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Allen & Heath Xone:K2

Thu, 21 Feb 2013 11:25:00 GMT

Read more about Allen & Heath Xone:K2 at MusicRadar.com

Allen & Heath is something of a British institution, with a history of making quality audio equipment that stretches back to the seventies. Perhaps best known for its studio mixers, it's re-invented itself in the DJ world. The Xone:K2 is its latest product, aimed at the travelling DJ or anyone who needs a slimline but well specified MIDI controller with a built-in audio interface. The K2 measures just 135 x 30 x 358mm and weighs 1kg. So, it's definitely a small package but is that always a good thing?

Under control

"Designed with portability in mind, it comes with a padded carry case that doubles as a stand to raise it up to the height of a DJ mixer"

The K2 is a compact and lightweight unit that fits easily in a bag or DJ booth. Designed with portability in mind, it comes with a padded carry case that doubles as a stand to raise it up to the height of a DJ mixer.

The chassis is made of rubber-coated plastic with a metal top panel, which is solid without being heavy. The layout feels comfortable and the potentiometers and encoders are securely bolted down, so they should stand up to the rigours of live use. The rubber knobs are a nice shape, and the tri-colour illuminated rubber switches have a firm but reassuring click.

Finally, the four 60mm faders work smoothly but, while they have the renowned Allen & Heath smoothness - with tops indented generously, making them a pleasure to use - the studio-styling makes them perhaps less than ideal for DJ use.

The audio interface has four outputs: two RCA at the back and a stereo 3.5mm headphone socket at the front. The manual suggests several uses, including connecting the outputs to a mixer for DJing, or one output pair for headphones and the other for speakers.

Sound quality is adequate with a sample rate of 44.1 or 48 kHz, but the 16-bit converters mean that it's not going to compete with more expensive units. It's a shame that you can only control the output volume using software, and it would also be nice if the headphone outputs were duplicated on RCAs at the back, but you can't have everything at this price.

On the latch

As the controls are unlabelled, you are free to use them as you wish. Allen & Heath supply some mapping files for Ableton Live and NI Traktor, which are a good starting point. Where things get interesting is with Latching Layers.

This feature allows up to three layers of controls and it is possible to switch some of the controls while 'latching' the others. For example, the knobs could be 'latched' to control EQ, while the buttons switch through three layers of effects parameters.

"It is an extremely flexible device with a clever layering system and a vast array of controls"

A pair of Allen & Heath X:Link ports, which allow you to connect multiple Xone controllers together, can be found on the rear. Chained K2s receive power and data over the proprietary connection and complex setups can be created using Allen & Heath mixers. The whole thing can then be connected to the computer with just one USB cable.

Obvious competitors for the K2 are the Native Instruments F1 and X1. These are smaller in size and offer fewer features, but Traktor DJs may still prefer them as the controls are specifically tailored to their needs.

The K2 works very well for the more adventurous user as it is an extremely flexible device with a clever layering system and a vast array of controls. With all that plus the carry case and mappings in the box, it's ideal for those who use a variety of software or who like to customise their mappings.

The built-in audio makes it attractive as a portable DJ setup and it would also be great as an extra set of knobs in the studio. A serious contender.

Read more about Allen & Heath Xone:K2 at MusicRadar.com

Native Instruments Traktor Kontrol Z2

Tue, 19 Feb 2013 09:00:00 GMT

Read more about Native Instruments Traktor Kontrol Z2 at MusicRadar.com

The last few years have seen a decisive move from CD- to laptop-based DJing and all the benefits that it brings. Native Instruments has been at the forefront of this wave, and with the Traktor Kontrol Z2, it's bringing us its first laptop DJ-tailored mixer.

"The Z2 hardware functions as a Traktor-centric MIDI controller, audio interface, scratch decoder and conventional analogue DJ mixer"

The Z2 hardware functions as a Traktor-centric MIDI controller, audio interface, scratch decoder and conventional analogue DJ mixer. The included Traktor Pro software allows virtual DJing using a mouse, MIDI/QWERTY-mapped controls and control vinyl/CDs played via conventional decks.

Like all good scratch mixers, the Z2 hardware keeps things simple. It offers two channels, fed by either line or phono inputs, both with built in Traktor Scratch decoders (Traktor Scratch Mk2 vinyl and CDs are included), so whether you use CDJs or turntables, you can simply plug them in alongside your laptop (connected via the USB port), and even hook up external drives via the dual-port USB hub.

Alternatively, you can use it as an analogue mixer or swap between the two functions mid-set. The Z2 is built like a tank. Reassuringly heavy with a metal chassis, every knob, button and fader imparts a sense of firm, tough quality.

And the crossfader, like those on all great scratch mixers, is extremely loose, with an adjustable curve that goes all the way to straight cut, where even the slightest touch is enough to engage the other channel.

As you'd expect, the Z2 goes some way beyond just the DJ mixer basics. For starters, it features two Remix channel strips, affording access to Traktor's much-respected real-time Remix Decks (a total of four Remix channels). These are pretty much limited to playback only, though, so you'd need to attach a Traktor F1 controller (or two) for full control.

The four Remix Deck buttons also double as cue points for the main decks, and looping controls are available (the LED above the faders shows the current loop length), as are some useful effect controls. The central panel, meanwhile, hosts track loading and browsing controls.

Another great feature is the Allen and Heath-style filter dial on each deck (like the EQ, it's available in analogue mode, too), dialling in high-pass filtering when turned clockwise and a low-pass filter in the anticlockwise direction.

Live and let live

"The Traktor Kontrol Z2 is an awesome bit of kit and a stunning entry into the DJ mixer market for NI"

The whole thing is clearly geared towards DJs who bring their own kit to the club: the crossfade curve control and headphone sockets (1/4" and 1/8") are both located on the front edge rather than the top panel, making the Z2 unsuitable for recessed installation.

The Traktor Kontrol Z2 is an awesome bit of kit and a stunning entry into the DJ mixer market for NI. There are far too many clever little touches to list here, but one particular favourite is the ability to mix vinyl or CDs as audio while still using Traktor's effects.

