Denon MC3000 – A brand new, more affordable DJ controller
What Is It?
The Denon MC3000 is the little brother of the vicious beast I reviewed in our previous issue and I first encountered the MC3000 when I was working on the review for the aforementioned DN-MC6000.
I always keep an eye on the latest kit to be released (part-work, part-gear perv), and the aptly named BPM 2011 Expo in Birmingham UK is one of a handful of expos around the world that a large majority of the manufacturers including Denon target for release of their latest products, this year being no different. Loads of new controllers were unveiled and the Denon MC3000 was also due to be shown off, but the controller sat on display on the Denon stand for just under a minute before being covered and squirreled away.
Cue loads of viral videos of eager gear heads filming and sharing the footage of the MC3000 being covered and whisked away by the Denon supremos. I personally think that Denon didn’t think the world was ready for the MC3000 back then. It’s reminiscent of all the hoo-ha over the latest sports cars being tested on secret tracks around the world shrouded in thick black tape to hide their sleek, aerodynamic lines. But with a controller…oh dear, I think I’m maxing out the geek meter here.
So if you couldn’t deduce it from the awesome pics accompanying this preview, the MC3000 is a two channel DJ MIDI controller and mixer. But don’t think you will be relegated to just two channels as there are facilities on the controller to use it as a four channel device once you’ve mastered the two deck set-up using a combination of backlit buttons and a 2 + 2 system. In fact the MC3000 has a carbon copy of the sound card found in the DN-MC6000 so no worries about stretching the card beyond its capabilities.
The 105 mm control wheels are also the same high quality ones found on the 6000 and the high resolution line faders are also shared between the models. If you are one of the few who don’t like to use the platter for pitch bending each side of the controller is fitted with Denon’s “Legacy” pitch bend buttons. The backlit buttons controlling the effects and sampling section are shared and each of the two effects modules has four backlit buttons and four rotary controls to give you very comprehensive management of your dual effects section. You also have 8 hot cues available to use per side.
As with its larger forerunner the MC3000 comes Traktor and Virtual DJ certified and the versions heading to our shores ship with Traktor LE 2 while those destined for American shores get Virtual DJ LE. The controller is fully compatible with Mac OS X and Windows 7 and is even compliant with machines still running Vista and XP. Something that is unique to the MC3000 is the band pass filter for each of the two channels and this can really improve mixes when guys get to grips with how to effectively use it.
There are two sets of ports for RCA inputs but no phono/line switch so you will have to stick to line devices only, rounding out the inputs is a 1/4” jack for the microphone. As to the outputs you have the choice of either unbalanced RCA or balanced 1/4” ports. From the looks of the device the MC3000 will come with an external power transformer to power the entire controller so the USB connection is just for data transfers.
Also worth bearing in mind is the weight, and even with a steel chassis the MC3000 tips the scales at 3 kg which makes it lighter than some laptops out there.
Who should own one?
Judging from the estimated price point the MC3000 is going to slide in quite comfortably in the middle of the controller segment. It’s certainly going to cost more than your entry level controller but the way it has been thought out will let you grow into the fully functionality and creativity that a package like Traktor Pro 2 can offer.
The audio inputs are also quite handy if you want to dust off those old CDJ’s and use the MC3000 as a standalone mixer. Compared to some of the other controllers in this segment the baby Denon is going to do well just on the fact that it’s pretty much a DN-MC6000 version 2 that’s been shrunk down.
The Verdict
Anyone that read my review of the DN-MC6000 will grasp in what high regard I hold that particular controller. The MC3000 is a terrific compromise for all those guys that want to get their hands on the most solid controller build available at the moment but still have space to grow into. As mentioned previously the sound card is the identical one fitted to the DN-MC6000 so you know that there have been no sacrifices in terms of quality or reliability.
And while being more compact than the DN-MC6000 the layout on the MC3000 seems more intuitive with the pitch faders mirroring each other on the far sides of the facade. The positioning of the effects selects and the addition of a filter on both channels also shows a little more eye for detail than its bigger brother and appears more intuitive.
The entire package comes with the trump software in Native Instruments Traktor LE 2 which is far better suited to using all of the MC3000 than the same package on its bigger brother. But even with that in mind accommodations have been made for running Pro 2 in four deck mode through the use of the deck change buttons in 2 + 2 setup. None of your controls for sampling, effects or hot cue functionality are in any way compromised by the down-sizing, if anything they have been improved upon. The navigation section has also been streamlined to let you not only get around your music library more proficiently but also to access your Video, Mixer, Scratch, Sample, EFX and record functions with.
The VJ has also not been left out of the new model with the cross-fader still available to be used to control your video fader which is a great extra for those guys using Virtual DJ Pro.
To sum it all up on a preview front, we can’t wait to get our paws on this bad boy. Judging from the specs and comparisons we’ve gone through if you managed to get a feel for the DN-MC6000 then expect the same experience on the MC3000.
It seems that only a few corners have been cut to bring you a controller which is as dynamic as its big brother but more compact and cheaper. And who wouldn’t want that?
Price: + R 8,000.00
Supplier: Audiosure | Tel: (011) 790 4600
Web: www.audiosure.co.za / www.denondj.com
Roland UA-55 Quad-Capture Audio Interface
“Roland have really stepped things up in their audio interface department…”
Roland recently updated their line of USB 2 audio interfaces aimed at those looking for pro-quality sound at home or on the go without equipment slowing them down.
Roland’s designs, while great, have never been very sleek. However, the new Quad-Capture (smaller sibling to the larger Octa-Capture) manages to retain some aspects of its predecessors, like the UA-25EX, while cramming loads of features into a sexy compact package. It seems Roland has finally joined the party and are making affordable yet innovative, high-quality audio interfaces.
To sweeten the deal, the 4 in/4 out Quad-Capture comes bundled with Cakewalk’s Sonar X1 LE DAW software.
Anatomy
This flexible and portable USB bus-powered interface is housed in a very compact and rugged black aluminium casing. It operates at sample rates of up to 192 kHz with very low latency.
This 4×4 I/O device consists of two analogue in/outs and two digital coaxial in/outs. Also included are midi in/out and a headphone jack. The analogue inputs feature Roland’s pro-quality VS preamps and convenient XLR/ ¼-inch (balance or unbalanced) jack-combo input sockets on the front panel, with a selectable Hi-Z instrument input on channel one and 48v phantom power for both channels. While allowing convenient mobile recording, the USB bus power operates at optimised voltage for cleaner sound.
Each input sensitivity knob has a circular orange LED level indicator that doubles as a signal level display. Nifty! The unique Auto-Sens function automatically sets optimum input gain for any source at the touch of a button. This feature is incredibly handy for the non-technically-minded as well as anyone needing to work quickly. The Direct Monitor Mix knob allows one to blend between direct input and playback signals while overdubbing.
The easy-to-use software control panel features a selectable low-cut filter, phase inverter, a noise gate and digital compression for each channel, and also controls input gain, Auto-Sens, sample rate as well as output levels.
In Use
The device’s drivers install via CD, so I was up and running in seconds.
While tracking and mixing in both the complimentary version of Sonar X1 LE and the DAW I use in my studio; Logic, the interface delivered a clean, quiet signal with admirably low latency. The VS Streaming driver is said to be particularly stable and all popular DAWs are supported. The sound quality of the ADA converters and pre-amps isn’t that far behind similar interfaces by Focusrite or PreSonus and is considerably quieter than the ubiquitous UA-25EX. I think they finally sorted out the earthing problem that was rife with earlier Roland interfaces.
