djay is a digital music mixing software program for Mac OS X, Microsoft Windows,^[1]iPad, iPhone, and iPod touch created by the German company algoriddim. It allows playback and mixing of digital audio files with a user interface that tries to simulate the concept of 'two turntables and a microphone' on a computer. Before the commercial release in November 2007, djay had initially been released as freeware in June 2006.^[2] In December 2010 the software was also released for the iPad,^[3] and subsequently for iPhone and iPod touch in March 2011.^[4]

Its interface consists of two turntables, a mixer and a music library showing songs and playlists from iTunes. It also supports Spotify integration.

djay for iPad received an Apple Design Award in 2011.^[5]

Sep 18, 2017  djay transforms your Android device into a full–featured DJ system. Seamlessly integrated with your music library, djay gives you direct access to mix your favorite songs and playlists. Picked by Macworld's Editors. Algoriddim Djay 2.3.1 When you need a quick music mix, the temptation to fire up iTunes can be tough to resist. There’s a tap-tempo function.

Features[edit]

iTunes integration[edit]

djay's iTunes integration allows the user to mix songs directly from the iTunes library. It provides the option of browsing the library, for example by Playlist, Artist, Album, Genre, Key or History. Dragging songs onto the turntables in djay, transforms them into virtual records complete with album art.

Automix[edit]

Automix mode enables djay to automatically mix songs from the iTunes library, and play them instantaneously with DJ-style transitions. Using the Automix Queue the user can step in any time and immediately queue up tracks.

Transitions[edit]

djay's instantaneous beat and tempo detection allows the user to match the BPM of two songs for a transition. On pressing the SYNC button the software automatically syncs the BPM of the two songs so that both are smoothly aligned.

Record live performance[edit]

djay allows the user record live mixes and save them in high-quality sound files. It also contains a built-in organizer arranges, previews or exports the recordings.

Multi-Touch trackpad control[edit]

Mac has a tool called the Multi-Touch trackpad. djay can dynamically utilize this trackpad to fully control the software with versatile Multi-Touch gestures. For example, a rotating gestures can adjust the EQ, while two finger swipe gesture can scratch the record and operate the crossfader.

Live sampler[edit]

There is a built-in sample pack featuring 20 high-quality sounds made by ueberschal, a company in the sampling industry. In addition, djay allows the user to create custom samples from the turntables or the microphone.

Mixer and EQ controls[edit]

djay consists of a 3-band equalizers, gain, line faders, and a crossfader that provide the user with the necessary tools needed for a DJ setup to seamlessly blend one song into another.

Harmonic Match[edit]

The software can automatically detect a song's key and matches it to songs of the same key within the iTunes music library. It also allows the user to transpose songs into different keys, and even sort the entire music library by key.

High-quality audio FX[edit]

djay includes three FX control panes for different mixing styles: a one-touch panel for instant FX, a custom pane, and a 2D touch interface. Effects include Flanger, Phaser, Echo, Gate, Bit Crusher, Filter (High Pass, Low Pass), as well as six preconfigured instant effects: Absorb, Drift, Sway, Crush, Punch, Twist are bundled in with djay.

Beat-matched looping & cue points[edit]

djay has a range of different looping styles: Auto, Manual and Bounce. The use can manually set loop in and out points, use Auto-Loop to continuously loop part of a song, or remix live using Bounce-Loop to mash up the song, all in perfect sync with the beat.

iCloud integration[edit]

The program can work with iCloud (and iTunes Match), meaning the user can sync it with the iTunes library in the cloud. In other words, tunes are synced between every iOS device connected on the cloud. All of these devices can run djay, and cues and BPM information edited or added in will appear immediately in all of the others. There is a remote control available for iOS to control the djay app on the MacBook over WiFi.^[6]

Pre-cueing[edit]

djay allows the user to preview and prepare the next song through headphones before playing it on the main speakers by simply connecting a USB audio interface or splitter cable. The software offers different audio hardware configurations.

Live microphone[edit]

djay allows the user to add live microphone input into the mix. Using Echo or Pitch-Changer effects once can transform vocals for an appropriate MC performance.

MIDI controllers[edit]

djay supports controllers such as Vestax, Numark and other manufacturers. In addition, djay features a MIDI learn system allowing users to configure and map any controller to their preference.

See also[edit]

References[edit]

1. ^Algoriddim (2017). 'Professional DJ App for Windows - djay Pro by Algoriddim'. Algoriddim. Algoriddim. Retrieved 11 September 2017.
2. ^'Archived copy'. Archived from the original on 2008-12-20. Retrieved 2008-12-10.CS1 maint: archived copy as title (link)
3. ^http://www.macrumors.com/2010/12/02/djay-application-for-ipad-released/
4. ^http://mashable.com/2011/03/15/djay-iphone-ipad/
5. ^Rawson, Chris. '2011 Apple Design Award winners announced'. TUAW: The Unofficial Apple Weblog. Retrieved 8 June 2011.
6. ^http://www.digitaldjtips.com/2011/11/review-djay-4-0-for-mac/

External links[edit]

Slow Tempo In Djay 2 Torrent

25330

There’s a lot of interest among new digital DJs as to how experienced DJs move around the BPMs seemingly so effortlessly when they play DJ sets. Of course, you don’t have to do this at all – some DJs spin at a strict BPM and don’t deviate at all for whole sets – but especially nowadays, it’s far more common to see DJs making exciting tempo (BPM) changes, either subtly or to extremes, in order to play a better variety of music and entertain their audiences more.