Also noteworthy is the auxiliary input, which lets you plug in a fail-safe so that if the unthinkable happened and Traktor crashed, you could just hit play on a connected playback device and save the day.

Versatile and keenly priced, the Z2 is hugely powerful, appealing to DJs across all genres who have neither the need nor inclination to run four simultaneous decks with eight remix channels but who still want powerful Scratch control over two decks and to throw in loops. In that capacity, we think it currently stands alone.

Read more about Native Instruments Traktor Kontrol Z2 at MusicRadar.com

Pioneer XDJ-AERO DJ System

Tue, 15 Jan 2013 14:49:00 GMT

Read more about Pioneer XDJ-AERO DJ System at MusicRadar.com

It's been a big year for progress at Pioneer. Its RMX-1000 effects unit came paired with a VST, a first for the company. Then, the CDJ-2000nexus turned heads and raised eyebrows with its Sync button functionality, also a first for their industry-standard players. Now, with its new DJ controller-cum-media player, the firm is introducing WiFi streaming to bedrooms and booths with the XDJ AERO.

It's not all about one feature though, there's also support for USB sticks/harddrives (a single input can be loaded into either deck), a USB port for controlling software like Traktor and two phono inputs for use as a standalone mixer.

On top, two jog wheels, sample player, four effects per deck, three-band EQ and filter per channel as well as sync and quantise functions - though oddly, there's no multiple cue point options.

"Pioneer is aiming it at the 'home DJ' market, but with balanced TRS outputs, we reckon the AERO could hold its own as a mobile DJ solution too"

At first glance the AERO seems too good to be true - not only do you get a full self-contained digital DJ solution, you also get a two-channel mixer and a MIDI controller. Even if you never looked into the WiFi aspect of the device, it already seems like good value.

Pioneer is aiming it at the 'home DJ' market, a move which makes a lot of sense, but with balanced TRS outputs, we reckon the AERO could hold its own as a mobile DJ solution too. So what of the WiFi? Is it the icing on the cake, or a sour aftertaste?

Wi-fidelity

"Pioneer's Rekordbox music analysis software is the beating heart of the WiFi concept on the AERO"

Pioneer's Rekordbox music analysis software is the beating heart of the WiFi concept on the AERO. It's not possible to load any track onto the AERO that hasn't first been given its blessing by the software, which now works on mobile devices as well as OS X and Windows. Once you've imported your track collection into the software, it's time to connect to the AERO.

The device can either operate as an ad-hoc WiFi network or connect to another router, though for lag and stability reasons we'd suggest allowing it to take charge. Diving into its settings, you'll find the WiFi password and once connected, the AERO shows up in Rekordbox either on your mobile device or computer.

Now you can control the browser on your device from the AERO, and once you've chosen your track you can either drag it to Deck A or B from Rekordbox or select it from the controller. It's very responsive and remarkably fast at loading - about seven or eight seconds per track. It's worth noting that AIFFs and WAVs cannot be loaded over WiFi, only MP3 and AAC files are supported.

So far so good, but the one real stickler here is that, you can't pull through track information from Rekordbox when browsing. Turning the Browse rotary on the AERO only moves the selector on the screen of the device you're loading from; AERO's screen remains static with the device name until you've selected a track.

This means you can't connect to your phone and leave it in your pocket, for example, or connect to your laptop and leave it in another room, or connect to your friend's phones as they arrive at your party. You need to look at the screen of the device to see what track you're about to load and this is counter-intuitive to the wireless concept.

Why not just plug it in with a USB cable if you're going to have it constantly next to the device anyway? If the AERO can pull whole tracks out of thin air, surely it can pull through playlist information from Rekordbox too? Hopefully this will be possible with a firmware update.

There are a lot of positives about how it works though: it's fast, it was reliable in our testing and in theory it means that you have access to a track library as big as your collective hard drives: up to four WiFi devices can be connected at once.

And the rest

"Though the WiFi might be the main event with the AERO it's the USB port for sticks and hard drives that's the real bonus"

Though the WiFi might be the main event with the AERO it's the USB port for sticks and hard drives that's the real bonus and opens up the AERO beyond a potential gimmick. Plus, unlike the WiFi option, it will read non-Rekordbox'd files and do its best to analyse them on the fly.

Build quality is really solid - the jogs feel as good as CDJ-350s and the plastic casing feels like it'll take a beating. The isolator EQs sound good and the classic one-knob filter is a bit thin but sounds as good as you'd expect at this price. Add to that the ability to use the AERO as a controller and you're really looking at a home DJ Swiss Army knife.

AERO vis-à-vis Pioneer has done something very interesting with the XDJ AERO. Even if you ignored the WiFi side of things, you could get excited about the USB input, two-channel mixer and controller options at this price point.

Add the WiFi functionality - which is still finding its feet in terms of usability - and it seems like a no brainer. It's easy to set up and use, is accurately priced and if you need it to be, is a very portable fully self-contained DJ solution.

If you think it's a steep price for any entry-level DJs, consider the alternatives. Two CDJ-350s and a DJM-350 weigh in at £1,479, with the optical drive being the only real difference, and of course, no WiFi.

If you look outside the world of Pioneer, Stanton's SCS.4DJ offers hard drive and USB-stick support but with smaller jogs, no sample playback and no inputs. What makes loads of sense about the AERO isn't just the multi-functionality but also the introduction it will give you to the world of Rekordbox and Pioneer equipment.

Not only will anyone who uses the AERO at home become familiar with the layout and functionality of the industry-standard gear that makes up most DJ booths, but they'll also get into the habit of Rekordboxing.

It's hard to recommend anything else to someone who's serious about getting into DJing or for a current DJ who's already committed to Rekordbox on CDJs and wants a unit at home to practice, record mixes and try ideas. And add WiFi to the list of features and the deal, as they say, is sealed.