Setting vocal levels via the Auto Sens knob was a breeze, and I got a strong, clean signal with no fear of clipping. The compressors are decent enough to track with, but do tend to get a bit grainy at extreme settings.
Integrating digital equipment was also quick and painless. I connected a drum machine via the digital input and synched up some beats in the DAW using the interface’s clocking and adjusting levels within the control panel.
After a few hours of toying, I completely forgot about the Quad-Capture. Its ease of use allowed me to focus on performing at my best.
Conclusion
Although most purchasers of the Quad-Capture will probably have a DAW already, the Sonar X1 LE is certainly worth looking at and of course for those that don’t have one, it’s a great place to start getting those recordings down. Importantly one can start recording from the get-go once you purchase the interface.
Roland have really stepped things up in their audio interface department and what makes the Quad-Capture special is just how much they’ve crammed into their tried and true metal housing while still managing to make it simpler to use.
Its portability, quick and easy operation, flexible IO options for laptops, turntables, sequencers, drum machines and live recording, as well as its low latency and direct monitoring make it an excellent choice for live performance situations and mixing on the fly.
Also available in the range: UA-33 Tri-Capture and UA-11 Duo-Capture.
SA Distributor: Musical Instruments | 021 799-4950
Suggested retail price: UA-33 – R 1,795.00 | UA-11 – R 1,195.00
Presonus Studio One Mk11
“a welcome alternative to the intimidating, bloated [DAW] offerings currently considered the standards…”
Presonus is an American based audio electronics company based in Baton Rouge, Louisiana and was founded in 1995 by engineers Jim Odom and Brian Smith. The company made its name building keenly priced audio interfaces, signal processors and mic preamps, but in recent times it’s their StudioLive range of mixers that has probably caught the eye of most and certainly proved a resounding success for the company.
So why develop a DAW in a market that would seem to be quite set with the established brands; the likes of Protools, Logic, Cubase, Reason, Ableton, Sonar and FL Studio are all pretty established in their market shares begging the question ‘what can another DAW do that’s not being done by one of the aforementioned already?’ Well clearly Presonus had other ideas, encouraged specifically by two former Steinberg programmers at a company the two had formed called Kristal Labs. From what may have started out as a strategy to supply an OEM DAW version with their audio interfaces and StudioLive mixers has since turned into a full-blooded product they took to market in 2009.
The Money Shot
They launched with the marketing pitch, “a welcome alternative to the intimidating, bloated [DAW] offerings currently considered the standards with a program that makes audio recording, MIDI sequencing and audio mastering ridiculously simple right out of the box.”
In a nutshell the two ex-Cubase programmers clearly were aware of some of the frustration that users had expressed when they worked on the Steinberg DAW and recognised that simpler means faster work flow. What makes Studio One an appealing alternative too is the fact that it entered the market at such a good price and with Mk11, just released, they have upped their game even more, by throwing in so many extra add-ons the DAW really is all you need to create music with just few extra plugins.
Studio One – the DAW
Before we get into what’s new and impressive about the new Mk11 version let me take you through what Studio One has offered since it was first launched. First of the GUI interface is super sleek and cool. Similarities to Cubase are unavoidable, even down to a similar blueish/grey colour scheme.
What I like about Studio One is the single window design; with everything integrated on one screen it’s a little like the new Reason 6 in functionality but aesthetically will appeal more to those familiar with Cubase. Drag and drop is a great feature with which you can drag virtual instruments and plug-ins (or just their presets) from the Browser to the Arrange view.
Likewise if you drag an audio sample from your folder a new audio channel will create automatically and features such as being able to duplicate sends on the virtual mixer makes setting up multi-tracks super quick. This is the strength of Studio One; the ease with which one can create instrument tracks, audio tracks, routing etc by simple drag and drop techniques without ever leaving your front screen. The time-stretch algorithms really impressed me in Version 1 too. There are three, namely; Drums, Solo and Sound and you can slow entire mixes down by a simple altering of the global tempo.
The audio editing features are also good and compare favourably to Cubase, a DAW that has always been a leader in this area of music production and whilst version 1 did not offer any dedicated multi-track comp editor this has been addressed in MK11. The Control Link feature will learn your MIDI controller keyboard’s knobs, sliders and switches, and then allows you to quickly and simply link them to the on-screen mixer and plug-in controls. Learned parameters stay learned, so that the same hardware mapping automatically kicks in the next time the same plug-in is used. This is similar to Novation’s Automap system as it updates you with changes you are about to make before you fiddle.
Anybody who spends time programming a midi controller for different plugins will recognise the benefit of a system that maintains this info indefinitely. I can wax lyrically all day about the individual features that Studio One brought to the market but in truth purveyors of the other DAWs will equally have answers to the approach Presonus have taken.
Perhaps the biggest and most appealing feature of Studio One that will certainly help the product gain traction in the market place is their uncluttered approach and what they have added in the MK11 version.
What’s new in MK11?
Since the program download only became available three days before print deadline it has been impossible to fully test the new version of Studio One, suffice to say that first impressions are that the GUI is even sleeker and super modern in look. 20 Gigabytes of downloading later makes one realise that they have chucked everything plus the kitchen sink and more into the full-blooded version. I looked briefly at the main features cited online to see if they worked to verify their claims;
Integrated Melodyne Pitch Correction; this third party application is the leading pitch correction tool available and is fully integrated into Studio One now. What this tool does is breaks down an audio recording, say a vocal, into separate notes (frequencies) and one can manually adjust these so if a vocalist misses a note you can actually move this within the audio recording. Naturally for effects purposes you’d be able to create some wacky distortions too, something like the autotune craze that swept popular music recently.
Transient Detection, Editing and Groove Extraction; you can quantize multitrack drums in two steps: group the tracks, then quantize. Studio One does the analysis and phase-coherent quantization for you. Drag-and-drop audio into the Groove panel, then quantize. Groove extraction is as simple as drag-and-drop; extract a groove from any audio and apply it to any other audio in seconds! It works and it’s amazingly quick and simple taking mere seconds to do its job.
Multitrack Comping; this was lacking in version one although there was a relatively easy way around it before. In MK11 it’s a dead simple process with features such as automated crossfading between takes (you can edit the fades) and a simple alt and clicking of a take to audition the audio. Simple and fast is the key here.
Other notable features include quick and easy editing of multiple instrument tracks simultaneously, a track ‘Transform’ feature where an entire audio track can be rendered in place with one click, removing any inserted effects plug-ins and conserving CPU power while still allowing normal editing. One click restores the original audio events and any inserted effects. Kinda like ‘Freezing’ in Cubase but with added flexibility.
What’s in the package?
Studio One Professional ships with 31 64-bit Native Effects™, and both Studio One Producer and Artist ship with all but 5 of these plug-ins (Pipeline, Groove Delay, Multiband Dynamics, OpenAIR, IR Maker). Both Professional and Producer versions also support VST 2.4, VST 3, AU, and ReWire. There is no limit on the number of plug-ins that can be used in a given song.
There are only four Virtual instruments included but with VSTi, AU, and ReWire support you can of course have as many 3rd party instruments as you choose. Third party content bundled with the Professional and Producer versions is impressive too; Native Instruments Komplete Elements, which provides a comprehensive selection of production-ready sounds and effects.
The collection contains over 3 GB of material with over 1,000 sounds. EZdrummer Lite Plus is a stripped down version of the multi-microphone drum sampler EZdrummer. It is designed for musicians and producers who want a compact, affordable, easy-to-handle plug-in without compromising sound quality or control.
