Algoriddim’s “next-generation” djay Pro 5 is here to power-up the party season with improved stem separation, crossfader transition presets and support for fluctuating tempos
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With the festive season now in full swing, you’re probably thinking about which software you’re going to use when you get the inevitable invitations to DJ at all those house parties you’ve been invited to (or, in our case, when you beg for invitations and insist that you’re going to DJ).
With its easy-to-grasp interface and integration with various streaming services, Algoriddim’s djay Pro has always been a good candidate to fill that role, and version 5 adds several new and improved features designed to make your life easier and give you more creative options.
First up, Algoriddim has partnered with AudioShake to enhance its Neural Mix technology, which enables you separate instrument, vocal and drum parts of songs so that you can remix on the fly.
The company has also boosted the capabilities of the humble crossfader. The patented Crossfader Fusion technology enables you to assign one of several transition presets to your crossfader, making it easier to create smooth blends or dramatic movements between tracks.
Beatmatching has been improved, too, with the new Fluid Beatgrid meaning that djay can now cope with tracks that have fluctuating tempos (everything from old funk tunes to current EDM bangers that have very obvious switches in speed). This works automatically, detecting and adjusting to tempo and rhythmic changes within a song, making beatmatching less of a headache.
The djay Pro UI has been enhanced, too, while a new Starter Mode streamlines the interface without compromising on the tech that’s running in the background.
Available for Mac, iPadOS and macOS, djay 5 is available now on the Apple App Store. You can upgrade to the Pro version for $7/£7/€7 a month or $50/£49/€50 a year, and a 7-day trial version is also available.
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Find out more on the Algoriddim website.
I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.
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