Read more about Pioneer XDJ-AERO DJ System at MusicRadar.com

Numark iDJ Pro

Mon, 14 Jan 2013 12:45:00 GMT

Read more about Numark iDJ Pro at MusicRadar.com

Algoriddim's Djay software has found a new home and audience on the iPad, with its app winning multiple awards and even showing up during Apple's iPhone 5 keynote. We love it for its effective simplicity and, when controllers like Numark iDJ Live and Vestax's Spin began to support the app, it began to transform itself from a fun, quick mixing tool to a bona fide bedroom DJ solution.

Numark agrees and its epic iDJ Pro is the app's biggest accessory yet, mirroring a lot of Numark's NS-series stylings, but with a pad-shaped hole in the centre.

Pad company?

"Once you get your hands on it, the iDJ Pro is just as solid as any controller on the market"

At first glance, the iDJ Pro seems like overkill. There's no USB port so this is for iPad and iPad only and, bearing in mind its size and price, it might feel like over-investing in a fad. But once you get your hands on it, the iDJ Pro is just as solid as any controller on the market.

You might expect some corners to be cut considering the more 'consumer' market this might be aimed at, but it's not the case - the jogs feel as good as any controller out there, the rotaries and faders are solid and there are even XLR outputs round back.

Speaking of I/O, alongside the XLR, there's a phono out, 3.5mm and 1/4- inch headphone outs plus an aux and 1/4-inch mic input. In place of volume faders, there are two large 270o knobs with illuminated LED indicators and there's also an on-screen gain if you want some extra volume, though the app does have a gain matcher function.

A three-band EQ, loop control, effects, cues and transport make up the rest of the hardware and all of it feels very solid.

Good design

"Once your iPad is in the padded slot, there's no new app to download - Djay magically transforms into the iDJ Pro-friendly GUI once it's connected"

Once your iPad is in the padded slot, there's no new app to download - Djay magically transforms into the iDJ Pro-friendly GUI once it's connected. The connection is over the now-defunct 30-pin connector, which is a pity, but thanks to the socket-on-a-lead connector employed you can use a Lightning adaptor, albeit at the price of not being able to close the neat lid. Time will tell if Numark will release a Lightning connector version.

The app itself is well designed for the controller - pretty much everything you can do on the controller can also be done via touch, with a few finger-friendly additions like X/Y pad effects and a sampler, which can load in custom sounds via iTunes.

The only things you have to use the iPad for are changing the effect the knob controls and zooming in and out of waveforms, though it feels more could be done to take advantage of the iPad's hands-on ethos rather than simply replicating functions.

The hardware does a good job of accessing some less apparent features like quickly halving and doubling loops and stutter rolls that work in slip mode. There are three potential hot cues per track - simply pressing buttons 1, 2 or 3 will create them, shift-pressing will delete them.

High quality

The iDJ Pro does everything it should and it does it well. It feels solid, it's well laid out and packs a lot of features while maintaining a logical and intuitive interface.

Is this for the club? No. But as an entry-level point to pro DJing practice or for the ultimate house party solution, it's up there with the best.

It's niche, but priced well and Numark's high-quality components mean you'll be comfortable and confident with higher-end equipment when you move to the booth.

Read more about Numark iDJ Pro at MusicRadar.com

Reloop Terminal Mix4

Fri, 19 Oct 2012 13:21:00 GMT

Read more about Reloop Terminal Mix4 at MusicRadar.com

The controller market has been steadily producing some contenders, hell bent on knocking traditional DJing hardware into submission. Novation's flyweight Twitch had some nifty jabs, including its Touchstrip interface and crowd-pleasing Slicer finishing move. The goliath Numark 4Trak, on the other hand, boasts weighted seven-inch turntables, but needs two people to help carry it into the ring.

After the poor finishing power of its Digital Jockey III, German company Reloop have finished licking their wounds and are betting the farm on their new four-channel digital Serato controller, Terminal Mix 4. In a market fuelled on hype, how does it fare?

"Fresh out the box its no-nonsense design, weight and size set it up as a sturdy customer"

Fresh out the box its no-nonsense design, weight and size set it up as a sturdy customer. A quick fiddle with the knobs, buttons and jogwheels confirms first impressions. Its layout makes it hard to pick out of a crowd of other controllers like the Vestax VCI-400 or the Numark NS6. Reloop have seemingly plumped for a design that everyone can relate to and fathom at first glance.

It's either USB or mains powered. We went straight into the laptop and it was perfect. At your fingertips you have four channels, with dedicated faders, three-band EQ knobs and a tasty little filter that takes you from a quality low to high-pass in a satisfying twist.

You also get an FX section for each deck with the usual suspects in tow: chop, filter, echo and so on. Then we have hot cue buttons that, although small, are responsive and punchy. We also get a nifty bank of sample buttons right above the jogwheels that come through the master, so you can happily stab in that obligatory air horn or those DJ shouts all over your mix.

Bang in the middle of the controller is a brushed metal library jogwheel. Again, it's solid as a rock and makes cueing up and selecting beats a doddle. The looping features are as you'd expect with Serato, but can only be adjusted from one to eight beats in length.

Pitch perfect

Pitch control is handled by full-sized faders that glide effortlessly and handle stretching the pitch out without losing quality in the audio, which is peerless across the board on the TM4. The crossfader is also superb. Its 2mm cut limit is more than enough for scratching, so getting your Twiddles and Crabs down isn't a problem. The cut adjustment is within easy reach as well, so nipping between a long transition and stabby mixing style is simple.

Overall the FX are easily controllable, a pinch to sync, and fun to use. And the layout, although a tad pedestrian in appearance and a little cramped, houses everything where you'd expect it to be.

"It's the state of the software that lowers the TM4's guard and exposes it to some stinging body blows"

After a strong showing in the first round, it's the state of the out-the-box software that lowers the TM4's guard and exposes it to some stinging body blows. Reloop is proud to announce that the TM4 has been designed for Serato, and struts the logo around its packaging and promotional material. Yet, it's packaged with Serato Intro, a perfectly functional but toothless younger brother to Itch. And an amateurish Reloop edition of Virtual DJ.