Conclusion
This is by now way a comprehensive review of Studio One. It would be remiss of me to imply this after only a few hours of looking at the program. I intend though to start using the application to compose a few tracks so look out for a series of online posts as I detail the pros and cons of this exciting second coming of Studio One.
To be notified of these posts email join@bpmmag.co.za or join our Facebook page
SA Distributor: Tuerk Music Technologies | 011 794-8402 | www.tuerkmusic.co.za
Estimated retail price: Studio One Artist V2 – R 995,00 | Studio One Producer V2 -R 1 995,00 |
Studio One Professional V2 – R 3 995,00
PERFORMANCE STAND FOR LAPTOP COMPUTER
Rugged, solid, gig-ready computer support.
Laptop Stand is the DJ’s computer-elevation station. Every performer who uses a laptop, including DJs with Total Control, Stealth Control, Omni Control, MixMeister Control or NS7; producers working with an MPC or any other production or DJ controller and cutting-edge home studios can appreciate Laptop Stand.
It is the only laptop stand for DJs that balances solid, secure construction, portable, collapsible, low-weight design and excellent affordability. Laptop Stand is fast to assemble or disassemble and comes with a zippered, protective case for convenience in transport.
Solid, easy-to-assemble laptop stand for DJs
Secure construction, yet portable, and collapsible with low-weight design
Fast to assemble or disassemble
Comes with a zippered, protective case for convenience in transport
SA Distributor: Viva Afrika |011-250 3280| www.numark.com
Tech News:New Audio Interfaces from Roland
DUO-CAPTURE: Versatile Audio I/O for Mac and PC
Two is the magic number for the Duo-Capture USB audio interface. It’s equipped with two audio inputs and two audio outputs. The dual headphone outs are perfect for side-by-side musician/engineer sessions, with no additional mixing hardware required. Duo-Capture boasts ultra-stable, low-latency drivers for both Mac and PC platforms, and provides a versatile selection of I/O formats to accommodate a variety of gear. With its unique, slim-line design and stable performance, it’s the perfect audio interface for recording musicians on the go.
TRI-CAPTURE: The Power of Three! Triple Inputs & REC Modes
The new head of its class is the multifaceted Tri-Capture USB interface — a unique, compact audio interface optimized for personal and mobile recording, vocal and guitar recording, and streaming-internet applications. With its mixer-like design and dedicated front-panel controls, Tri-Capture makes it easy to mix, control, and monitor a variety of signals. Plug a microphone into the XLR input, an instrument into the 1/4-inch jack, and a stereo instrument or device into the AUX input. The unique REC Mode section provides instant selection of recording scenarios, including Loop Back for web streaming applications. Tri-Capture is full-featured yet portable, and is USB bus powered for a clean, simple setup.
QUAD-CAPTURE: Pro Performance for Portable Production
With a pair of premium VS Preamps onboard, plus superb 24-bit/192 kHz audio quality, ultra-low latency performance, and convenient USB bus power, Quad-Capture sets a new standard for portable USB 2.0 audio interfaces. Its compact, durable design and pristine sound makes it the perfect foundation for portable, multichannel computer-based productions on the go. With quality and performance that far exceeds its size and price, Quad-Capture stands at the head of its class.
* All units packaged with Cakewalk Sonar X1 LE.
SA Distributor: Musical Distributors| (021) 799 4950| www.musicaldistributors.co.za
Tech News: Vestax announces the VCI-400
The new four-channel controller comes with over 200 assignable parameters.
In early October Vestax announced details of the brand new VCI-400 controller. Building upon the legacy of the highly influential VCI-100, the VCI-400 has been designed to function with any DJ software that has a MIDI learn function and comes bundled with Serato DJ Intro and Virtual DJ LE 4 Decks. The VCI’s front panel has over 200 assignable—and largely unlabelled—knobs, faders and buttons, as Vestax look to provide as blank a canvas as possible for user customisation. (Overlays are included to write your own functions directly on to the front panel.) MIDI maps for a range of DJ software have also been bundled. The built-in audio interface is 24-bit/48 kHz resolution.
SA Distributor: Rolling Thunder | Tel: (021) 557 8630 / 0090 www.rollingthunder.co.za
Tech News: Martin Launches MAC Aura
The Martin Professional MAC Aura is the first compact LED moving head wash light with zoom that offers never before seen eye candy aura effects plus functions as a highly capable single-lens wash with fully pre-mixed colour.
The Aura’s optical system combines two illumination systems in one luminaire – multicolour beam LEDs and a backlight LED lens array – to produce an all new visual palette that takes the synthetic look out of LED wash lights for truly unique lighting design possibilities.
You can use the fixture as a powerful single-lens wash or employ a separate set of individually controllable multicolour LEDs for radical to subtle eye-candy looks. You are able to mix, match, and create new effects that take the unnatural LED look out of LED lighting. You can also employ the Aura’s built-in FX engine to create extraordinary effects fast.
The MAC Aura houses an unrivalled 11-58 degrees of zoom for fantastic beam effects with great definition. The zoom is capable of angling wide or extremely tight for high intensity beam looks. A uniform field of light and excellent efficiency is maintained throughout the zoom range.
The MAC Aura delivers almost 4000 lumens of output in an ultra-compact 5.6 kg (12.3 lb) package for a performance to size ratio that you don’t find in comparable fixtures. And the Aura moves at a speed and precision that was once only associated with moving mirrors.
The MAC Aura is also a versatile wash light, it features superior colour mixing with a broad range of shades from two independent colour systems. Colour shades mix completely uniform from vibrant saturated colours across beautiful pastels to authentic warm and cool shades of white.
Thanks to an excellent cooling system and high optical efficiency, the MAC Aura is extremely quiet for noise sensitive environments like TV and theatre. Incredibly low power consumption (1 amp) also allows multiple fixtures to be daisy-chained on the same power line for an easier, faster and less expensive installation.
With or without eye candy
Use the fixture as a powerful single-lens wash or employ a separate set of individually controllable multicolour LEDs for radical to subtle eye-candy looks. Mix, match, and create new effects that take the unnatural LED look out of LED lighting. For the ultimate in easy-to-produce visuals, use the Aura’s built-in FX engine to create extraordinary effects fast.
Zoom with boom!
The MAC Aura houses an unrivalled 11-58o zoom for fantastic beam effects with great definition. The zoom is capable of angling wide or extremely tight for high intensity beam looks. A uniform field of light and excellent efficiency is maintained throughout the zoom range.
The MAC Aura delivers almost 4000 lumens of output in an ultra-compact 5.6 kg (12.3 lb) package for a performance to size ratio that you don’t find in comparable fixtures. And the Aura moves at a speed and precision that was once only associated with moving mirrors.
Wicked wash
The MAC Aura is a versatile wash light of the highest calibre. It features superior colour mixing with a broad range of shades from two independent colour systems. Colour shades mix completely uniform from vibrant saturated colours across beautiful pastels to authentic warm and cool shades of white.
Oh, so quiet
Thanks to an excellent cooling system and high optical efficiency, the MAC Aura is extremely quiet for noise sensitive environments like TV and theatre.
1A is enough
Super low power consumption (1 amp) allows multiple fixtures to be daisy-chained on the same power line for an easier, faster and less expensive installation.
SA Distributor: Electrosonic | Tel: (011) 770 9800 www.electrosonic.co.za
Cover Feature: Music Box By Craig De Sousa
Music Box
A highly desirable Digital DJ Solution presented by Craig De Sousa
“This new age of dj’ing has been the inspiration to take my performances to the next level! No more frantic looking for a track in a cd wallet. All my sets are uniquely planned with the flexibility to move with the party.” – Craig De Sousa
Within the pages of this magazine we have reviewed many, many DJ controllers and I can personally attest to watching this burgeoning market grow and grow from the first rudimentary models that arrived on my desk several years back. It’s also fair to say that we’ve advocated the benefits of ‘going digital,’ a point of view I have championed since discovering this for myself.
