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Traktor DJ For i. Pad Review & Video Talkthrough. With Traktor DJ, Native Instruments has finally brought to market its vision of how DJing should be done on tablets. Review: Traktor DJ for i. Pad. Traktor has long been a firm favourite with digital DJs, including with about three- quarters of Digital DJ Tips readers. The desktop software offers a wealth of functionality and pushes the boundaries with things like its extensive effects and Remix Decks. Traktor users who dream of rolling up at standard (read: Pioneer equipped) DJ booths, plugging in their laptops and - you know - just playing, will be fascinated by the news and video we have today. The news first: Pioneer's. Experience a new way to mix and perform with TRAKTOR KONTROL S8: a 4-channel stand-alone mixer, professional audio interface, and enhanced performance decks for ultimate control over the included TRAKTOR SCRATCH PRO software. Descargar Traktor DJ Studio Pro : descarga r. Traktor DJ Studio Pro descarga y 100% disponible. How to sync audio in Traktor with video playback in Resolume Avenue, allowing you to scratch, loop and hotcue-juggle video / audio clips simultaneously. Now, Traktor DJ has joined its bigger brother, bringing the world of Traktor to the i. Pad. So what does the newest DJ app for the i. Pad (i. Pad 2 and upwards with i. OS6, to be precise) look like, and what does it do differently from other i. Pad DJ apps in order to stand out from the crowd? Let's find out in our full Traktor DJ For i. Pad review and video talkthrough.. DJ Controllers are quickly becoming a very popular choice for Beginner DJ’s and Professional DJ’s alike. With the recent introduction of high quality DJ Controllers from Native Instruments and Pioneer, the quality and.Download dj mixing software - Virtual DJ Free Home Edition 8.1.2857: Become a virtual DJ with this MP3 mixing software, and much more programs. Traktor Dj studio pro is an audio music mixer with superb equalizers and filters that offers great control functions with automatic beat-matching and flexible performance effects for Dj’s to use. It is used by a lot of disk. Traktor PRO, free and safe download. Traktor PRO latest version: Beat mixing for pro DJs. Traktor PRO is a professional DJ application for mixing digital music as well as CDs and Vinyl. First impressions. As the app loads up for the first time, you are presented with a brief video of highlighted features giving you a taster of what's in store. Firstly, it's probably best that you put to one side the image of a DJ with two spinning turntables with pitch sliders and a mixer: As you explore Traktor DJ, that will only make you feel old! Traktor DJ re- imagines a DJ's job, with the waveforms centrestage. This is something that I've been keen on ever since first getting my hands on an i. Pad, and I was immediately approving of it here. Super clear waveforms are central to Traktor DJ, and make much more sense than spinning turntable- type graphics to my mind. Why? Because a horizontal waveform- based display makes much more sense than a vinyl/CDJ emulation when you try and DJ with an i. OS device. The frequency colour- coded waveforms on Traktor DJ appear crisp, precise and almost hypnotic as they scroll across the screen; they've done an excellent job with them. You do have a smaller overall waveform to show your progress through the track, plus you can use pinch gestures on this to zoom in and out of the main waveform for closer detail. This becomes particularly useful when setting one of the generous eight hot cue points - plenty of scope for you to set markers on the intro, first beat, vocals, breakdowns and outro, probably with a few to spare. With the waveform as the main focus of the app, you quickly realise that most of the major functions have been ushered to the side. The main function buttons for each deck (Play, Loop, EQ and FX) are on the right- hand side, and unusually, the slimline crossfader also positioned (vertically) on the right. At first glance this may feel odd, but you soon realise that through the use of your right thumb you can load, play, loop and mix between tracks with ease. Depending on how many tracks you have and their format, this may take a little while. To get the best results from the app, I would recommend leaving this for a while to finish. While you're waiting, you could make a cup of tea and re- read this review, or alternatively, you could browse through the neat in- app tutorials (by clicking the . Doing so displays a sidebar on the left with topics of interest, and screenshots with text to explain each feature. One no doubt soon- to- be conrtoversial