After diving in and trying some of the performance buttons we got a little confused. Why are some buttons offline? Why did a little image of scissors light up but do nothing? Why is the Loop Move Knob redundant? And, crucially, where are our other two decks? To get what you've paid for, you have to persist with the limp VDJ with noticeably sluggish latency (or pay for a pro version). It leaves you feeling a little sucker punched.

Hands off decks we would have loved to have had a fiddle with four-deck mixing in a version of Serato for layering up a capellas, or maybe having a dedicated scratch deck to cut to on the fly. Here's hoping future updates will include pro versions of the VDJ software, or Itch integration so Serato heads can gets their mitts on those other two decks.

It is worth mentioning that Reloop also does a cheaper two-channel version in the guise of the Terminal Mix 2. And via the Reloop website you can download different MIDI mapping files for other DJ software. Out the box it comes with two Traktor maps. But, like the others, if you want to use the software you have to buy it. It's Serato it claims to be built for, and it's users of that who will be the first to size up the TM4 – and ultimately be disappointed by the loss of decks and features, at this stage.

It's all about the upgrade path. We'd really like to see a fully Scratch Live ready version of this, but if anything comes out with that on the box, it's probably going to say Rane and not Reloop on the side. The TM4 had the promise of being the NI Kontrol S4 for the dedicated Serato head. That beauty was built by Traktor for Traktor, and the degree of integration is beyond compare. The TM4 is a truly professional piece of kit that can slug it out with the best of them as hardware, but it needs the software to really pack a punch.

Read more about Reloop Terminal Mix4 at MusicRadar.com

Reloop Terminal Mix4

Fri, 19 Oct 2012 12:21:00 GMT

Read more about Reloop Terminal Mix4 at MusicRadar.com

"Fresh out the box its no-nonsense design, weight and size set it up as a sturdy customer"

Pitch perfect

Overall the FX are easily controllable, a pinch to sync, and fun to use. And the layout, although a tad pedestrian in appearance and a little cramped, houses everything where you'd expect it to be.

"It's the state of the software that lowers the TM4's guard and exposes it to some stinging body blows"

Read more about Reloop Terminal Mix4 at MusicRadar.com

Numark 4Trak DJ Controller

Mon, 15 Oct 2012 08:27:00 GMT

Read more about Numark 4Trak DJ Controller at MusicRadar.com

In recent years the DJ controller market has been growing at an ever-increasing rate. More and more DJs are trying to harness the power of sophisticated software, such as Native Instruments Traktor and Serato Itch, to give their performances an edge, and veteran DJ equipment brand Numark has not missed out on these developments. Its latest offering promises to be one of the most powerful and feature-packed controllers yet.

"Numark's latest offering promises to be one of the most powerful and feature-packed controllers yet"

As the quirky spelling suggests, the Numark 4Trak has been designed with Traktor in mind. At its heart is a four-channel mixer surrounded by an abundance of knobs, buttons and faders that are used for MIDI control.

The case is made of metal and feels very sturdy, but at 7.17kg and more than 60cm wide it isn't the most portable design. It would be fine for travelling to a gig by car, but we wouldn't like to try and carry it as hand luggage. That said, this does mean that the overall build quality is good, and there's plenty of space for all of the controls.

If you've been shopping for DJ equipment lately you may have a sense of déjà vu when looking at the 4Trak. This is because the main unit is exactly the same as the Numark NS6, except with a silver finish rather than black. The labelling of the buttons has been updated to reflect the terms used by Traktor, but the layout remains the same. As such, it's not quite as natural to use as the Native Instruments S4, which has been designed to more closely mirror the software.

The slightly unusual angled FX control panel is detachable, which makes it seem like an afterthought, but once secured in place it's stable enough and feels like a part of the main unit. A short USB cable connects the FX section to the main unit. This looks a little untidy and it's also a slight reliability concern as the USB cables are fixed into the FX section, making replacement difficult. The channel filter knobs (with bypass buttons) are also located on this panel, which works fine, but seems a little less logical than having them next to the EQ.

In order to work with DJ software the unit incorporates a four-channel sound card. It sounds good, but only supports a sample rate of 44.1kHz. The Mac OS X drivers worked well for us, and there is also a copy of Traktor included.

Wheels of steel

The two decks are bristling with controls and are based around large six-inch jogwheels, with a smooth but slightly weighted response. They transmit high resolution MIDI and work well for scratching and cueing-up.

A light on the edge of the platter indicates its position and also shows which of the four decks are currently selected. Finally, the tempo fader is long-throw and has a nice heavy feel that is reminiscent of Technics 1210s.

We also liked the comically named Strip Search: a touch-sensitive strip that allows you to jump straight to any part of a track, similar to that on the CDJ-2000s. A row of LEDs gives visual feedback and Numark have programmed this to only work when the shift button is pressed, in order to avoid any embarrassing accidents when reaching for nearby controls.

One of the strong points of the 4Trak is the built-in mixer, which works in standalone mode, no computer required. This has pretty much everything you could ask for including two phono inputs to cater for vinyl lovers.

The three-band EQ is effective, with full kill capabilities, and there is a dedicated booth output with level control, a feature sorely missing from competitors like the Pioneer DDJ-T1 and NI S4.

"The 4Trak's strong suit is its full-sized layout, tank-like build quality and comprehensive standalone mixer capabilities"

Faders all feel high quality and the crossfader has an adjustable curve. Finally, the 12-segment LED output meters are nice and clear, but it's a shame that they only show the master level and cannot be switched to display the cue level as well.

Although not quite up to the standard of dedicated high-end mixers, the sound quality is good, and it's useful to know that the 4Trak can be the centrepiece of a larger DJ setup incorporating CDJs and vinyl.

Silver dream machine?

One minor criticism of the 4Trak design is that there are a lot of buttons with similar colours and shapes. This can make it difficult to find a specific control in the dark, or in the heat of a mix. The problem is compounded by the layout, which is a little busy in places. It's certainly not as bad as many compact designs, but it does mean that occasionally you may find yourself reaching for a control in the wrong place.

