Just to make sure any reader doesn't have to focus their attention for twice this long a time, I quote and confirm the complete quote below, from Audiomontana above. I would like you to especially look for the word: MAGIC and the context where the word is put in.
I am very disappointed to learn that while very carefully choosing what hard- and software to use to extend my skills and move from buying records to using and producing music files, using an SL1 since 2010 and then two years ago finally being convinced Serato was the way to go because of The Bridge, this very un-practiced (or is it unpractisized) software module is now already discontinued. I've recently bought everything in my home studio and DJ setup with the philosophy of the Bridge (apparently my own) in mind.
Should I be happy I was able to buy the nexus generation CDJ900's? Happy to have exercised with Serato software for a couple of years? Because with these Nexus CDJ's there is no more need for Serato. Serato has actually become just a hassle dragging around huge 'usb dongles' like the SL1/2/3. And now that there is a color coded waveform, what more do I need for my live performance? It actually feels like I might as well wait until Serato is the default free software that comes with the pioneers. I can see the likeness with Rekordbox all the way. Rekordbox only needs a very little step of introducing VST's. I think it would take their developers 2 days to do so if they don't have it on the shelves already.
So: Sam, the C.E.O there at Serato (
createdigitalmusic.com). Without the option to 'magically' out-play and beat the very popular but o-so-not-dancefloor orientated Berlin Ableton DJ generation via 'The Bridge' in Serato (sorry guys, I've said it) , there is NO Reason what so ever to upgrade.
Let me try this challenge: We, the dance floor artists, not necessarily the laptop artists, will practice with the 'old' software and the 'old' Bridge to prove that that kind of connection between producing and taking your peaces to the club mixing them with anyone else s music, is the unique selling point of Serato and therefore keeps them being the missing link in DJ universe.
That way you can prove by trying hard to (re-)develop that bridge before Scratch Live runs out and my Rane SL1 breaks down (if it ever will), that you truly are -next to the makers of Ableton Live- the only software developers on this earth, that understand the needs of the dance DJ-Artists. And that you support DJ-artists as opposed to simple DJ/Producers.
I know they can be artists too, but since that name arrived (DJ/Producer), using Beat sync in Traktor, or Ableton Live as a live performance 'tool' really took away the magic on the dance floor in 85+% of the times I was there.
I had hoped that 'progression' wasn't measured in production sales, but in quality of the live performance. And I've told everyone around me that you (Serato/ Sam(?)) would be making the difference there. Now you make the same.
Are you going to 'buy this' or Sell out Sam, C.E.O. there at Serato? We need Artists support, you seem to want Rolls Royce kind of things....
(P.S. Sam: I don't mind about the beat sync. Like you said, you can turn it on and off. New features to play with. I mind about your 'Puritism' or did you mention that in the Vimeo Video -my Puritism- to separate the 'Purists' from the Serato DJ's?
Do you say Purists where I say Artists? That wouldn't be at all like tomato or tomato.)
Quote:
I Thought of editing you, Audiomontana, but repetition might be a better way to go...
What is really dissappointing is that the true reason to use bridge in the first place was lost on seratos first implementations.
Clip creation and editing in ableton via an able bodied dj program.
If you ever used the native mix function in traktor 3 -- circa 2005, than you will remember a dj program that you could jam with and then go back and edit your actions to create very good and polished mashups. The only thing that was missing from that was the ability to edit the transport data once you had it recorded. So it had to be done correctly ON THE FIRST TAKE.
This is/was the beautiful aspect of ableton. The ability to jam with loops and audio chunks in the session view and have that recorded into a multi track editor in a time line view via clips. Then you cand go back and work with the nice parts .. the good grooves, and give them a polish and use them as real material -- that sounds nothing like the original samlples albiet ;) (cue copyright authorities' interference in develpoment) -- Look at 'Kapture' Developed by Richie Hawtin and his ideas. BAsically a swiss army knife for the timeline view of ableton as a workaround.
K the problem with ableton. It doesnt act like a turntable "you cant play beats at the wrong speed" (richie hawtin) those of us that learned or have taken the time to understand what goes into beatmatching two records. Understand the auditory magic that happens in our heads when we push the grooves together. Thats exciting and fun for us. Even though its tedious and archaic. Thats the nice thing about Dj programs like serato and traktor. You can do things wrong and fix them immediately on the fly . Dj program still works like old school djing. (remember this if you can hold a thought for this long) ;)
Bright IDEA and what was promised ON THE BOX of traktor 3 -- an Editable DJ Multi track. NATIVE MIX FUNCTION. This was as close to doing what bridge aims to do with ableton . Without the attempt to work with two differant companies. The programming was there, the interface was perfect, lightweight and simple. However , not truly an editable DJ multi track because you could not edit the transport movements. Too much programming and upkeep for Native INstruments. OBVIOUSLY all thier coders suck look at the last three botched releases of traktor 2.6 and the library difficulties. These people smoke too much weed because something is left out of every release that makes is a pain in the arse, or THEY ARE DOING IT ON PURPOSE.
-- BRidge for scratch recorded the seperate tracks while in transport into differant lanes in ableton. COOL BUT it was audio, NOT CLIPS Clips(directions to the actual audio) that was being recorded into the multitrack dj session that was a mix tape. Good for use and light editing . BUt you couldnt jam with a turntable and then see the areas where the clip data was being manipulated and then create new arrangments with that data in ableton. The problem here was the differance in how the two programs treat audio. Seratos play vs Abletons clip play. This is why bridge for itch was never released as promised .. It wasnt going to work. Not the shared programming, the future development or the sharing of the money that would be created by giving djs what they need. This is my hypothesis .. BUT ITS SPOT ON . How could they not want to realize such a great system.
HENCEFORTH MY FURTHER HYPOTHESIS
These software companies that handle the interfaces for the biggest thing in the music industry at this TIME, NOVICE DJING , will not let the usership move forward. They are going to deliberately reduce our ability to create unique performances. CAUSE THEY SUCK . They want DJs to remain novice track player juke boxes. because top level djs are only ten at a time. And they dont want to have to create better software because its more expensive . And if they can push out a million IPhone docks that they can monitor DRM on they have theier arses covered. These people suck . Thats my challenge to the industry YOU SUCK cause you are un-imaginative and coporate tools. I say this to you as a festival owner and organizer, as a dj of 25 years, and as a lover of music and art and creativity . YOU ALL F_CKING SUCK.