feature is that Traktor DJ provides you a list of recommended tracks for your mix, a system similar to Mixed In Key's 'energy level' idea. If you haven't looked at the tutorials, a notification- style number will be displayed next to the Information icon, indicating that you have a few features left to read about - a neat idea. The in- app help is well presented, clear and concise so should be easy for anyone to follow and understand. What happens during that analysis though? Well, the analysis detects the BPM, beatgrid and harmonic key for every track. Harmonic analysis is something new to DJ apps on i. OS. The result is that every track has a BPM and key marker against it. This is used by the app when displaying a list of recommended tracks. The latest version (2. Traktor Pro will also provide the same advanced key detection functionality. It's a bit confusing in the NI is using its own notation rather than . You can access the music library page in a number of ways: by taping on the music icon at the top right- hand side of the screen, by tapping on the artwork / track detail on either deck, or by swiping up from the bottom of the screen. The music library is an area where the app improves on all other i. OS DJ apps. Not only is there the usual slicing of your music library into playlist, artist, genre and so on, but as mentioned Traktor DJ also does some real- time analysis of the tracks you've got loaded and provides you with a list of recommended tracks which can match on compatible keys or similar BPM value. If you want a perfect match then both the key and BPM icons will be highlighted in green for easy identification. It would be nice to see some definable sorting available on the recommended tracks section, so that those with a best match are displayed at the top. The other displays of your music (for example in a playlist) can be sorted in a number of ways including by harmonic key (that's the little music note icon) and BPM (that's the heart/pulse icon). You can also search for tracks in the music library as well as accessing previous recordings made within the app. This could be useful if you're interrupted during a mix session. You could easily come back to your recorded mix, load it into a deck and continue from where you left off, overdub FX or mix in further tracks over the top. Adjusting the beatgrid. Once your tracks have been loaded into both decks, what's your next move? I found that my first task was to take a look at the beatgrid, most of the functionality in the app relies on the beatgrid so it's worth double checking. Here, you can see adjustments being made to the beatgrid on deck A, while FX and EQ adjustments are being made on deck B. On tracks with a solid beat throughout it was perfect every time. Adjusting the beatgrid is simple enough, tap on the lined button alongside . If the grid is slightly out, you can correct it by pushing the waveform forward or back to your preference. It's worth scrolling through the track to a few different points to ensure that your beat grid is near enough correct throughout. You can also adjust the BPM of the track on this screen, via half, double or tap- tempo buttons. You can change the master tempo by pressing the BPM indicator in the top centre and using the circular dial which looks like it's been inspired by the early i. Pods. This will change the tempo for any track with the . Worse, as the software has no tempo nudge, you can't . By clicking on the flag button you can set (and delete) eight cue points, which are remembered every time the track is loaded. These cues are hot cues (so playback will start when you press any set cue point). There is another button next to the flag, which has a frosty . If this is enabled during playback you can play any segment of the waveform displayed, a bit like chopping it up into tiny pieces and playing back on a piano roll. The Freeze function can be used in Loop mode, allowing you to loop segments of your main loop all without losing a beat. It's a cousin of the Slicer functions on some Serato controllers, like the Novation Twitch and the Pioneer DDJ- SX. It's all the rage, this . Top marks. The loop functionality is simple; you can set a default loop length in the settings (accessed on the music library page) and you can adjust the length by swiping on the waveform. There is no way to set and store loop- in and loop- out points, so looping is all live and instant. EQ, Filter and FXThere is a generous X- Y FX control pad with a relatively modest eigh Traktor FX to choose from, which are of the expected high quality. The EQ panel has a cool blue colour scheme and good wide sliders that have a visible trail to