So today I thought I’d talk about a few ways DJs do this, so you can think about your own gigs and tune selections, and work out if any or all of these could be worked on by you to improve the way you structure your DJ sets. The ultimate aim, of course, is to be able to play a wider selection of music, to play the tunes that are suitable for the audience in front of you right now, and not to worry so much about the technicalities of BPMs.

7 tips for changing BPM while DJing

1. Use the 50% rule… – This one is pretty simple, and it states that if you’re beatmixing, say, a 120BPM tune into a 126BPM tune, the best place to do that mix is at 123BPM – 50% of the way between the two. That way, the first tune is only speeded up a small amount, and likewise the second is only slowed down a small amount. Fewer people are likely to notice when a tune is “off” its original BPM when you try to stay close to the original BPMs in this way
2. …and the 5% rule – This one states that you should only deviate by 5% up or down, maximum, when beatmixing (I usually prefer 4% personally). So if you’re mixing a 100BPM tune, 5% down is 95BPM and 5% up is 105BPM – so you’re looking for your next tune to be within that range. If all this talk of percentages muddles your head, just choosing 5BPM up or down (or a 10BPM range) is a simpler, if slightly less accurate, way of remembering this rule
3. Use key lock… but beware – Keylock, or master tempo, is the control on CDJs and DJ controllers/software that stops the pitch of a tune altering when you change the tempo. It can be highly useful when executing BPM changes in a beatmix, because it stops tunes sounding ridiculously low or high when you slow them down or speed them up outside of a subtle change. However, deviate too far from true tempo (or sometimes, any distance at all) and the sound can reduce in quality with keylock on, so trust your ears. A good rule too is to try to return to the true tempo for the incoming tune once you’ve finished your mix, and then turn key lock off once you have (say, within the first minute of the tune playing), by making slow BPM adjustments that hopefully your audience won’t notice
4. Make those BPM adjustments randomly/off the beat – It’s fine to adjust the BPM of the tune that’s playing as I just described – indeed, it’s the only way you’re going to move between the BPMs if you also want to carry on beatmatching. But doing this in slow increments over a couple of minutes is the best way, as hopefully your audience won’t notice. Another tip is to make these small adjustments randomly or off the beat. The reason is that because most adjustments we make in DJing are on obvious “1” beats; so if you do this in totally random places in the song, there’s nothing musical about it (ie the audience isn’t expecting anything to change) thus you’ll get away with it better
5. Try the double/half trick – If your set speeds up to a high BPM (say 155+), you can mix in a tune that’s exactly half the BPM of the playing tune and the beats will line up (so from 156, you could mix into a 78BPM tune) – great for hopping from dubstep to hip hop or vice versa
6. Ditch beatmixing totally – It ain’t all about beatmixing, folks. A couple of the best tricks up any DJ’s sleeve are surprise and silence. Surprise the audience by radically changing genre and BPM at just the right time by just throwing a new tune on right at its biggest hook or drop. Or, kill the music totally before dropping in to, say, an acapella at a different BPM, then a beat finally to bring the music back, again at the new BPM. Or you could cut from the beat of one track at one BPM to a beatless break of another at a different BPM. Sure, you’ve got to practise such techniques (and sometimes, you’ve got to have the balls to practise them in front of a real audience) – but these are all bonafide tricks for moving between the BPMs without needing to religiously rely on beatmatching
7. Trust your ears! – In our Digital DJ Masterclass course, where we have three full sections of videos on mixing, we have an example mix where I demonstrate going from a full-on house tune to a laconic lazy reggae song in one mix – while still beatmatching! This particular mix breaks pretty much all the rules above, but it still works… so the important takeaway here is to trust your ears and if you experiment and something sounds good that shouldn’t (or if try as you might, a mix that ought to work really just doesn’t) – believe what you’re hearing. There’s art as well as science in mixing, and never more so than when boldly chopping around genre and tempo ranges

Finally…

A lot of the worrying done by beginners about BPM changes in DJing is based around thinking that the audience “will notice”. While it’s true that competent mixing is something to be aimed at at all times, that doesn’t mean “invisible” mixing. Garageband 5. 0 free download for mac. It’s OK for the audience to notice stuff! Since when did mixing have to be “invisible” anyway? Big, bold steps in exciting multi-genre sets are – I would hazard a guess – preferable to deathly boring single-genre, single BPM beatmixed music to most people.

Slow Tempo In Djay 2 Free

So don’t be afraid to chop it up a bit, try things, and get noticed. A few over-ambitious mixes in a set of well-chosen, dancefloor-friendly music is far preferable to boring everyone because you are over-obsessed with doing everything perfectly. The only people who never make mistakes are those who never try – so be bold, give it a go, and make those big BPM and genre changes despite any worries you may have. The audience will thank you for it and you’ll gain skills far quicker than if you always play it safe.

Do you have a favourite way of doing BPM and genre changes in your DJ sets? Do today’s DJs over-obsess with smooth beatmatching, or are they getting the balance right with this stuff? Please share your thoughts in the comments.