Unfortunately amidst all the good reasons I can offer as to why digital DJ’ing kicks CDs into touch, it does also come with certain reservations. Sadly I have seen good DJs lose ‘their edge’ when crossing over to a controller-based platform simply because the sync button is just too hard to resist and once the art of beat-matching is no longer required, DJ’s run the risk of losing that human touch to their performance. Which is why I like the solution that renowned house DJ, Craig De Sousa has come up, simply called Music Box.
What Is It?
Music Box is basically a DJ solution comprising of four essential components to empower you with the tools to perform digitally from a laptop. These four items are a MacBook Pro, Serato Scratch Live, a Serato SL2 soundcard and an Akai LPD8 controller.
Here’s how it works; The Macbook hosts your DJ application – in this case Serato Scratch Live, your SL2 soundcard provides high quality 48 kHz, 24-bit multi-channel audio output as well as Serato NoiseMap™ Control Tone (more about this later) and your LPD8 ensures that you don’t have to touch the laptop keyboard whilst performing. But how does one cue up your tracks and where’s the jog-wheels and mixer I hear you ask? Well this is where Music Box differs from the now very familiar all-in-one controller + laptop configuration.
With this setup one uses the mixer and CD players in the DJ booth to perform. So all mixing, EQing and auditioning of tracks in your headphones are done on the mixer in the DJ box. Likewise the CDJs in the booth become your controllers for beat-mixing your tunes. Sound complicated? It isn’t. In fact once one gets one’s head around the concept of plugging the CD players into the SL2, it’s really dead simple.
I mentioned the Serato NoiseMap™ Control Tone feature earlier. This feature converts a turntable (some of you may have heard of these, heh-heh) or a CDJ into a controller to control the playback section of the Serato software. So once a track is loaded into a channel (A or B) the CDJ takes control of said track enabling you to use the jog-wheel and track search buttons to move the track back ‘n forth, the tempo slider will adjust the track’s bpm accordingly and the play and cue buttons will do exactly what they would if a CD was inserted. In fact your CDJ will perform exactly as if you were playing off a CD except the player is actually controlling the track on your laptop. So now your left and right CDJ in the DJ booth gets used just as if you were a CD DJ except the sound source is coming from your rad new MacBook. Likewise when it comes to mixing two tracks you’ll use the mixer in the booth as before.
But how you ask again? This is all handled by the Serato SL2 card. This baby not only handles two-channel output – you’ll plug the RCAs into the mixer where the CDJs were connected (or if the mixer has more than two channels simply select the two unused channels) and you’ll plug the CDJ into the SL2. That simple. This quick manoeuvre (and it’s a 2 minute operation, trust me) sets the mixer up and turns the CDJs into your controllers – it’s as simple as that.
By now you’ll be curious as to what the Akai LPD8 does. This nifty and ultra compact midi controller pad can be used for any additional functions in the software without needing to use the mouse or keyboard. I quite like the way Craig has his setup although I would probably add some different functions too. The one operation that I think will be universal is to browse your library of tunes via the pad and then of course load a track into a player channel. Then, since the LPD8 (LPD stands for Laptop Pad Controller by the way) has four programmable memory banks, eight backlit, velocity-sensitive drum pads and eight Q-Link knobs for controlling virtually any parameters in software, many other optional controls are at your fingertip. It’s really up to you.
The build quality of this unit is exceptional, the pads being particularly impressive and at less than 13 inches wide it fits in a laptop bag with the tiniest footprint. I would think most Serato users will end up using the LPD8 to control FX, looping and samples. The pads are really ideal for triggering samples whilst the rotaries feel great too.
Who should own one?
There are many ways to ‘go digital’ these days and the controller + laptop configuration seems to have stolen quite a bit of the limelight. However if you’re still a bit oldskool and can’t get your head around the idea of small little jog-wheels, shorter than average sliders and loads of buttons and knobs in a confined space then Music Box may just be for you. A setup like this is still the closest thing to CDJ Dj’ing since you will still be using the mixer and CDJs in the DJ booth.
What’s more you may be looking at your mixer and CDJs at home and be a little loath to discard those cherished babies. With Music Box you won’t be. You’ll be empowering them by taking them into the 21st Century. Of course if you don’t have anything set up at home then the controller/laptop option would obviously be more practical.
Verdict
I am big fan of this type of setup. I do feel that this manner of digital DJ’ing sustains the essence of the craft and still seems to be the preferred configuration of many pro DJ’s, although admittedly many weird and wonderful methods are in use these days so I am by no means advocating it as the ‘only professional solution.’
Personally I always have a little private chuckle when I see DJ’s lugging big DJ flight boxes with their controller and laptop into the booth, trying to find space to set it up etc. Inevitably the DJ always has to place his or her gear to the side of the mixer and CDJs which means you don’t stand in the centre of the booth whilst playing. I still think people want to see a performance from the DJ and by ‘manning’ the decks and taking control of the focal point in the booth you get to do this. I also like the fact that by placing the LPD8 in front of the mixer, putting one’s MacBook on the side, you avoid the dreaded staring into the computer screen syndrome whilst playing. In fact most punters would be none the wiser as to which medium you are using since you’re still operating the CDJs and mixer.
But this is not just about controller/ laptop vs. Music Box. As mentioned earlier this choice may well be governed by your existing home setup. What I like about using the Scratch Live system is you get all the digital tools the software has to offer such as sample decks, FX and looping but you still get to DJ oldskool style. Whist DJ software is definitely tighter – when the beat is in it stays in – there’s no auto sync so you will still feel like you’re remaining true to the art form so CD DJ’s still unsure about the changeover should have a good look at Music Box especially if you don’t have a laptop yet.
Yes there are various components to pack in your bag – 3 to be precise (+ cables & headphones) – as opposed to just a CD wallet and ‘phones but you’ll get used to it and having all one’s music at your disposal for any gig, any time far outweighs these concerns in my opinion.
Available configurations:
Music Box Bundle 1 –
R 16,499.00 Incl VAT
MacBook Pro 13-inch: 2.3GHz + Akai LPD8, USB Midi MPC Pad Controller + Serato SL2 Scratch Live Package
Music Box Bundle 2 –
R 21,599.00 Incl. VAT
MacBook Pro 15-inch: 2.0GHz + Akai LPD8, USB Midi MPC Pad Controller + Serato SL2 Scratch Live Package
Distributor: Digicape
For more info – Click Here
Tech Reviews: Wharfedale Titan D and Delta Loudspeaker Ranges
Pro Audio – Quality speakers to handle any and every occasion
What Is It?
Both the Titan D and the Delta series are at the top of the pile amongst the vast range of speakers that Wharfedale produce but each of these ranges is earmarked for a specific sector of the pro audio market.
Titan D
The Titan D is the pick of the bunch amongst the active range of speakers that Wharfedale construct and they come in both a compact 12” and larger 15” model. The entire Titan range is assembled in a rugged injection moulded chassis and the speakers have been designed with the mobile and install users in mind to be ultra light and used upright or on its side as a floor monitor.