them, so you can quickly see where they are positioned. A quick tap on the centre line (not the slider) will return that EQ setting back to zero. The EQs are not full audio kill, but they are clear and responsive. You can also use a high- pass / low- pass filter on the same panel as EQ (accessed via the . The central point on the X- Y filter pad is zero; sliding down to the left will leave you with just bass frequencies, while sliding up and right will give you just the highs. The filter can be locked in place using the Lock icon, this will also place a tiny button near the . This means you can quickly turn off that filter without needing to go back into the EQ page. The FX panel (with orange colour scheme) appears from the left of the screen and gives you a decent sized X- Y control pad for your FX. There are three drop- down lists for the FX, but it seems that you can only apply one effect at a time. The three lists then could be set to whatever your top three most used FX are. As with the filter on the EQ panel, the FX can be locked in place leaving your fingers free to move onto something else within the app. Once again, if the effect is locked on, a small . It also supports USB audio sound cards; the press release specifically refers to Traktor Audio 6 and 1. I didn't actually realise were USB class compliant. You can connect these via the Camera Connection Kit to give you a higher quality stereo cueing and stereo master output. I haven't got one of these interfaces but it would be interesting to hear if anyone has used these with their i. Pad. I'll throw the gauntlet down here, though: NI is a big company and this is a big app. It would be good to see an Apple- approved audio interface (maybe also a dock?) from NI that negated the need to use the Camera Connection Kit hack, and that also allowed you to charge your i. Pad when using Traktor DJ. How about it, NI? You can adjust the master volume using the little speaker icon near the top. From this menu you can also trigger the in- app recording and adjust cue volume and cue mix detail. The in- app recording is stored in wav format and can be downloaded to your desktop via the app file sharing functionality in i. STV programmes news and information. The latest shows announcements, cast news and more. First Name: Last Name: Position: Phone: E-mail Ainsley: Fairbairn: School Based Facilitator: 264-7143: [email protected]: Alejandra: Nieto: Out of School. In 2012, Laurie Hernandez of MG Elite finished 21 st in the all-around at the U.S. Junior National Championships with a score of 101.900. One year later, she improved. This is the 2nd post in our who wore it best series! Again on the panel we have: Ashlee and Brittany from Triple Twist Stacie from Beam Dreams Izzi from Chalk it up. The 13 gymnastics selected to represent Team GB at the 2016 Olympic Games have been officially announced. Team Leader, Alan Edge “We are delighted to have selected. 9781413524208 1413524206 El Divino Narciso - Coleccin de Clsicos de La Literatura Latinoamericana 'Carrascalejo de La Jara', Sor Juana In's De La Cruz. 9781434468376 1434468372 Standish of Standish - A Story of the Pilgrims Vol. I, Jane Goodwin Austin 9781436875264 1436875269 History of the Town of Hampton, New. Elena Mukhina was born June 1, 1960 in Moscow, Russian SFSR. She lost her mother by the time she was five years old. She was raised by her grandmother. June 2016 Lilleshall Sign Up to Mental Health Charter for Sport and Recreation. Bisham Abbey and Lilleshall National Sports Centres have recently joined the list of. Elena Mukhina - Wikipedia. This article is about the Russian gymnast. For other uses, see Mukhina. Elena Mukhina. Her career was on the rise and she was widely touted as the next great gymnastics star until in 1. Thomas salto) caused her to break her neck just two weeks before the opening of the 1. Summer Olympics, leaving her permanently quadriplegic just one month past the age of 2. Personal life. She lost her mother by the time she was five years old. When an athletic scout visited her school, she eagerly volunteered to try out for gymnastics. In recognition of her accomplishments, Mukhina was inducted into the CSKA Hall of Fame. Then, two separate incidents brought her skills to the forefront for the Soviet team: Romanian domination of the Soviet gymnastics machine at the 1. Olympics (for which the director for Soviet women's gymnastics, Larisa Latynina, was blamed; Latynina's response was, . She burst onto the scene at the 1. World Championships in Strasbourg, France. In one of the most stunning all- around performances in history, she won the gold medal, beating out Olympic Champions Nadia Com. She also