A hip hop, breaks and funk jam! DJs: DJ Antics and DJ Beats
Get your dancing shoes on, Antics is returning for another Saturday night mash up of hip-hop, funk, breaks and electro. Residents DJ Antics and DJ Beats plus special guests will be offering up the finest hip hop, funk breaks and beats, while the Antics' crew delight your eyes with their awesome visuals. And there's drinks deals, oh yes: check www.anticsclub.com for details. Tickets are only £5 in advance via anticsclub.com. Check out the Antics mix at http://soundcloud.com/antics-2/antics-promo-mix
A hip hop, breaks and funk jam! DJs: DJ Antics and DJ Beats
Swap your mince pies, sausage rolls and sherry for hip-hop, funk, breaks and electro. It?s a Christmas rave up here tonight as residents DJ Antics and DJ Beats plus special guests will be offering up the finest hip hop, funk breaks and beats, while the Antics' crew delight your eyes with their awesome visuals. And there's drinks deals, oh yes: check www.anticsclub.com for details. Tickets are only £5 in advance via anticsclub.com. Check out the Antics mix at http://soundcloud.com/antics-2/antics-promo-mix
UK bass wunderkind Sam Binga brings his unique blend of jungle, dnb, juke and hip hop to Sydney. Supported by local legends Royalst, 8 Diagram and Ncrypt. DJs: Sam Binga, Royalston, 8 Diagram, Ncrypt
Double Up? alongside Blood and Gold are chuffed to announce one very special guest to play our next show at the Imperial Hotel. A wunderkind of the recent (RE)explosion of drum and bass, Sam Binga has been thrilling crowds worldwide with his infamous fusion of jungle, dnb and hip-hop...
Something's happening to the faster side of dance music. Maybe it's the hyperactive influence of juke's chopped-up 808s, the embrace of dubstep's half-time flow at a higher tempo or perhaps it's simply the ongoing evolution of the mutation started by dBridge and the Autonomic podcasts. Whatever the origin, that spectrum of music between 160 and 170bpm is sounding utterly vital once again.
Sam Binga has placed himself firmly at the centre of this new wave, with releases on some of dance music's most respected underground labels - 50 Weapons, Exit and Critical. His sound spans the anthemic rowdiness of tracks like 'AYO' and 'Lef Dem', to the deeper explorations of his collaborations with Om Unit, and has attracted the attention of legendary artists such as Zed Bias and CHVRCHES - who have both hit him up for remix work - and Kode9, who featured his collaboration with Addison Groove '11th' on his critically acclaimed Rinse CD.
Over the 12 months since the release of 'AYO', Sam Binga has played clubs and festivals across Europe, including regular turns at the world famous Fabric in London, Motion in Bristol, and Stealth in Nottingham.
As a DJ, he has become known for his fearless style, blending juke and jungle with classic crunk and dancehall. His unreleased dubs, such as the 'Sambaata' refix, or the 'Crackney Parrot' rebax, are still in huge demand from DJs such as Friction, Machinedrum and Alix Perez, while forthcoming releases with Fracture and Rider Shafique have attracted early attention from forward-thinking selectors such as Brackles, Murlo and Breakage.
If you're fully in the know, or if you pay attention to wider movements in the music world, you'll realise that there's some serious weight behind the Sam Binga name, with countless gigs and worldwide tours covering pretty much the whole spectrum of underground dance music under his belt. But that's not important right now: what's important is that mix of dirty-south swagger, Chi-town footwork and UK pressure people like Sam Binga are bringing to the table. Fresh, weird and strictly fire on the dance floor.
Sydney-based, classically trained, DJ / producer Dylan Martin (middle name ?Royalston?) has been listening to Drum + Bass since ?93, producing for 12 years and DJ-ing for about 10. A man of many talents, Royalston is also an illustrator / designer and first got into music production when he was making a soundtrack to a 3D animation. His music is characterised by a raw, analogue sound with a tech-y edge (thanks to plenty of hardware like his favourite Korg MS-20) and he has released on labels such as Bad Taste and Black Acre before signing exclusively to Med School in 2012.