There's some strong competition in the four-deck Traktor controller market, not least from the NI S4, which has the advantage of coming with the full version of Traktor Pro, plus the ability to upgrade to timecode capability.

Where the 4Trak is strong however, is in its full-sized layout, tank-like build-quality, and comprehensive standalone mixer capabilities. If these are important to you - and they'll have to be important at this size and weight - then it's a great option. Anyone needing something more compact will need to look elsewhere.

Read more about Numark 4Trak DJ Controller at MusicRadar.com

Numark 4Trak DJ Controller

Mon, 15 Oct 2012 08:27:00 GMT

Read more about Numark 4Trak DJ Controller at MusicRadar.com

"Numark's latest offering promises to be one of the most powerful and feature-packed controllers yet"

Wheels of steel

The three-band EQ is effective, with full kill capabilities, and there is a dedicated booth output with level control, a feature sorely missing from competitors like the Pioneer DDJ-T1 and NI S4.

"The 4Trak's strong suit is its full-sized layout, tank-like build quality and comprehensive standalone mixer capabilities"

Silver dream machine?

Read more about Numark 4Trak DJ Controller at MusicRadar.com

Vermona Action Filter 3

Thu, 27 Sep 2012 11:00:00 GMT

Read more about Vermona Action Filter 3 at MusicRadar.com

Vermona, in various guises, has been in the filter game for many years, and one of the staples of its catalogue has always been some form of rackmount filter unit.

The origins of the Action Filter line date back more than a decade with the arrival of the Vermona DAF-1 Dual Analog Filter. This was ultimately distilled into a live performance filter aimed at DJs - and was even licensed to Stanton in the form of the Stanton DJF-1 Professional Filter.

The Action Filter 3 is a 1u 19-inch rackmount unit which is little more than 6cm deep. The black steel case is very sturdy and this toughness is matched by the metal knobs and switches used throughout - it really feels like it can take a lot of abuse.

There's a built-in switched-mode power supply, which means no external power adaptor (as on earlier units). It can work almost anywhere in the world, as the standard 'kettle lead' connector will accept any AC voltage between 90 and 240V.

"In this age of disappearing vinyl, the Phono input (with grounding post) appears almost quaint from a studio perspective"

Sticking with the back panel, you'll find two sets of inputs - both on RCA/ Phono connectors, that are selected by a front-panel switch. In this age of disappearing vinyl, the Phono input (with grounding post) appears almost quaint from a studio perspective. Of course, this reveals the AF's roots - and key market - that of the DJ.

It's actually quite useful to have a Phono stage racked in the studio - and it certainly worked well with our lowly Technics SL-1210Mk2. The real disappoint from a studio perspective is the complete lack of jack-socket connectivity, let alone any kind of balanced input or output stages.

Action packed

This brings us to the filters - two 24dB/octave stereo analogue filters in series - one low-pass and one high. Each has dedicated resonance and cutoff controls providing immediate hands-on tonal shaping.

A 'Trigger' button at the centre of the rack allows you to 'cut' the filters in and out very fast. Apparently this is now optically-based for maximum durability and sonic transparency, and it was indeed quiet in use - we can see this working well in the hands of a skilled DJ.

Of slight initial confusion for some 'studio-heads' might be the fact that the low-pass is labelled as 'High' - as it filters out the high frequencies - and vice versa. Switching to 'Notch' mode allows you to pull out the middle of the frequency spectrum and leave the top and bottom untouched. The filters remain true to the sound of the second generation Action Filter and, as before, offer an ACF I/ACF II switch on the back panel.

"It would have been nice to have the ability to switch between the two versions from the front panel, although we can see that some might consider this a 'set and forget' parameter."

In broad terms, the ACF I is slightly rougher round the edges than its cleaner ACF II cousin, but also appears to shift the cutoff frequency somewhat and noticeably removes low-end content even when high-pass cutoff is fully counter-clockwise.

It would have been nice to have the ability to switch between the two versions from the front panel, although we can see that some might consider this a 'set and forget' parameter.

Going live

If you need a robust and easy-to-use filter for live use, then the Action Filter 3 should certainly make your shortlist. As a studio tool it's more limited, lacking any form of modulation or external control over its filters - and it's a far cry from Vermona's own Filter Lancet or something like a Moogerfooger Low Pass Filter Pedal.

It could perhaps find a place as a simple vinyl sampling front-end pre-amp, but for most people that probably makes it a bit too niche in its appeal.

Read more about Vermona Action Filter 3 at MusicRadar.com

Vermona Action Filter 3

Thu, 27 Sep 2012 10:00:00 GMT

Read more about Vermona Action Filter 3 at MusicRadar.com

Vermona, in various guises, has been in the filter game for many years, and one of the staples of its catalogue has always been some form of rackmount filter unit.

"In this age of disappearing vinyl, the Phono input (with grounding post) appears almost quaint from a studio perspective"

Action packed

"It would have been nice to have the ability to switch between the two versions from the front panel, although we can see that some might consider this a 'set and forget' parameter."

It would have been nice to have the ability to switch between the two versions from the front panel, although we can see that some might consider this a 'set and forget' parameter.

Going live

It could perhaps find a place as a simple vinyl sampling front-end pre-amp, but for most people that probably makes it a bit too niche in its appeal.

Read more about Vermona Action Filter 3 at MusicRadar.com

Pioneer DJM-850 Mixer

Wed, 26 Sep 2012 10:29:00 GMT

Read more about Pioneer DJM-850 Mixer at MusicRadar.com

Pioneer DJ equipment didn't build its reputation on CDJs alone - its well-known mixers, such as the DJM-800, are also a staple in many DJ booths. So how does this new model improve on an already successful formula, and is it worth the upgrade?

"It shares the same build quality and styling that previous Pioneer mixers have become known for"

First impressions when removing the DJM-850 from its box are that it shares the same solid build quality and styling that previous Pioneer mixers have become known for. The unit weighs in at a reassuring 7.7kg, the case is metal and all of the buttons, knobs and faders feel firm and reliable. Controls are well spaced and the panel is clearly labelled, which is important for use in a dark club environment.