tied for the gold medal in the floor exercise event final, as well as winning the silver in balance beam and uneven bars. She made history in this competition by unveiling her signature moves: a full- twisting layout Korbut Flip on bars; a tucked double back salto dismount on beam (a move that is still being used over three decades later); and a full- twisting double back somersault on floor (still an E- rated move in the Code of Points) dubbed the . Yet, in spite of these innovations, Mukhina maintained the classic Soviet style, inspired by ballet movements and expressive lines. She quickly established herself as an athlete to watch for at the 1. Summer Olympics in Moscow. A documentary film of the Soviet national team (1. Mukhina talking with her coach, Mikhail Klimenko, and footage of her rigorous training regimen. Even though she won the All Around title and floor exercises at the 1. Soviet coaches. Mukhina soon realized the Thomas salto was extremely dangerous because it depended on being able to get enough height and speed to make all the flips and mid- air twists and still land in- bounds with enough room to do the forward roll, and it took near- perfect timing to avoid either under- rotation (and landing on the chin) or over- rotation (and landing on the back of the head). In the 1. 99. 1 documentary More than a Game, Mukhina spoke of trying to convince her coach that the Thomas salto was a dangerous element.. It was an accident that could have been anticipated. I had said more than once that I would break my neck doing that element. I had hurt myself badly several times but he (coach Mikhail Klimenko) just replied people like me don't break their necks. With less than a year until the 1. Summer Olympics to be held in Moscow, the pressure was on the Soviet team coaches and doctors to get the previous All Around champion Mukhina back on her feet and ready for the games. In an interview with Ogonyok magazine, Mukhina blamed the doctors at Ts. ITO (Central Institute of Traumatology and Orthopedics) who were serving the National Team for attempting to rush her back into training too soon, saying she begged them not to remove her cast and discharge her because . When doctors removed her cast against her wishes and had her try walking on the leg, she said that she knew she was walking . The Ts. ITO doctors X- rayed the leg and discovered that the fracture had not healed properly and would not be able to sustain the pounding of gymnastics in its present condition. Mukhina was rushed into surgery that afternoon, but the damage had already been done to her reputation; one of the National Team coaches, she said in the Ogonyok interview, showed up at her bed the day after surgery and outright stated that she . Once more against her wishes, the doctors removed her cast prematurely, and Mukhina returned to training for the Olympics while beginning a strenuous workout program at CSKA Moscow to lose the weight she had gained while laid up from surgery. With lingering weakness in her leg and mounting exhaustion from the grueling weight loss workouts, Mukhina had great difficulty coming back up to speed on what was to be the new end element of one of her floor exercise tumbling passes, the Thomas salto. Despite Mukhina's warnings that the element was constantly causing minor injuries and was dangerous enough to potentially cause major injuries, she was pushed to keep the element in her floor routine, and she continued to practise it even knowing it was a dangerous element. On July 3, 1. 98. Moscow Olympics, Mukhina was practicing the pass containing the Thomas salto when she under- rotated the salto and crash- landed on her chin, snapping her spine. She was instantly rendered a quadriplegic. Mukhina was training at the Minsk Palace of Sport when the injury occurred; her coach Klimenko was not present at the time of the accident. The Soviet Union awarded her Order of the Badge of Honour in 1. Initial rumors were that she had fallen on approach to the vault. In one of her few interviews about the accident, published in Ogonyok magazine, she criticized the Soviet gymnastics program for deceiving the public about her injury, and for the system's insatiable desire for gold medals and championships.. They embodied (and embody) the correctness of the political path we have chosen, the advantages of the system, and they are becoming a symbol of superiority. Hence the demand for victory . We've always placed a high value on risk, and a human life was worth little in comparison with the prestige of the nation; we've been taught to believe this since childhood. They are words behind which the person isn't perceived. I'm not condemning