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Includes Rekordbox DJ Software. The CDJ 2000NXS2 is The Best DJ CD Player. We have 2 Pioneer DJM-2000NXS manuals available for free PDF download: Operating Insructions, Operating.What is your overall philosophy or approach when it comes to music (playing, recording, production)?Pioneer DJ CDJ-2000NXS2 & DJM-900SRT Used Dj Equipment for Sale Excellent condition + Full Warranty + Free Shipping. Item 6 Pioneer DJ Main Stage Pack - 2 x CDJ2000NXS2 and 1 x DJM900NXS2 6 - Pioneer DJ Main Stage Pack - 2 x CDJ2000NXS2 and 1 x DJM900NXS2.Manuals and User Guides for Pioneer DJM-2000NXS. Item 5 PIONEER Pro DJ TEXT - CDJ DJM DDJ 2000 NEXUS Mixing Desk House T-Shirt S - 5XL 5 - PIONEER Pro DJ TEXT - CDJ DJM DDJ 2000 NEXUS Mixing Desk House T-Shirt S - 5XL.

I think the key to proper longevity seems to be: make the music that moves you most and all the other shit will follow.”Tell us about the rest of the gear in your studio.“To be honest, I've always kinda come from the laptop musician school of keeping it mostly in the box. If you're trying to make music for other people or to try and follow trends, I honestly don't think it lasts. There is no greater feeling in my life than when a piece of music I'm working on starts to take shape.“For me, I have to be totally moved by what I'm working on long before anyone else in the world hears it. Everything else is secondary to that. Pioneer DJ Equipment is the industry standard for the professional Disc JockeysBuy Pioneer DJM-2000NXS (DJ Mixer) with features like Quantise Beat Effects, Beat Slice, Frequency Remix, Sidechain Remix, EQ isolator on each channel.“It's incredibly simple to be honest with you: just make the music you want to hear.

A cheap bass guitar, an electric guitar. A couple of Rode NT1A mics which I've used for literally every found sound / percussion or vocal recording on any of my tracks.' M-Audio controller keyboard, two Adam A7X monitors going into a Focusrite Scarlett 18i20 interface. Novation Ultra Nova which has been good for live stuff, an old Akai MPC2000XL, Akai APC40, Akai MPX16, a battered Roland SP404 not used since the 'Lemurian' days, though, I do often think about bringing that back.“Two Technics SL-1210MK7 turntables, two Pioneer 2000NXS2 CDJs going into a Pioneer DJM-850. ' Roland SH-01A, as I couldn't justify spending the money trying to get an original 101, but wanted to get those glorious lead sounds down.

I definitely feel like my major strength as an artist is the ability to respond to quite small or basic elements.'Like, if I have some nice chords, I find it so easy to come up with the rest from there. Like, if I have some nice chords, I find it so easy to come up with the rest from there“I'll chuck in a random drum break to guide all this usually and gradually build it up from there. Usually melodies will spring to mind from there and I'll start to jam those over the top.My major strength as an artist is the ability to respond to quite small or basic elements. I'll try and lay down a progression that moves me and then let my brain respond to whatever the chords tell it to. I've always kept it incredibly basic and those limitations have pushed me to be more and more creative over the years.”How does a track typically start structure wise and then progress?“Over the years it's changed so much, and will change generally from track to track these days, but I'd say that generally I'll start with chords. Sure there are tons of endlessly fancier plugins you could use but I really just want to stress that it's not what you use but how you use it.

Sometimes they come out quickly though, and they're always the ones I won’t touch afterwards. What ends up happening is, I'll listen back to what I've done the next day and realise there's elements that could be better, then go back in and alter whatever it is that stuck out to me.“It'd be much better to walk away from a track for a breather, when I think I'm done with it and go back the next day with fresh ears because I often end up with about 50 mixes of a track. I often fall into the trap of finishing a track, exporting it and thinking I'm done with it only to then listen back the next day and realise there's slight tweaks needed - or sometimes whole changes!“I guess I'm quite an impatient person so I always want to finish the track and move on to something new. It's just getting to that starting point that can be tricky.”How do you know when a track is finished or what advice do you have to complete a track?“The track is finished when I can listen to it without wanting to change anything.

I was becoming obsessed with Cocteau Twins and Bilinda Butcher's vocals from My Bloody Valentine, and wanted to expand my sound to try and capture a similar feeling to what I was getting through that music.Using vocals more as an instrument - like another synth but a thousand times more organic“I mentioned this to my mate Chris and he played me a few tracks he'd made with a friend of his, Morgane Diet. The tracks that I was writing were kind of screaming it out to me. Backed up with the most beautiful chords I could come up with, but with the addition of a big dose of hazy Kevin Shields-esque noise.“A beautiful uneasiness to the tone and lush vocals that are much more about melody than specific meaning, so, using vocals more as an instrument - like another synth but a thousand times more organic.”If you’ve been involved in collaborations for this project, tell us about how those went?“Yeah, I knew this album had to have female vocals. Tons of breakbeats, lush lead melodies and deep ambient textures. So, it wasn't a case of trying to copy either band's music or trying to sound like them, but more a case of trying to capture the way they make me feel.“So it was a case of listening deeply and learning about how I could apply that to what it is that I do.

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From there I'd build songs around them. I wasn't too bothered about lyrics particularly, it was much more important to me to get a feeling in the melodies - words weren't important as I knew she could communicate so much more this way.“She'd sent me back folders full of clips - melodies she'd sung over the chord progressions I'd given her. I started sending her little chord progressions and basically asking her to sing what came to her. Her voice stood out as pretty much exactly what I was imagining.“Cut to a few months later and he's put us in touch through email.

I'll be triggering and tweaking MIDI chord progressions from the tracks with a couple of synths, I’m still not 100% sure which I'll be taking out yet.“I'll have the SH-01 there to tweak lead melodies live, and will basically be triggering hundreds of clips in real time. It makes me improvise in different ways as well, which is exciting.“From my end I'm basically building this massive Ableton project which I'll be controlling with a couple of Akai MIDI controllers. We'll be meeting up soon to jam some ideas - it really breathes new life into the tunes to have his live drums going off next to me on stage. We toured the last album, Levitate, together. I'll be bringing Chris Boot with me, who I mentioned. The first live show is on November the 28th at Village Underground.

I mean, I'm quite lazy, so I guess it'd suit me, but it's more the fact that I reckon most of my music sounds better in my brain than the stuff I'm actually capable of producing.Try and imagine the best music in the world and then spend your life trying to be a good enough artist that you can bring it into existence“It's always been that way to be honest. That's always been the dream for me. The holy grail for me.”What would you like to see developed in terms of studio technology and why?“Some sort of Neuralink type shit, which would cut out the middle man of actual studio gear and mean you could just imagine tunes into existence. Having said that, If anyone wants to buy me a Yamaha CS80 or 70M I would not be complaining. You could take everything away from me but leave the laptop and I'm confident I could make interesting music quite happily for the rest of my life.