Royalston cut his teeth on Med School with ?The Test? ? a track which appeared on ?New Blood 010′′ and remains one of his favourite tunes to date. He swiftly followed this up with his first vinyl release, the vitriolic ?Glitchbitch?, dedicated to his ex girlfriend, on ?More Blood 010′′. Having wowed us with a release on Bad Taste and a super sharp remix of Art vs Science ? ?Magic Fountain?, which started life as a bootleg, was made legit and subsequently received heavy support from London Elektricity, and currently has over 250,000 plays on
YouTube. In November 2011, he returned with more musical mayhem in his exceptional, four-track ?Cerulean Blue? EP. After a short break Royalston returned this year with his album 'OCD'. 18 tracks of profound bass and jungle influence. A showcase of his fine production and attention to details.
Growing up on a strict diet of Resch?s, raw meat, jungle, drum and bass and hip-hop can never yield anything except the finest of results. In this instance, we have the first ever birth of fully detached Siamese twins, 8 Diagram. This constantly morphing beast has surged into the Australian Jungle//Drum and Bass scene with a killer release on Melbourne?s Detrimental Audio in early 2014, with another E.P in the pipeline due for release in the latter half of the year.
Armed with a battery of breaks, sirens, hip hop and kung-fu influences over gully basslines, this almost-human entity is heading for the outerverse, destination breakbeat utopia, population YOU.
Originally hailing from the Blue Mountains, Ncrypt is rapidly becoming a household name in the Sydney Drum and Bass scene. Forging a reputation for tight, technical mixes this kiddo has his sights firmly set on the ultimate bassline.
Ncrypt?s journey into the electronic music world kicked off in 2009 after being introduced to dubstep. From that moment onwards he began to research artists and gather a collection of music from various international & local record labels. The selection of tunes used in his sets varies from show to show however one thing stays true, by the end of his set you will either have danced your shoes into oblivion or dialled the police. Your call...
The Imperial Hotel Cornerstore (ground level, back room)
35 Erskineville Road
Doors open at 9
first release second release
Tickets via the Ticket Fairy: https://www.theticketfairy.com/event/blood-gold-double-up-sam-binga-uk-13sep2014/
A hip hop, breaks and funk jam! DJs: DJ Woody, DJ Antics and DJ Beats
After several rammed parties at KOKO, Antics is returning for another Saturday night mash up of hip-hop, funk, breaks and electro. Residents DJ Antics and DJ Beats plus a special DJ/AV set from DJ Woody will be offering up the finest hip hop, funk breaks and beats, while the Antics' crew delight your eyes with their awesome visuals. And there's drinks deals, oh yes: check www.anticsclub.com for details. Tickets are only £5 in advance via anticsclub.com. Check out the Antics mix at http://soundcloud.com/antics-2/antics-promo-mix
Re: Prism Lyra 1 USB Audio Interface Review Posted
On 8/15/2014 2:44 PM, Jay Ts wrote:> In terms of the circuit and performance, if you can get the printing on> the main chips, such as the codec, it can help identify the exact part.> From there, it's possible to look up the corresponding datasheet and> learn a lot about the quality of the product.I could read it with difficulty, and I put the info about the codecs in the review because I knew that some people were going to want to compare what's used in this unit with what's used in some other unit, then start a discussion on Gearslutz along the lines of "The $2,000 Lyra uses the same converters as the $200 M-Audio (OK, I don't know if that's true but you get the point) so why is it so much more expensive?> It's nice to see the brands of electrolytic caps in the power supply> section, too.In order to do that on this unit I would have had to disassemble it even further since the power supply, except for some vent slots, was pretty thoroughly enclosed. I wouldn't expect a company like Prism would use cheap components.> if the caps are Nichicon, United Chemi-con or Panasonic, just tell> people.I've heard of those brands and if I notice them, I might mention them. There was very little on the main board that's identifiable. I don't know how to tell which of those little rectangular chips are resistors and which are capacitors, much less the brand names.