anyone or blaming anyone for what happened to me. Not Klimenko or especially the national team coach at that time, Shaniyazov. I feel sorry for Klimenko . I was injured because everyone around me was observing neutrality and keeping silent. After all, they saw that I wasn't ready to perform that element. Nobody stopped a person who, forgetting everything, was tearing forward . Because of her devastating injury, Mukhina could not be added to the 1. Soviet Olympic team roster. There was little doubt that the Soviet Olympic women's gymnastics team would get the gold medal in the team competition at the 1. Summer Olympics, as it did at all previous Olympics. Nevertheless, Klimenko had desperately wanted Mukhina to make the Olympic team roster because he wanted to become the . It remains an allowed skill for men as of 2. Her condition notwithstanding, Mukhina was a guest columnist for Moscow News in the late 1. Her injury was a featured topic in the 1. A& E documentary More Than a Game; and her World Championship performance is captured in the ABC Sports video Gymnastics' Greatest Stars. Mukhina took a keen interest in children and young gymnasts both before and after her injury. She also expressed a deep religious faith, and was fond of horses and animated cartoons. Mukhina was thankful to her former teammates who kept in touch with her, especially Yelena Davydova, whom she described as . She advocates for disabled people in China. A Chinese miniseries was produced about her life, starring fellow gymnast Mo Huilan. South Australia dominated the session, taking out the Team Title, Yaroslava Leonova, Faith Chin and Alisa Buglak sweeping the All- Around podium, and South Australian gymnasts taking home all four individual apparatus titles. Our Acrobatic Gymnastic Level 6 Trios were also in action this morning. The medals were shared around for the Balance and Dynamic routine awards, but in the end Teisha Jang, Cassie Palombo and Clara De Asis of New South Wales were crowned National Champions. In the afternoon session our Trampoline athletes were back in action, contesting the Senior, Junior and Youth Synchronised Trampoline and Tumbling Finals. New South Wales continued their dominance of the 2. National competition, taking out five of the nine National Titles on offer during the session. Most notably Newcastle brothers, Ty and Shaun Swadling, overcame their disappointment of the Individual qualification event, by winning the Synchronised Trampoline National Title. Rhythmic Level 9 Junior and Level 1. It was once again a successful session for the Queensland Rhythmic Gymnastics team, with Saskia Broedelet taking out three of the four finals contested in Level 9 Junior, whilst Queensland athletes shared the spoils to take home all four apparatus titles in the Level 1. Thu Luu of Victoria (Level 9 Junior) was the only athlete to stand atop the dias not from Queensland during the middle Rhythmic session. Level 6 ACR athletes were once again in action during the afternoon, this time in the form of the pairs competition. The Rhythmic Open, Junior and Senior groups were on display, in what proved to once again be a successful session for Queensland, with their groups taking home five of the eight medals on offer, including all three National Titles. Session 3. 3 also saw our Trampoline athletes band together to contest the Tumbling, Trampoline, DMT and Overall finals. New South Wales continued their dominance across all age and elite categories being contested during the Championships by winning all Team Finals they contested, and taking home the Overall Aggregate Trophy for both the Age and Elite divisions. Finally the Level 8 to 1. International Acrobats were back in action performing their Combined routines to contribute to their overall scores after competing their Balance and Dynamic routines yesterday. In the International divisions Sue Seki, Emily Cuddy and Holly Loquet of Victoria took out the Junior 1. Women’s Trio category, whist NSW’s Sarah Hemmings, Lauren Cosgrove and Jillian Connor took out the 1. Full results: ausgymnasticschamps. Our final presentation of National Gymsport Awards, Athlete Awards and Board Awards were also presented following the conclusion of competition this evening. Congratulations to all who received awards throughout week 2 of the Championships: 2. National Gymsport Awards. Rhythmic Gymnastics (RG)Teresa Evans QLD RG (Official of the Year)Sarah Bewley WA RG (Aus Levels Coach of the Year)Alexandra Eedle QLD RG (Junior Athlete of the Year)Elizabeth Inaba- hill QLD RG (Aus Levels Athlete of the Year)Danielle Prince QLD RG (Senior Athlete of the Year)Gina Peluso QLD RG (International Coach of