The layout will be familiar to owners of the DJM-800. In fact, the dimensions of the new unit are the same as the old one, which means that DJM-800 cases, rackmount kits and covers can also be used if you choose to upgrade. The three-band EQ can now be switched between normal mode (+6dB/-26dB) or the new full kill Isolator mode - very welcome for effective band kills. A significant new addition is the USB socket (sensibly located on the top of the mixer for easy access), which is used for the built-in audio interface and USB MIDI.

Sound quality is the same as its bigger brothers, the DJM-900 Nexus and DJM-2000. Pioneer have added a high quality 32-bit D/A convertor, kept audio paths as short as possible, and separated the digital and analogue circuitry. This results in a clear and punchy sound. One thing that's missing is digital inputs, but the analogue-to-digital convertors sound good, so perhaps it's no great loss. One of the main attractions of Pioneer mixers are the effects. These have been upgraded from the previous generation and come in two sections: instant gratification Colour effects, and time-based Beat effects.

Colour effects are applied independently to each mixer channel and include Noise (filtered white noise), Gate (a combination of gating and filtering), Crush (a bitcrusher/ downsampler) and Filter (high-pass or low-pass filtering). Only one Colour effect can be selected at a time, and as with previous Pioneer mixers, the Colour knob can be turned left for one variation of the effect and right for another - low-pass to the left and high-pass to the right being a classic example. These effects are well-chosen, quick to use, and have just the right kind of attitude for DJ use.

An exclusive new feature of the DJM-850 is the Beat button on each channel. This makes the volume of the sound control an aspect of the Colour effect. For example, the Noise effect pumps in sympathy with the beat, which sounds similar to sidechain compression. The Gate effect really comes alive when the Beat button is activated, with a short metallic delay being added to the sound.

Block rockin' beat effects

As with the 800, the main Beat effects section is where BPM synchronised effects are found. They work as post-fader send effects and can be assigned to a channel, one side of the crossfader, or the master output. The current tempo is either automatically detected, or set manually using a tap tempo button. There's a choice of 13 new and improved algorithms, plus an external send and return option.

"Up Echo is a brand new effect for the 850 that combines pitchshifting and delay"

Effects on offer are similar to those in other recent Pioneer mixers, with old favourites such as Echo, Reverb and Flanger making a return. Two new types inherited from changed. Finally, Up Echo is a brand new effect for the 850 that combines pitchshifting and delay. With these new algorithms you can use the effect level knob for extra control. For example, with the Up Echo it controls the feedback and pitchshifting, as well as the usual wet and dry balance. Combining the Colour and Beat effects is a great way to add some spice to a DJ mix.

One change that some users have complained about is how the updated Echo effect is implemented. On the old model it would only start sampling into the Echo when it was turned on, allowing a single word or phrase to be echoed cleanly. The new version is always sampling into the Echo, which means that audio from before the desired sound will also be included. A workaround for this is to switch to the more expensive DJM-900 and 2000 are Spiral, which is a tape delay, and Slip Roll, which repeats a section of audio that is re-sampled whenever the effect time is Echo effect just before applying it. Unfortunately, this requires an extra hand for many common uses.

Perfect mix?

So what's missing? More expensive models have extra effects controls, digital inputs and Rekordbox/Pro DJ Link integration, but none of these are essentials. Owners of older mixers will be tempted to upgrade by the USB sound card, updated effects, and improved sound quality. Traktor Scratch timecode support is also handy.

At £1,299 this isn't the cheapest mixer, but for bars and smaller clubs, or serious DJs, the features, styling and solid build quality is hard to beat.

Read more about Pioneer DJM-850 Mixer at MusicRadar.com

Pioneer DJM-850 Mixer

Wed, 26 Sep 2012 09:29:00 GMT

Read more about Pioneer DJM-850 Mixer at MusicRadar.com

"It shares the same build quality and styling that previous Pioneer mixers have become known for"

Block rockin' beat effects

"Up Echo is a brand new effect for the 850 that combines pitchshifting and delay"

Perfect mix?

At £1,299 this isn't the cheapest mixer, but for bars and smaller clubs, or serious DJs, the features, styling and solid build quality is hard to beat.

Read more about Pioneer DJM-850 Mixer at MusicRadar.com

Tascam iU2

Sat, 22 Sep 2012 07:17:00 GMT

While we've been seeing a host of input interfaces for iOS devices, very few have had the same sort of comprehensive connectivity seen on standard USB/MIDI audio interfaces, but Tascam's new iU2 looks set to change all that.

What you get is a stylish slimline plastic box about 12cm square that connects to your device's dock via a cable neatly stowed in its base. It can also connect to a computer via a supplied USB cable and has MIDI connections for synths.

"Quality sound with low noise and distortion is the order of the day"

Other connections include a dedicated guitar input plus stereo mic/line input via a pair of jacks or included XLR conversion cables, with phantom power available for condensers via USB (connect a USB recharger for use with iOS). On top of that, you get headphone and line outputs for monitoring and an S/PDIF digital output.

In Use

Operation is as simple as it comes. Selector switches on the unit's base select inputs, while two large knobs set the input levels alongside separate knobs for headphone and line output. A monitor mix knob lets you set the balance between the input sound and computer playback for zero-latency recording.

Quality sound with low noise and distortion is the order of the day, with the iU2's onboard mic preamp and A/D converter delivering improved performance over those built into the iPhone and iPad.

NI Kontrol F1

Fri, 21 Sep 2012 10:49:00 GMT

Read more about NI Kontrol F1 at MusicRadar.com

Traktor's latest update sees its sample capabilities grow significantly in the form of Remix Decks, and a new hardware buddy join the range in the shape of the Kontrol F1.

The F1 takes its cue from the new version of Traktor. One thing we will say, though, is it's not actually possible to map the full functions of Remix Deck to a third-party controller. Currently, you can only map the first four slots of each deck to any non-NI MIDI hardware.