The Titan D differs from the Titan range in that the D’s utilize Class D amps to drive both the high and low frequency drivers and utilize Qubit, a 24-bit 192kHz Digital Signal Processing module with advanced multi-band dynamic processing and filtering to automatically adapt the speakers to sound more full and natural in a host of different environments. What’s cool about the bi-amp designs on the Titan D’s is that it extends to the limiting as well so the hi’s and lo’s are separately protected and you have a LED light on the speaker to let you know if you are pushing them too hard. As with all the other models in the Titan range the D’s can handle a bunch of connections with their combo inputs for 1/4” Jacks or XLR and will also let you plug a Mic directly into the back if you need to use them for PA work. Both Titan D models include a bass response optimizer in addition to Qubit to ensure a bass sound as crisp as the tops.
Right lets breeze through the numbers; the Titan 12D’s push out 300W of power of which 250W comes from the woofer and 50W from the compression driver, while the Titan 15D’s weigh in with a hefty 420W broken down by 350W from the woofer and 70W from its compression driver. Both have high and low EQ control and switchable 90Hz monitor filters to cut out bottom end frequencies and avoid stage rumble, because we all know how much we love 15” monitors for performances.
Delta
The Wharfedale Delta’s are aptly named for the highly lauded Wharfedale Hi-Fi speakers of the 70′s and they all utilize 3” voice-coils across the range to give them some real low end kick with 2” compression drivers set up with 90°x45°elliptical waveguides for a meaty output level and smooth dispersion of the high-frequency. The Deltas have been lined up as the replacements for the very popular DLX range and in my opinion give an even better showing than their predecessors. The entire range is finished in Wharfedale’s Rhino Rock which looks like textured paint but has that valued ruggedness of a carpet finish and all the boxes are constructed using plywood. A nice added feature are the dual angle pole mounts to ensure that you can position them correctly and provide the audience with the sound and not the ceiling. Both the 12 and 15” Delta’s include a bunch of M8 rigging points if you want them mounted but the entire range has been designed to run either mounted or ground stacked.
The Delta series is quite comprehensive in its offering with 12” and 15” cabinets and monitors (love those 15” monitors), dual 15” cabinets and 15”, 18” and dual 18” subs to really satisfy the needs of any discerning audio purveyor. If those numbers don’t tickle your ear buds then a squiz over the program figures of the speakers are sure to impress you. The smallest speakers in the range, the 12 and 12M put out 800W program with the 15 pushing 1000W. That translates to 129 dB output for the 12′s and 131 dB for the 15′s. But with that extra wattage expect some extra weight as well; even the 12M tips the scales at a hefty 23 kg with the 15 stepping in at 30kg a speaker. The entire Delta range comes fitted with Speakon connectors to make sure that there is no accidental disengaging during performances.
DELTA 12
DELTA 12M
DELTA 15B
DELTA 15
Delta Loudspeaker Ranges
Who should own one?
The Titans are touted mainly as the speaker for the mobile DJ and club market but there is no doubt that they would be equally suited for pubs, venues, houses of worship and similar type of applications. Even for venues with an install system the Titan D’s would be a great reinforcement speaker to cover areas that the current system doesn’t handle too well or for areas that are going to be expanded for once-off events.
The Deltas are aimed squarely at the touring, rental and fixed application markets and with their robust design and durable components they will be able to perform week-in and week-out even after being carted around and subjected to the wear-and-tear inherent with the rental and touring sectors.
The Verdict
It’s tricky to put these two ranges of speakers head to head as they are both such different beasts. I would highly recommend the Titans to guys that are doing mobile work as they are powerful and like all Wharfedale’s have a good ability to translate different types of music into a comfortable listening experience so they would be as suitable running next to a church band as they would be sitting next to a DJ booth. The Titans are also great value for money when you spec them next to the huge range of active speakers out there at the moment. Interestingly enough the D’s sounded softer when compared right next to the standard Titans, but after some comparisons I realized why. It seems what I perceived as volume on the Titans was actually distortion! That’s right people, sometimes your ears can lie to you and when looking at the output wattage the Titan D’s put out more power, more efficiently and much more cleanly than the old Titans were capable of.
Now to the Deltas; these speakers are magnificent and they certainly would be able to brightly colour a whole bunch of applications in which audio is the primary and most important part of a performance. Installed in high end venues or carted to festivals are the main sectors where I see the Delta’s slotting in, not just because they are super sturdy in the mass department but also when it comes to the output. Make no mistake the Deltas are loud and very capable of filling a floor but it’s the way that they manage to pull it off that’s so impressive. The audio is full and beefy and very capable of being cranked up.
Both the Titan D and Delta ranges are decent speakers that manage to ride that tricky gap between potential and price when you look at the competitors’ products and are certainly worth closer inspection before making your investment.
DELTA 15M
DELTA 18B
DELTA 215
DELTA 218B
Suggested Price (vat incl.)
Delta Range: From R 3,495 – R 7,995 each | Titan 12 D: R 3,995. Titan 15 D: R 5,995 each
Supplier: Audiosure | Tel: (011) 790 4600 | Web: www.audiosure.co.za
DJ GEAR: AMERICAN AUDIO
DJ GEAR: AMERICAN AUDIO
American Audio VMS2 & Versadeck
We go head to head with American Audio’s VMS2 & Versadeck
VMS2
American Audios’s VMS2 is an all-in-one 2 channel DJ controller and is the baby brother to the 4-channel VMS4. Whilst the 4-channel comes bundled with either Traktor or Virtual DJ (you have the option), the VMS2 is only available with Virtual DJ. Unpacking reveals two notable things about the 2-channel version; It’s robust and solid – perhaps even heavy in comparison to similarly priced controllers in the market but this is a definite plus since you want it to withstand the vigour of gigging and this baby screams ‘solid as a rock.’
Secondly the VMS2 has platters as opposed to jog-wheels. The difference? Size, look and feel. They look like turntable platters, they’re clearly not as large but a decent size and whilst not weighted, the grooves on top and general feel make them quite responsive and tactile to use. All the regular features for mixing are present and layout is intuitive. This is a no-fuss unit without any nasty surprises and will no doubt get the job done.
Key features like balanced XLR outputs, 4-in/4-out audio interface, the option to add CD players to each channel so that the unit can perform as both a mixer or DJ controller, separate mic input along with gain and tone control and a 3-phase curve control for the replaceable VCA cross-fader (Innofader compatible) all suggest a product that, whilst priced to compete with many brands’ entry level models, is actually fully kitted for pro use.
Versadeck
With the DJ controller market quite saturated a big challenge for developers is to add another dimension to their units and in so doing give them the edge over their competitors. The Versadeck, presumably so named to suggest its versatility is one such unit that stands out for exactly this. Again, as with the VMS2, the build quality, weightiness and all round ruggedness of the unit is very impressive.
Visually it looks much like two CDJ’s connected to a 2 channel mixer due mainly to the VFD display at the top of each player and also the jog-wheels which look very CDJ like. Once again American Audio have not bulked on professional features such as XLR outputs, line input connectivity for CDJs, mic input, 3 Crossfader Curve Adjustments, hot cue and looping buttons, booth output etc, all of which it has in common with the VMS2.
However where the Versadeck really comes into to its own is with two killer functions that are sure to impress; I alluded to the VFD display screen earlier and you may have wondered about this. Since the Versadeck comes with a second USB port (situated at the top centre of the unit) you can connect a flash disc or portable hard drive and play directly off either of these devices. The VFD display then offers basic MP3 related info normally found on Media Players such as file name, bpm, MP3 resolution, time remaining etc. This USB feature works really well and I was spinning merrily on both decks off the one shared thumb drive within seconds.
Handily the package also comes with an Audio Database Builder program to manage crates, tags etc and thus prepare your sets offline. The other really impressive feature is the 5 On-board FX (Echo, Flange, Filter, Skid, Scratch). The bundled Virtual DJ LE software does not include FX so having an onboard FX unit is a real cinch, something the VMS2 lacks.