the Year)Trampoline Gymnastics (TRP)Belinda Cox NSW TRP (Coach of the Year)Darren Gillis QLD TRP (Special Recognition)Bond Larkin TAS TRP (Official of the Year)Jo Penny TAS (Special Recognition)Daniel Hancock NSW TRP (Junior Male Athlete)Kira Ward NSW TRP (Junior Female Athlete)Dominic Clarke NSW TRP (Senior Male Athlete)Eva Kierath WA TRP (Senior Female Athlete)Acrobatic Gymnastics (ACR)Michelle Mason NSW ACR (Special Recognition)Shelby Lacey NSW ACR (Levels Coach of the Year)Wendy Treble VIC ACR (Official of the Year)Hillary Conroy and Natalie Lin NSW ACR (International Senior Athletes of the Year)Kim Lacey NSW ACR (International Coach of the Year)Perry Drakopoulos and Tara Sahagian NSW ACR (International Junior Athletes of the Year)Aaron Mavro and Siubhan Mc. Bain VIC ACR (Australian Levels Athlete of the Year)5 Year Participation Awards . Dominic Clarke of New South Wales rounded out the podium by finishing third.“Yesterday wasn. Christie won the national title by 2. Western Australian Liam Jeans. Kerslake (6. 1. 8. Queensland. Tasmanian Matthew French rounded out the podium, finishing a further 1. Hunt. New South Welshman Kira Ward (6. Junior DMT title with a convincing 4. Cleo Thornett from Western Australia, with Megan Adams narrowly edging out fellow New South Welshman Samantha Pace by 0. In the Senior DMT men competition, Matthew Weal. New South Welshman Dominic Clarke rounded the podium, a further 1. In the women. Braida Thomas rounded out the podium with a score of 6. The Youth Trampoline competition in the women. Holly Kerslake backed up her Double Mini Trampoline result by finishing third, a further 0. It was a New South Wales dominated title in the Junior Trampoline competition, with Kira Ward (5. Georgia Rayment (4. Samantha Pace (4. Furthermore, Megan Adams was able to place fourth for the New South Welshmen, missing out on a media by just 0. Western Australia took out a quinella in the women. Prince fought off quality competition from Tara Wilkie, winning the Hoop discipline by 0. Ball discipline by 0. Clubs discipline by 0. Ribbon discipline by 0. Emma Chan (Ball), Himeka Onoda (Hoop and Clubs) and Zoe Ormrod (Ribbon) were also beneficiaries of bronze medals on the night. Lidiia Iakovleva and Alexandra Eedle dominated the Junior International Apparatus Finals, with both gymnasts finishing in the top two in every discipline. Iakovleva took out the national title for Clubs, Rope and Hoop, while Eedle took out the Ball title. Ashari Gill took two bronze medals in the Rope and Clubs competitions, while Laura Gosling (Ball) and Audrey Freeman (Hoop) were able to score bronze as well. Crowds also got their first glimpse at Australia’s best Acrobatic athletes in action at Hisense Arena tonight. In the Junior 1. 1- 1. Women. Continuing New South Wales. They won the team competition ahead of NSW and had Heather Blakeway (gold) and Felicity White (silver) place All- Around as the best two gymnasts in the field. Full results: ausgymnasticschamps/results. Day 1. 0 – 2 June 2. Danielle Prince has won the Rhythmic Gymnastics Senior International All- Around title for the fourth consecutive year, at the same time as leading Queensland to Team gold at Hisense Arena earlier this evening. The Queensland team clinched victory over New South Wales by just 0. All- Around (AA) competition, with Prince clinching her fifth Senior AA title with a score of 6. The 2. 3- year- old from Brisbane topped the dias ahead of NSW youngsters Tara Wilkie (5. Maya Bennett (5. 4. Despite missing the apparatus at the end of the final routine, Prince said she was pleased with her competition, and looking forward to having the opportunity to rectify some of her mistakes in tomorrow night’s Apparatus Finals.“It was really nice to get out there. My main goal for today was to actually enjoy it; to enjoy the experience and enjoy performing, so. I had a great time out there. I’m pleased with my performances and, yes, there was a little bit of pressure. With Australia having qualified one Individual Male to the Trampoline event at the 2. Olympic Games, Tasmania’s Jack Penny let the selectors know his intentions, by topping the rankings heading into tomorrow night’s final with a combined score of 1. Close behind him was 2. Olympian, Blake Gaudry (1. New South Wales’ Dominic Clarke (9. In the Women’s Individual Trampoline event, Western Australia’s Eva Kierath topped the rankings after the qualification round, with a combined score of 9. Earlier in the day, the afternoon session we saw the Rhythmic Gymnastics (RG) Junior International Team and All- Around competition. New South Wales added to their gold total by taking out the team honours, whilst Queensland. Two winners were awarded in the U1. Women. Olivia Morris from Victoria and Brendan Carroll (NSW) were crowned Champions of the respective Women. Isla Barr (NSW) completed a dominant win, whilst Samuel Durkin (QLD) won his state. Cameron Tidd (SA) led the Men. The NSW team claimed the single gold medal on offer, slightly edging out Queensland and South Australia for the remaining podium medals. There was also a re- award of the RG Level 7 Junior All- Around medals from yesterday. In a score correction, both Lavinia Rajan (WA) and Sophia Dew (VIC) tied for third with a score of 3. Full results: ausgymnasticschamps. Day 9 – 1 June 2. Day 9 of the 2. 