"The Remix Decks themselves are epic in promise and could totally change your approach to DJing"

The official line is that NI wanted to ensure they did the best job possible integrating the F1 and the Remix Decks and so a 'closed system' was necessary. Users with an APC, Launchpad or other controller capable of RGB feedback are also currently locked out of any custom colour mapping, though again NI say it's 'likely' to be on the way. There are a number of user hacks circulating online but if you want to use Remix Decks to its full potential, you'll need an F1.

And with 64 slots per deck, all capable of hosting a full track, Remix Decks certainly offers plenty of potential. The pads themselves are not lifted from Maschine - they have a reassuring click so you know exactly when your sample has been triggered. The seven-segment LED from the S4 returns and provides relatively cryptic two-character feedback when editing samples and types, but otherwise is bright and clear when displaying loop length, quantise resolution and so on.

This is probably the least intuitive controller - at least initially - NI have done to date. You're going to need the manual by your side for your first few sessions, something NI even point out with a 'Note to the Impatient'.

In use, the F1 'captures' from an assigned deck at a predetermined length, either quantised or unquantised, all of which can be set from the unit. Each sample is then loaded on to the pad you press, and is set to Loop and Latched by default. This means that everything you load in will loop when triggered and that it will continue to play and loop if you press its pad. As there are multiple ways in which you'll want to treat any sample - 32-bar loops, one-shot drums, vocal samples, or effects you just want to trigger here and there - there's no real ideal default.

Jumping between trigger types is simple: press Type and turn the knob and change loop to one-shot, latched to gated etc by pressing the appropriate pad. If you've prepared your set this isn't a problem as you can save the sample with the appropriate mode, but if you're loading during a performance, you don't want to have to dive in and differentiate between trigger types. To get around this, press and hold Type and the previous mode will automatically be selected. A compromise, but why not just let us decide the default mode we want to load in?

"The hardware itself feels great; it's solid, well laid out, and very flexible if you wanted to use it as a standalone MIDI controller"

The hardware itself feels great; it's solid, well laid out, and very flexible if you wanted to use it as a standalone MIDI controller. Speaking of which, it's possible to hot-swap between MIDI mode and the F1's default mapping, which means the F1 could be your only controller, if you mapped transport, cue and effect mappings etc to MIDI mode.

Close to the edit

Editing samples from the F1 is possible, though it can be cryptic and fiddly. Obscure abbreviations include 'Cp' 'Cu' 'Nu' and 'Of', for copying and cutting samples and nudging and offsetting sample points. Although you can edit your samples on the fly, if you expect that you'll be drifting far from straight up loop loading - preparing your Remix Decks in advance is highly recommended. It's also very easy: everything you can do from the controller you can do with a good old-fashioned mouse and it's possible to save your Remix Decks for recall later.

The truth is, there's a lot going on in the F1, and even when some of it's clunky, there's always an alternative. The hardware is flawless in its simplicity and RGB feedback is implemented perfectly. It's easy to assign a colour to loops, one-shots or music and drums for quick differentiation, all from the hardware; and once you overcome the learning curve, its performance capabilities feel endless.

It might be a personal thing but those nice faders are wasted controlling volume - we'd like them on pitch or delay or reverb time - all possible with manual mapping of course. Another small gripe is that it's not possible to set a loop point in a track and then sample a smaller section. When 'Capture' is enabled, the endless rotary is mapped to loop length of the source Deck. We'd rather have independent control of Capture length and loop length.

Truthfully, we looked hard for those flaws, if you can call them that. The brilliant thing about the F1 is its flexibility. The majority of the gripes even the biggest pedant will find are in software, so they can either be remapped, or fixed in a future update.

The simplicity of the hardware means it can be transferred to other software with ease, adding value to an already low price. At 249 euros, 50 euros more than the software alone cost just a few months ago, the F1 is spot-on in terms of pricing.

The Remix Decks themselves are epic in promise and could totally change your approach to DJing - for others they'll be a fun extra. Traktor's appeal is now greater than ever.

Read more about NI Kontrol F1 at MusicRadar.com

NI Kontrol F1

Fri, 21 Sep 2012 09:49:00 GMT

Read more about NI Kontrol F1 at MusicRadar.com

Traktor's latest update sees its sample capabilities grow significantly in the form of Remix Decks, and a new hardware buddy join the range in the shape of the Kontrol F1.

"The Remix Decks themselves are epic in promise and could totally change your approach to DJing"

"The hardware itself feels great; it's solid, well laid out, and very flexible if you wanted to use it as a standalone MIDI controller"

Close to the edit

The Remix Decks themselves are epic in promise and could totally change your approach to DJing - for others they'll be a fun extra. Traktor's appeal is now greater than ever.

Read more about NI Kontrol F1 at MusicRadar.com

Pioneer RMX-1000 Remix Station

Wed, 19 Sep 2012 07:41:00 GMT

Read more about Pioneer RMX-1000 Remix Station at MusicRadar.com

Pioneer is a past master at providing professionally accepted DJ products. Although others dived into the digital DJ ocean first, one could argue that it was with the arrival of the Pioneer CDJ-500 (and then the CDJ-1000) that the transition from vinyl to CD became a reality.

Alongside its CDJ range, Pioneer developed effects processors specifically targeted at the live DJ wishing to spice-up their mixes. The RMX-1000 is perhaps the natural extension to these earlier units - such as the EFX-1000 it replaces - as it can work in multiple guises: as a standalone hardware effect unit or as a plug-in controller (see the Plug, Play and Edit box) for use with your DAW of choice.

Lift the RMX out of the box and you're presented with a fine looking unit, about the size of two CD cases in width, and with enough weight for it not to slide around once you start getting your hands dirty.

In terms of connectivity, the back panel provides both 1/4-inch Jack and RCA-Phono I/O. A USB port, power input (for the enclosed mains adaptor), and side-panel SD slot complete the line-up.

"The unit features automatic tempo detection, though this can be overridden using the tap-tempo button"

Now to the fun part: the glossy, knob and illuminated button-laden front panel. On that first point - it is very glossy, and although rather fine to look, it did require a little adjustment to avoid glare from the studio windows and lights. Independent controls are provided for setting input and output levels with clear and colourful metering.