Verdict
Both units are priced extremely competitively and are well worth checking out. Build quality is very good, the features list impressive and they offer a host of performance options. The VMS2 lacks FX – the bundled Virtual DJ LE version does not have these and there are no onboard midi-mapable buttons for this should you decide to change DJ software.
Nonetheless if you are looking for a good, robust controller that is also a mixer at a very good price, it’s a good proposition. The Versadeck costs a couple of grand more but comes with the onboard FX and second USB port which really does make it super versatile. You don’t need a laptop, just your Versadeck and Flash disc! The VFD display is a little oldskool by today’s standards but considering what you get for the price, one cannot really expect the full wave display.
Conclusion: Both units impressed and should be checked out before spending your heard earned dosh.
SA Distributor: Legacy of Sound | Tel: +27 (0)21 551 3296 or +27 (0)82 53 555 48
Email: info@legacyofsound.com
Expect to pay: VMS2: R 4,275.00 incl. Vat | Versadeck: R 6,719.00 incl. Vat
DJ GEAR: Ultrasone Headphones – Studio use, Gaming or for DJs
Ultrasone Headphones: Studio use, gaming or for DJs
Headphones in my opinion, much like loudspeakers, are a highly subjective topic in the world of sound mainly because each individual has or her own preference to what they think is good quality audio. Naturally bad audio (distortion, tinny sound, lack of bass, ear-piercing treble) are easier to dispute but when it comes to leading brands the subject becomes way more contentious. This is why I was quite interested to see what the 20 year old German company, Ultrasone, has to offer, that may be different or unique.
DJ1
The DJ1 as the name clearly denotes is a specialist DJ headphone set and is also available as the DJ1PRO. Unpacking reveals a trendy looking headset finished in black with polar-white and silver trim. Included is a bag and an audio CD for testing the unit. The patented S-Logic™Plus Natural Surround Sound Technology is standard, as is the Ultra Low Emission (ULE-technology). The DJ1 has heavy duty Mylar drivers to provide powerful sound and is designed to fold up into a transport bag and offers one-ear-listening due to this folding-mechanism. Aesthetically the DJ1 and its PRO brother certainly look the part.
PRO900
The PRO900 headphones and in fact their entire PRO range are studio reference headphones and out of the three variants on review here, certainly come in the most substantial packaging along with a very professional looking hard case storage bag. The PRO 900’s hard case is equipped with extra earpads with great isolation, detachable USC (ultra soft) cable and Neutrik connectors. The titanium-plated drivers deliver very precise sound reproduction. Again their new S-LogicTM Plus technology is used in the design.
HFI-780
The closed-back HFI-780 is accentuated by the polar-silver colour trim and is aimed squarely at the high-end leisure market – specifically gamers and home theatre fundis, I should imagine. These headphones derive from the studio sector and also contain all Ultrasone technologies such as S-Logic™ Plus, ULE and safer hearing.
About Ultrasone S-LogicTM -
Plus Technologies
S-Logic™ Plus is the newest advancement in the S-Logic™ Natural Surround System, squeezing the BIG S-Logic™ soundstage found in their PRO series headphones into the more streamlined ear-cups of select HFI & DJ models (HFI-580, HFI-680, HFI-780, DJ1). The technology combines precision dampening with micro-acoustic reinforcement, allowing driver, buffer-board, and spatial parameters to complement one another in an optimal manner. So the acoustically redesigned ear-cups of these new models and their tonal fine-tuning result in a very neutral sound impression with more vivid perception of voices and instruments.
Verdict
Each set of headphones includes a reference listening CD containing 20 classical and acoustic based tracks to demonstrate the full scope and range of the model you have just bought. It’s Ultrasones way of saying ‘we know our headphones sound good!’ Handily it also made my job way easier when testing the 3 models and comparing to my existing set of cans.
The HFI-780 and PRO900 are not too dissimilar in sound – both are crystal clear, very flat sounding and have incredible depth. In studio use or when gaming I should imagine being lost in the audio quite easily and it would not be too far-fetched an idea to forget you even have the headphones on. They are comfortable, have large cups and the PRO900’s isolation is particularly impressive cancelling out external noise completely.
The pick of the bunch for me though is the DJ1, possibly because my ears are tuned to this frequency after years of abuse. These phones fitted my head perfectly, the cups covering each ear and cancelling out external noise superbly. But the most impressive feature is the incredible bass extension. Competing with the bass of the main PA is tough enough but even with just one ear on (the fold-up cup works perfectly) the sound was crystal clear and the detail super impressive.
Notably I foresee no sound fatigue or long term ear damage using these, such is their clarity and quality. The Ultrasone headphones are very good and certainly deliver on their promise of high quality.
SA Distributor: Tradelius Tel: 031- 5023080 / www.tradelius.co.za
Suggested Retail Prices: DJ1 R1,590 / HFI-780 R2,275.00 /PRO900 R4.782.00
Native Instruments Traktor Pro 2
Raising the bar, and setting the standards. Grabbing the reigns of the DJ software market and riding off into the sunset.
What Is It?
Traktor Pro 2 is the latest in the line of award winning products from German software gurus Native Instruments. NI have been involved with the complexities of DJ technology since its inception back in 2000, and besides consistently delivering the best package out there, they have always listened attentively to the voices of its huge fan base. The Pro 2 package is going to be a big step up for those on the original Traktor and it’s going to be a somewhat familiar one to those already running the Kontrol S4, as Pro 2 draws a lot of its new improvements and architecture from the S4′s software.
So, those guys lucky enough to be working on that particular beast are not only upgraded to Pro 2 gratis, but they also should be familiar with a couple of the Pro 2 features but certainly not all of them.
The first thing Native Instruments examined when they developed Pro 2 was the user, which is arguably the best place to go when you’ve won consecutive awards for a piece of software that everybody loves. So NI have enhanced the entire user interface by improving how we interact with the screens. The previously bland waveforms are now lit by TruWave which allows you to differentiate between the kicks, snares, and hi-hats by the brightness or tone of the waveform, and all the zoom functions have been augmented to allow for tighter cue markers and beat grids. This translates into concise beat grids that are easier to read and predict, hence tighter mixes even if you mix with the sync button locked on. The track overview window now also accommodates the entire track and there are some new layout choices too, so it’s easier to see whats going on when you (inevitably) attach some controllers.
One of the best exports from the S4′s software setup is the sample and looping sections. Any of the four channels in Pro 2 can be turned into a sample deck and it’s the same four slot sampler taken directly from the S4′s software but in the Pro 2 version you are given individual filter and volume control for each of these channels. All loops can be set to trigger as one shot or locked loops and if you don’t have any content to start off with, a bunch of material is included from Loopmasters, as well as some scratchy stuff from DJ Craze.
What really sets the sampling and looping area apart is when the four slot loop section is combined with the Loop recorder to allow you to record any incoming or playing audio and create a locked loop out of it. So any audio or loop can be overdubbed and overdubbed again till you are happy with it, then tweaked some more, and then saved to your library to retrieve for the next set. It is this type of thinking when applied across all of the functions in Pro 2 that indicates a movement towards a DJ program which allows you to do more than just play two songs; you can now create layers upon layers and start to introduce live remixing and production into the equation.
One of the best features of the original Traktor software was the rich and diverse selection of effects on tap. These are further enhanced with the addition of Tape Delay, Ramp Delay, Bouncer, and Auto Bouncer bringing the grand total of effects to 32! If you want to hear how the new effects sound you can check out the new videos on the NI website. Another new brainwave was to include an effects send and return channel for hooking up external effects units, and when paired with its new recommended sound card the Audio 10, you already have the extra stereo channel to handle that.