01. Australian Gymnastics Championships at Hisense Arena saw our Trampoline athletes join our Rhythmic gymnasts in action for week 2 of competition. On day one of competition for our Trampoline athletes, National Titles were up for grabs in 1. Meanwhile in Hoop, Scarlett Evans from SA got the gold, and Chapman secured another second place finish, tied with New Zealand. Elise Kargiotis from Victoria won gold for Hoop, ahead of Laura Trapnell of Western Australia, and SA. In what was a strong section bursting with talent the Victorian team dominated, being crowned the Champion Team, and with Tahlia Stewart taking out the All- Around title. She was joined on the podium by teammate, Madeleine Pham, in third position, with Kaylee Kua from NSW clinching All- Around silver. Full results: ausgymnasticschamps. Day 7 – 2. 9 May 2. In her first competition back since a full knee reconstruction, Lauren Mitchell has shown why she is Australia. Twenty- year- old Emma Nedov from Sydney took bronze on 1. Larrissa Miller recovered from her disappointment on the Uneven Bars last night, to put together a sensational routine to win gold on the Floor. Miller performed a Double Arabian, a challenging skill with a half turn and two front flips in the air before landing, which contributed to her final score of 1. Mitchell, the 2. 01. World Champion on Floor made a couple of errors in her Floor routine that cost her the win, taking bronze on 1. It was again Little who stepped up to the mark, winning silver with her performance of 1. Sales Compensation: It’s Not Just the Money. A business owner sits at his desk and wonders why his year- to- date sales are well below forecast, his cash flow is suffering and he can’t seem to motivate his sales team to sell the new product. Everyone had bought into the targets at the beginning of the year; but now, the frustrated manager would be happy to hit 6. Compensation Programs For Sales Employees NeededIs this a sales- management problem? Should he fire his team? What, exactly, has gone wrong? Scenarios like this aren’t uncommon among small and mid- sized companies. But in many cases, the problem isn’t the product or the people. It’s the sales compensation plan. Salespeople are your company’s frontline champions for the products and services you sell. They’re the connection between your company and its customers. They find revenue, and they make a primary contribution to top- line growth. Compensation Program Design. Executive compensation. Sales incentive plans for. Strategically designed compensation programs will: Stimulate and reinforce employees for. More than anyone else, your salespeople influence how the marketplace perceives your firm and values its products. But the way they do those things is largely a product of how they’re paid. And as most business owners and sales managers know, formulating the right compensation plan can be a bit like solving a Rubik’s cube. How do you know whether your plan is designed properly? An effective sales compensation plan does the following: Attracts and retains top talent by being market- competitive. Every CEO or sales VP will tell you that they want to hire the top salespeople in their industry. But from my experience, companies give little thought to how their sales compensation plan is perceived by potential employees. Ask yourself these questions: -Is our base salary competitive?- Is our commission structure in line with that of our competitors?- Is there a cap on commission at a competitor?- How frequently are salespeople at the competition paid?