• Maximum SPL: 150 dB
• Power: Phantom (12V-48V)
• Finish: Black Satin
• Dimensions 1.9″ (diameter) × 7.72″ (L)
• Weight: Approximately 11 oz.

E865 Is Ready To Travel

The Sennheiser E865 & E865S Handheld Supercardioid Dynamic Microphones feature a 10-year warranty, promising lasting quality. The microphones also come with a protective storage pouch to house the microphone safely when it’s not in use.

A steel inlet basket and rugged all metal housing on the Sennheiser E865 & E865S Handheld Supercardioid Dynamic Microphones ensure lasting durability and elimination of handling noise.

The Sennheiser E865 & E865S Handheld Supercardioid Dynamic Microphones are ideal for performers with a little extra cash looking to drastically improve their live vocal sound.

Sennheiser: Wired Mics and Wireless Microphone Systems

Sonorous is a better term to be certain. Perfect for acoustic drummers looking to add electronic sounds to their performances, electronic drummers interested in expanding their kits further or MIDI studio musicians that want to program rhythm parts more naturally the SPD-20 is a great all around instrument.

The compact multi-pad/sound module features 8 fully assignable velocity-sensitive rubber pads. 700 built-in high-quality drum and percussion sounds including a broad range of world percussion instruments come with various sound effects configurable into 99 different patch locations.

The built-in multi-effects include reverb, delay, chorus and flanger. The pad provides 4 dual-trigger inputs for triggering SPD-20 sounds from external pads and other triggering devices. The MIDI In/Out also allows for sequencing and other mix/sampling applications.

Other features on the SPD-20 include:

• 14 voices max. polyphony
• 700 different instruments
• 99 patches, 8 patch chain internal memory
• Sound parameters: instrument, level, pitch, decay, pan, curve effect send level
• 7-segment, 3-character LED display
• AC12V, AC adapter power
• L/MONO, R output, dual external trigger input (3), dual hi-hat control/trigger input, MIDI I/O, dual footswitch,

The SPD-20 is the industry standard electronic percussion pad. Ideal for live performances with either acoustic or electronic drum sets or studio applications the SPD-20 brings a unique addition to any set-up. Don’t be fooled by the imitations out there, the Roland SPD-20 is the real thing. Keep an eye out for it on the kits of masters.

Roland site: SPD-20

The Pro Mixer DX626 Professional 3-Channel DJ Mixer stands apart from the competition thanks to the very capable BPM counter. The dual-automatic BPM counter makes timing a snap.

Another handy feature is the ultra-low noise microphone. Block out aggravating static and feedback. Every time you use your microphone, you come through with incredible clarity.

Fader Longevity With Behringer Pro Mixer DX626: The rugged Behringer Pro Mixer DX626 Professional 3-Channel DJ Mixer is relatively compact. You can take it with you to your live performances or turn part of your home into a glorious home studio. Best of all, you won’t spend more than a couple hundred for this quality mixer.

Behringer Pro Mixer DX626 Professional 3-Channel DJ Mixer comes with their durable UltraGlide crossfader. Designed to take a beating, the UltraGlide crossfader withstands more than 500,000 life cycles. Years from now, it will still act like it’s brand new.

Behringer’s Pro Mixer DX626 Professional 3-Channel mixer is not only affordable, but it contains the most requested features. Behringer’s spent time asking around and they understand what DJs want. Professional sound quality combined with an easy-to-use format. Hook up your CD player or turntable and you’ll be rocking the house in no time.

Features:
3 stereo dual-input channels
3-band kill EQ
BNC lamp socket
Booth, master and tape outputs
Dual auto BPM counter
Manual talk-over
Master/PFL mix function
Peak-hold level meter
ULN microphone input
UltraGlide crossfader

When you want the very best, the Behringer Pro Mixer DX626 Professional 3-Channel DJ Mixer excels. Affordability is always a factor, and with DX626 you can have an affordable model that doesn’t skimp on important features.

Behringer Mixer website – DX626

Kinetic offers over a thousand Roland instrument patches and sounds from their professional, genre-defining groove boxes and synthesizers. Additionally there is a whole new arsenal of sounds and effects, even VST and DirectX support allowing you to add hundreds of instruments to your creations.

The easy point and click interface with hundreds of pro music patterns and ACID-format loops makes it simple to produce music and make killin’ beats. You can add samples from the DropZone, tap beats from your mouse, keyboard or MIDI controller through the GRID and build and edit patterns with the powerful step sequencer/ piano roll view.

Just because it’s digital, doesn’t mean it has to sound that way right? Well, the PSYN II virtual analog synth lets you create bass lines, leads and pads with unprecedented ease giving you realistic analog sound. Also the wide range of effects, including filter, delay, reverb, EQ, enhancer, decimator, modulation and more, add a professional flavor to your grooves beyond mere instrumental recording, taking it that extra step to really turn heads. Add VST and DirectX instruments and effects, with ReWire support you can connect to recording programs, further expanding your studio and when you’re all finished you can export your masterpiece as WAV files for CDs, or WMA and MP3 for internet sharing.

With Kinetic 2 by Cakewalk you can go from zero to hero overnight. Granted, it might be a long night, but you won’t notice until the sunlight starts pouring in. Kinetic is addictive in the best way, its easier and more accessible than other addictions plus it wont kill you. But you will be killin’ tracks day in and day out.

See Cakewalk Website

The U-Key features 49 keys which are ultra thin and semi-weighted giving the feel of a standard keyboard but with less key ply. This keyboard is easily customizable with 1 programmable joystick, 8 programmable trigger pads, and 8 programmable control knobs. Not to mention with a built-in 64-polyphony mobile phone sounds module, you get plenty of options when creating a new ringtone.

Not only is this keyboard great for ringtone tracks, the U-Key is a fully featured MIDI controller as well. It can handle loop variations and chord changes and it is capable of fast-operation SEQ transport just like many other popular MIDI controlling devices.

The U-Key has music controlling templates built-in with user bank memory systems as well as LED indicators for the user levels. Like many CME MIDI controllers this keyboard comes with U-CTRL software so you can better handle musical styles like Asian or Arabian styled pieces. For a smaller keyboard there is no lack of ports on this controller including a USB MIDI port, a stereo line output port, a stereo headphone out port, a MIDI in and out port, and a universal pedal connector that works with both a switch and expression pedal.

Features:
- 49 semi-weighted ultra-thin keys
- 1 programmable joystick
- 8 programmable trigger pads and 8 programmable knobs
- 64-polyphony mobile sounds module
- Fast operation SEQ transport, loop and chord change handling
- U-CTRL software included
- USB and MIDI I/O ports
- Stereo line and headphone out ports
- Universal pedal connector (switch or expression style)

If you ever wondered how professionals created MIDI ringtones, this is a piece of equipment worth noting in the process. The CME U-Key Mobiletone MIDI Controller Keyboard is a keyboard fully designed to work specifically with mobile ringtone creation or just be a portable, simple, MIDI controller solution. Whichever the case, the U-Key is an outstanding piece of MIDI controlling technology that can be fully customized to fit any music professionals needs.

CME website: U-Key Mobiltone