The guys at Native Instruments have also added lots of support for the connection of (in my opinion) mandatory external controllers because if you haven’t hooked one up yet you might as well be playing with only one deck. For example plug in a Kontrol X1 and you can now export a loop and the control of it directly to the X1 and use it like a 5th deck to open up that channel for more audio or loops. For heftier kit like NI’s Maschine, Pro 2 can now send triggers to lock Maschine to the timing you’ve set up in Traktor. And as always our friend the Set-Up Wizard is there to help you through tweaking the system from one set-up to another and new Auto Detection makes routing the connections a much easier prospect.
The final additions to Pro 2 come in the form of more prominent use of album artwork to provide a better way to remember your record collection when browsing through, and the internal mixer has been beefed up so those running software only have a 3 band EQ and filter per channel, as well as fader curve adjustments.
Who should own one?
Well with all the different versions of Traktor 2 now out, including Duo 2, Scratch Duo 2, Pro 2 or Scratch Pro 2 anyone using Timecode or a computer to mix at any level would be hard pressed to find any other piece of DJ’ing software that even touches any of the versions of Traktor 2 out there.
Even starting your computer DJ’ing experience on Duo 2 is a great route to follow bearing in mind that NI will allow you an upgrade path to the Pro 2 system for a small fee once you feel you are ready to step up. Registered users of Traktor will be able to upgrade to Pro 2 via the Native Instruments Upgrade centre for a price that definitely beats purchasing a whole new system.
The Verdict
Traktor Pro 2 is an amazing and powerful piece of software that is going to stay at the top of the pyramid amid a horde of similar DJ products for a very long time to come. In my opinion there is no competitor to the Pro 2 system and the long list of features and extended functionality on the new version lend credence to my humble views. As with any new software release there are going to be some teething issues, especially with the host of configurations out there, but Native Instruments are sure to post some updates in the next couple of weeks which will put a stop to all the internet chatter regarding some small bugs.
Bugs aside you can’t go wrong with the Traktor Pro 2 system; anything else is going to be a huge step backwards. The new audio engine is spectacular and any users who thought that their beat maps were tight in Pro are going to be astounded when they remap their libraries and then listen to the way new mixes hold and sound in Pro 2.
My favorite part has to be the way loops and samples can be combined, recorded and then saved. This really allows you creative control of tracks and loops to manufacture a much more personal set of loops and give you that individual sound and character that so many DJ’s strive for. The effects section is magnificent and the introduction of TruWave really does improve your ability to manage your mix and timing thereof with a quick glance at the display.
I don’t think I can place enough emphasis on how good a system Pro 2 is. It is as indispensable a tool for software DJ’s as a ball is to a football match. Anything else would just be playing with yourself. Death to Traktor Pro and long live Traktor Pro 2.
Supplier : Tuerk Music Technology
Tel : (011) 792-8402
Web : www.tuerkmusic.co.za / www.nativeinstruments.com
Written By : Dave Skinz
Allen & Heath Xone: DB4
As iconic as anything British that carries the DB letters preceding a single digit
What Is It?Well in Allen & Heath’s own words its “…NOT an analog mixer! And it’s not a controller either! It’s our first fully digital DJ mixer and easily the most technologically advanced DJ product we’ve ever made.” Those are very weighty words considering the company uttering them, with hardcore products like the Xone: 4D rolling off the factory floor every day.
So while the Xone: DB4 is spec’d as the replacement for the legendary Xone92, the ambitious folks at Allen and Heath have also earmarked their new addition for the coveted DJ product of the year award. After spending some time on the mixer I am hard pressed to find anything that is going to touch the DB4 on the many levels it operates as well as its appeal.
A good place to start would be the FX section which has seen some impressive improvements built around a Quad FX Core DSP to drive a host of insanely good production quality effects, most of which have been taken directly from the acclaimed iLive system. All of these algorithms are replicated by the Allen & Heath team to closely match the dynamics of real world studio and live outboard gear, and manipulation of the FX’s and timing is closely controlled by the DSP to allow for simultaneous use of all four effects engines across each of the four channels. Each channel is equipped with 5 groups of effects which cover Delays (x 5), Reverbs (x 19), Modulators (x 9), Resonators(x 9) and seven Damage style effects. Each of the effects can be independently manipulated with a combination of rotaries for expression, dry/wet, timing and a basic adjustment option.
On top of these insane DSP effects the DB4 retains the Xone Dual filter system, assignable to any of the channels. The cherry on-top goes to the dedicated looping section, again per channel, which allows ranges from 1/16 beat up to a full 4 bars even when playing as slow as 60 BPM! Unlike other looping systems that record pieces of a loop to play, the DB4 will record the entire 4 bars of audio so you can cut and move the loop markers around at will without having to re-record.
All the settings pertaining to presets and effects can be toggled on the LED display which is visible even in direct sunlight. Accessing the DB4’s menu gives you custom control over functions like recording and headphone responses, left and right output phase settings, master trim, USB routing, metering modes and screen brightness. All of these presets and software updates can be moved from one DB4 to another by means of a USB flash. The DB4 is also soon to be Traktor certified with added DVS support on the way as well.
Another positive on the DB4 is the EQ section, and while moving away from the much loved four band EQ on the 92, Allen & Heath have gone for a 3 band setup that can be configured either as a standard asymmetric EQ (+6/-25dB), an isolator (+6/OFF with a 24dB/octave slope) or High-Pass/Low-Pass filter system with adjustable resonance. The backlit EQ rotaries will change colour depending on which EQ system you have selected via the selector switch in each section.
If your jaw hasn’t hit the floor yet I haven’t even touched on the MIDI component yet. Nearly everything on the DB4 can function simultaneously as a USB MIDI controller turning your faders and knobs into encoders, assignable to any software you’re using. This even applies to the effects controls and loop encoders which can be disconnected for additional control knobs. Although why would you really want to get rid of those DSP effects? The inputs on the DB4 are nothing short of amazing with four analog inputs via RCA (two of which are phono/line switchable), four digital inputs and USB access to the 4 stereo inputs available via the DB4’s built in 24 bit/96 kHz audio card. All of these 12 inputs are managed with Allen & Heath’s newly adopted matrix-style assign system so any of these can be assigned to any one of the four channels on the DB4 by using a selector switch for Analog, USB or Digital and then a rotary to decide what you want where. For guys combining an analog and digital set-up this can save you extensive safaris to the back of the mixer to track down input cables and their destination…in the dark…with a countdown. And for the digital-only DJ this allows for a single USB cable to control all the I/O and still allow for simultaneous connection of other devices without interfering with the audio.
The output is just as cool with balanced XLR master outputs, balanced ¼” Jack for the booth output, RCA record-out and a Digital record out for making it easy to hook up ADAT or any other S/PDIF equipped interfaces.
If transporting, and wear and tear is an issue, bear in mind the entire DB4 body housing is made of aircraft grade aluminium to safely house all those insanely good faders, pots, effects and circuitry. Now, if that still isn’t enough the kind folks at Allen and Heath also supply the DB4 with a custom padded carry bag. Nice.
Who Should Own One?
This is aimed at those DJ’s that want to integrate multiple analog and digital sources in their performance without the need for extra MIDI controllers, soundcards and RAM. With everyone looking at using better quality effects the need for processing power to run those effects through your laptop is often in short supply. The DB4 responds to that by providing this processing power within the mixer, saving you having to funnel vital resources away from the running of the computer and your software.