- Do salespeople at the competition get paid based on revenue or margin? Only with these benchmarks can you build a plan that’s as good or better than the competition’s. Find the information in industry research reports, online guides such as Payscale and even by interviewing your competitors’ sales reps. Use competitive information as a starting point, and make adjustments that fit your business based on the next three points. Aligns employee interests with the company’s business objectives. The DNA of salespeople forces them to spend more time and energy on the activities that earn them more money, so it’s important to define your business objectives clearly and ensure your sales compensation plan communicates those objectives to your sales team. For example, if an organization wants its sales team to focus on developing new business, the sales compensation plan should be designed to pay out more commission for acquiring new accounts than for renewals. Admittedly, guiding behaviour through compensation is not always simple. One company I worked with had a suite of highand low- margin products and a commission plan based solely on the gross margin of the products they sold. But that was not enough to encourage the sale of the highermargin products. The lower- margin products were much easier to sell and could be moved in higher quantities, so that’s what the sales reps sold; high volumes with low commissions trumped low volumes with high commissions. Your sales plan should deal with such complexities. Salespeople are driven by money, so when compensation is attached to certain activities and results, it adds weight and gets their attention. Sales Compensation: It’s Not Just the. In today's article we are going to talk about How To Pay Employees. When thinking about the fairness of their compensation, employees are. For those that would still like to implement a performance based pay program it. Encourages desired behaviours—not just outcomes. People who choose to be in sales are driven by the money they can make. Within your compensation plan, you should clearly define your expectations for performance and the associated commissions, bonuses or other incentives, such as trips or car allowances. But note that a smart plan encourages desired behaviours, and not just financial results. Consider one former client of mine, whose plan did not align payouts with the sales cycle; the company’s reps achieved 0% of plan in the first 1. So, for instance, you might tie compensation to the performance of certain tasks within a designated time frame. For a long sales cycle, you could offer a bonus to those who make certain number of sales presentations in a quarter; if the cycle is less than 3. Rewards salespeople for overachieving with accelerated commissions, trips or other rewards. A common argument I hear from business owners is that they feel their salespeople make too much money as a percentage of the revenue they bring in. On the other hand, salespeople want to feel that their contributions to growing revenue are rewarded appropriately. The best designed compensation plans align the interests of both parties. Here are some tips for doing so: -Except in unusual circumstances, total compensation should not exceed 2. Compensate more for higher- margin products/services sold and less for lowermargin items, factoring in ease of sale and potential volumes.- Pay out commissions only after the client has paid you. By putting these elements in place, you ensure that you are not overpaying your reps, that they are focused on profitable sales activity and that you are protecting cash flow. Developing a sales compensation structure that addresses all of these issues is a challenging process. However, once your plan is in place, it will help drive your sales objectives and support your recruitment goal of attracting the best possible talent. Back to our frustrated business owner, who had to change several variables of his compensation plan. Find out how sales compensation plans. How Sales Compensation Plans Fit into Employee Benefit Programs Using Sales Compensation to Boost. Territory Volume Compensation Plans occur when sales employees work in a culture. Bad sales compensation plans just motivate them to start. A good compensation plan will meet the needs of both the company and the sales team. A compensation program helps the company by motivating salespeople to make the. Three Tips to Design a Sales Compensation Plan. Make Room for Sales Contests. How to Develop a Compensation Plan. The compensation plan should then reflect these actions and drive employees to complete them. First, he delayed commission payments by 3. Next, he instituted a draw against commission whereby sales reps were not paid commission until they generated a minimum amount of revenue equal to their monthly allocated overhead. This motivated the reps to make sure they generated revenue as soon as possible, and led to increased prospecting activity. Most important, the owner took time to explain why the changes were needed, avoiding any unhappiness or turnover. 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