> In general for SMD chips, there are footprints that are so tiny that> virtually no human can solder them, but there are also older, larger> footprints (such TSSOP) that are just half of the 0.1" through-hole> packages from the 1970s that we all love. :)What part of "it's practically unrepairable" don't you understand? Do I have to prove this to you? You're reading my review. Take my word for it. If it was easy to repair, I would have mentioned that.> From what I'm seeing in the photos in the article, the first thing you> need to to is use brighter lighting so the light level on the case more> closely matches the brightness of the LED display. The LEDs are simply> overexposed, which will mess up the colors.Tell that to Prism. I'd have to look at the review again, but I think that all of the pictures were either screen shots or came from Prism's "high resolution" press photo library. The reason why I tried to photograph the meters myself was that I wasn't satisfied with the stock Prism photos. You DID read the review, didn't you?> It's not always necessary to have an exact schematic or understand the> circuit completely. Often, designs are based on reference designs they> got from the manufacturer. I repaired my DMP3 just from looking at the> circuit board and discerning how the circuit generally worked, looking at> the INA163 datasheet, probing some pins to see that something was wrong,> and making a logical guess. It was easy.OK, you can try fixing your Lyra when you get one and it breaks. Most people who get into a failed device will look for a blown fuse or a charred resistor. I can trace analog signals, but when it comes to logic beyond simple gates, there's really nothing I can do to figure out what's wrong. If your problem is with an op amp, yeah, that's not difficult assuming you can remove the bad one and replace it without buggering up the board.> If there are no custom proprietary chips, and you can identify all> of the chips, and look them up on Mouser or Digi-Key and order in> quantity of one, that's a big plus!This ain't no $200 mic preamp.I'm not really writing reviews for repair technicians who fix things when they break, I'm writing for people who are going to use them and hope that they don't break. To be honest, I'd take a crack at a mic preamp that quit working, even if it was mostly SMD construction, but I know my limits. I have a small Mackie mixer, a 402 VLZ3 I think, that has a dead headphone amplifier. The way it's packaged, it needs to be completely disassembled to even see the component side of the board, and the chips are really packed closely together. I wouldn't take a chance on screwing something else up trying to repair it. And for sure I'm not going to get my soldering iron close to a $2,000 interface with a lot of digital stuff on it. I might tackle the power supply if that was clearly the point of failure (which isn't too difficult to determine) and it was Sunday and I needed it for a session that night. But I've got good sense and I'd send it back to the company for repair.> Look up "soldering smd" on YouTube. There are some really good lessons.Yeah, like I'm going to trust myself to work on an expensive piece like this with what I learned from YouTube? Nope. I have some ChipQuik and have used that to remove a part and replace it when I could get in to work on it, but I only chanced working on something I cared about after removing and replacing a bunch of surface mount parts on a PC graphics board that I picked out of someone's Free Stuff pile at a hamfest, just to have something to practice on.Look, Jay, I write these reviews because it gives an opportunity to play with stuff that I wouldn't buy (either it's too expensive or I don't need it) and I share them with those who are interested for all the fame and glory that it gets me. It doesn't get me any money. If you've like me to further into the design and construction, I'll be happy to give you a quote. You have some valid questions, but you're very different from the user for whom this gear was designed.An Ampex AG-440 was designed for a different kind of user and was built to be serviced (and in fact there are full schematics in the manual) because every recording studio and broadcast station had a tech on board or on call. This is not the case with today's studio gear, even units such as the Lyra, that would be comfortably at home in any top tier studio today. They just don't make studio techs any more like they did in the Ampex days - because they don't make gear that way any more.-- For a good time, visit http://mikeriversaudio.wordpress.com