The price tag definitely tilts the Allen & Heath DB4 towards the upper echelons of the DJ market, but as the old adage goes “he who buys merely based on price alone has no concept of the true value of the thing.” Anyone that has played on an Allen & Heath can attest to the fact that no other mixer on (or off) the market sounds quite like it. The better the system it’s being used on, the better it’s going to sound. It’s going to be tremendously challenging to find anything else on the market that combines capability and quality as astutely as the Allen and Heath Xone: DB4. As with any piece of gear this isn’t going to make you an amazing DJ but it will provide the correct tools to allow you to grow into one, and for those guys who are already in that headspace it will afford you the best set of tools to express yourself aptly. After all if you believe DJ’ing is about performance why would you want to limit the power of your instrument?
The Verdict
It’s as iconic as anything British that carries the DB letters preceding a single digit. In fact a great analogy would be that if James Bond was a DJ in his spare time (who’s to say he isn’t?), then the Allen and Heath Xone: DB4 would be his choice, and it would be a great fit alongside the Walter PPK in his holster and the Aston Martin in his driveway.
Just routing a simple audio feed into one of the DB4 channels, looping it and then effecting it sometimes twice over is comparable to a religious experience if that’s your thing, and the quality of the effects and the looping system have to be heard to be appreciated. Like any piece of great design the Xone: DB4 solves problems and opens doors that simply weren’t there before.
But where it truly excels is in integrating multiple DJ setups while offering studio grade effects to the digital performer without compromising on processing power. There are so many levels to this mixer that I struggle to see why an artist wouldn’t want one, unless they were bringing their own that is.
Supplier : Audiosure (Pty) Ltd
Price : R 26 995.00
Tel : (011) 790-4600
Web : www.allen-heath.com / www.XONE.co.uk / www.audiosure.co.za
Written By : Dave Skinz
Numark DJ2Go
What Is It?
The Verdict
Native Instruments Traktor Pro 2
Raising the bar, and setting the standards. Grabbing the reigns of the DJ software market and riding off into the sunset.
What Is It?
Traktor Pro 2 is the latest in the line of award winning products from German software gurus Native Instruments. NI have been involved with the complexities of DJ technology since its inception back in 2000, and besides consistently delivering the best package out there, they have always listened attentively to the voices of its huge fan base. The Pro 2 package is going to be a big step up for those on the original Traktor and it’s going to be a somewhat familiar one to those already running the Kontrol S4, as Pro 2 draws a lot of its new improvements and architecture from the S4′s software.
So, those guys lucky enough to be working on that particular beast are not only upgraded to Pro 2 gratis, but they also should be familiar with a couple of the Pro 2 features but certainly not all of them.
The first thing Native Instruments examined when they developed Pro 2 was the user, which is arguably the best place to go when you’ve won consecutive awards for a piece of software that everybody loves. So NI have enhanced the entire user interface by improving how we interact with the screens. The previously bland waveforms are now lit by TruWave which allows you to differentiate between the kicks, snares, and hi-hats by the brightness or tone of the waveform, and all the zoom functions have been augmented to allow for tighter cue markers and beat grids. This translates into concise beat grids that are easier to read and predict, hence tighter mixes even if you mix with the sync button locked on. The track overview window now also accommodates the entire track and there are some new layout choices too, so it’s easier to see whats going on when you (inevitably) attach some controllers.
One of the best exports from the S4′s software setup is the sample and looping sections. Any of the four channels in Pro 2 can be turned into a sample deck and it’s the same four slot sampler taken directly from the S4′s software but in the Pro 2 version you are given individual filter and volume control for each of these channels. All loops can be set to trigger as one shot or locked loops and if you don’t have any content to start off with, a bunch of material is included from Loopmasters, as well as some scratchy stuff from DJ Craze.
What really sets the sampling and looping area apart is when the four slot loop section is combined with the Loop recorder to allow you to record any incoming or playing audio and create a locked loop out of it. So any audio or loop can be overdubbed and overdubbed again till you are happy with it, then tweaked some more, and then saved to your library to retrieve for the next set. It is this type of thinking when applied across all of the functions in Pro 2 that indicates a movement towards a DJ program which allows you to do more than just play two songs; you can now create layers upon layers and start to introduce live remixing and production into the equation.
One of the best features of the original Traktor software was the rich and diverse selection of effects on tap. These are further enhanced with the addition of Tape Delay, Ramp Delay, Bouncer, and Auto Bouncer bringing the grand total of effects to 32! If you want to hear how the new effects sound you can check out the new videos on the NI website. Another new brainwave was to include an effects send and return channel for hooking up external effects units, and when paired with its new recommended sound card the Audio 10, you already have the extra stereo channel to handle that.
The guys at Native Instruments have also added lots of support for the connection of (in my opinion) mandatory external controllers because if you haven’t hooked one up yet you might as well be playing with only one deck. For example plug in a Kontrol X1 and you can now export a loop and the control of it directly to the X1 and use it like a 5th deck to open up that channel for more audio or loops. For heftier kit like NI’s Maschine, Pro 2 can now send triggers to lock Maschine to the timing you’ve set up in Traktor. And as always our friend the Set-Up Wizard is there to help you through tweaking the system from one set-up to another and new Auto Detection makes routing the connections a much easier prospect.
The final additions to Pro 2 come in the form of more prominent use of album artwork to provide a better way to remember your record collection when browsing through, and the internal mixer has been beefed up so those running software only have a 3 band EQ and filter per channel, as well as fader curve adjustments.
Who should own one?
Well with all the different versions of Traktor 2 now out, including Duo 2, Scratch Duo 2, Pro 2 or Scratch Pro 2 anyone using Timecode or a computer to mix at any level would be hard pressed to find any other piece of DJ’ing software that even touches any of the versions of Traktor 2 out there.
Even starting your computer DJ’ing experience on Duo 2 is a great route to follow bearing in mind that NI will allow you an upgrade path to the Pro 2 system for a small fee once you feel you are ready to step up. Registered users of Traktor will be able to upgrade to Pro 2 via the Native Instruments Upgrade centre for a price that definitely beats purchasing a whole new system.
The Verdict
Traktor Pro 2 is an amazing and powerful piece of software that is going to stay at the top of the pyramid amid a horde of similar DJ products for a very long time to come. In my opinion there is no competitor to the Pro 2 system and the long list of features and extended functionality on the new version lend credence to my humble views. As with any new software release there are going to be some teething issues, especially with the host of configurations out there, but Native Instruments are sure to post some updates in the next couple of weeks which will put a stop to all the internet chatter regarding some small bugs.
Bugs aside you can’t go wrong with the Traktor Pro 2 system; anything else is going to be a huge step backwards. The new audio engine is spectacular and any users who thought that their beat maps were tight in Pro are going to be astounded when they remap their libraries and then listen to the way new mixes hold and sound in Pro 2.
My favorite part has to be the way loops and samples can be combined, recorded and then saved. This really allows you creative control of tracks and loops to manufacture a much more personal set of loops and give you that individual sound and character that so many DJ’s strive for. The effects section is magnificent and the introduction of TruWave really does improve your ability to manage your mix and timing thereof with a quick glance at the display.
I don’t think I can place enough emphasis on how good a system Pro 2 is. It is as indispensable a tool for software DJ’s as a ball is to a football match. Anything else would just be playing with yourself. Death to Traktor Pro and long live Traktor Pro 2.
Supplier : Tuerk Music Technology
Tel : (011) 792-8402
Web : www.tuerkmusic.co.za / www.nativeinstruments.com
Written By : Dave Skinz
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