The unit features automatic tempo detection, though this can be overridden using the tap-tempo button - it's important to get this right, as many of the effect treatments are tempo-synced. A couple of 'nudge' buttons allow you to shift the relative position of these time-based effects if necessary.

There are essentially three separate FX sections in the RMX-1000. The Isolate FX at first appears to be a three-band filter section, with the usual Low, Mid and Hi knobs for cutting and boosting as required. Although in Isolator mode this is quite possible, it quickly becomes clear that there's a lot more to the RMX than this.

For example, when Cut/Add mode is selected, and the three controls are moved anti-clockwise, you can adjust the cut-off frequency of high and low-pass filters while still keeping the kick drum in the mix, but move them clockwise and an eighth-note delay is applied to the respective band.

In fact, the delay time decreases in tempo-divisible increments the further you move each control. This is perhaps the key to the unit's success - it's very easy to dial-in useful, interesting and varied effects with a single flick of the wrist, which on other units would either be complicated or simply impossible.

Two further modes take care of combined transform, gating, rolling and overdrive effects - again, selective per band and dynamically variable depending on controller position. Excellent - and very, very easy.

Behind the scenes

Scene FX, based around a single, large rotary encoder, are equally fun to use, with factory presets for Build Up and Break Down sections. For example, BPF Echo applies a bandpass filter to the signal, before passing it on to the delay section - with filter bandwidth under user control.

"Most of the effects, and the way the controls respond to them in real-time, can be edited"

Two smaller knobs allow you to change the delay time and filter modulation - though these parameters change per preset. The effects in this section take in filtering, echo, white noise sweeps and reverb, often with a few unusual modulation options thrown in.

It's worth pointing out that, while the unit is very capable, even when sticking to the factory presets, most of the effects, and the way the controls respond to them in real-time, can be edited using the included Remixbox software (Plug, Play and Edit box).

Additional functionality comes in the form of the X-Pad FX section, which is based around a simple audio sampler. Audio can be 'rolled' (repeated) at different note values depending on where on the pad you place your finger.

Movements can be recorded and played back as part of a performance, or used to trigger pre-recorded drum (or other sample) material. In fact, you can program a simple drum beat and mix it into the currently playing track with little effort, making this a great remixing tool.

Free FX

The final element in the RMX's processing quartet is the Release FX section which cuts all direct audio and triggers a vinyl brake, echo trigger or back spin effect - all other effects sections are then switched off ready for you to bring the direct unprocessed track back in.

"The use of ready-rolled DJ-effects can be something of a mixed blessing. Over use them and you can quickly fall prey to DJing clichés."

Some of these might be a little overblown, but this does provide a great way to jump out of an effects-laden morass in a quite effortless way, which allows you to go a little crazy, knowing you won't have to reset multiple dials in time for the drop. Seems simple, but it's incredibly effective and a lot of fun.

The use of ready-rolled DJ-effects can be something of a mixed blessing. Over use them and you can quickly fall prey to DJing clichés, but with thoughtful and relevant application they become the icing on the cake when trying to build up a crowd.

The RMX-1000 makes the process easy, and somewhat seamless, though it will perhaps suit some styles more than others. As a controller, when used with its associated plug-in, the package is useful for finessing final mixes as well as deconstructing individual tracks.

Our biggest reservation is the price. Despite its flexibility, £599 makes this an expensive item, and certainly not an impulse buy. As a studio tool alone, it might be hard to justify, but if you're a touring and recording DJ/producer, it may well be worth every penny.

Read more about Pioneer RMX-1000 Remix Station at MusicRadar.com

Pioneer RMX-1000 Remix Station

Wed, 19 Sep 2012 07:41:00 GMT

Read more about Pioneer RMX-1000 Remix Station at MusicRadar.com

In terms of connectivity, the back panel provides both 1/4-inch Jack and RCA-Phono I/O. A USB port, power input (for the enclosed mains adaptor), and side-panel SD slot complete the line-up.

"The unit features automatic tempo detection, though this can be overridden using the tap-tempo button"

Behind the scenes

"Most of the effects, and the way the controls respond to them in real-time, can be edited"

Free FX

"The use of ready-rolled DJ-effects can be something of a mixed blessing. Over use them and you can quickly fall prey to DJing clichés."

Read more about Pioneer RMX-1000 Remix Station at MusicRadar.com

IK Multimedia iRig Mix/DJ Rig

Fri, 29 Jun 2012 13:50:00 GMT

Read more about IK Multimedia iRig Mix/DJ Rig at MusicRadar.com

iRig Mix is a mains adapter-powered analogue DJ mixer intended primarily for use with IK's DJ Rig app.

It has no dock connector; instead, audio is fed to a pair of stereo mini jacks (to be hooked up to one or two iOS devices). There's a 1/4-inch headphone-out and a 1/4-inch line-in for mic or instrument. A free (to download on theApp Store) version of the DJ Rig software is included, and so that's the version we're focusing on here. However, the full paid version is only £2.99 (with further IAPs).

In common with most iOS DJ apps, DJ Rig features BPM syncing, two decks, effects, EQ, iTunes library import, vinyl-style control, looping, cue points and mix recording. However, it also contains some innovations.

There are sound FX (only one bank in the free version), rotating the device toggles single-deck display, and there's a nifty automatic filter-mixing mode that mixes out bass or treble during crossfading for authentic one‑finger mixing.

But it's the hardware that shines. You can use one device to mix with two hardware channels, complete with high and low EQ and powerful gain.

There's headphone cueing and all the signals go loud. You can use two iOS devices, with one deck displaying on each.

There's also auto-syncing based on the incoming audio signal, so you could auto-sync using any audio source. It can take about 10 seconds to sync, and works best with loud, clear transients, but itis a pretty awesome feature. Finally, there is amic- or instrument-in, which means you can use the device as an input interface for IK Multimedia's other iOS apps like Amplitube and Vocalive.

One complaint: we'd like to record as WAV or AIFF, not just space-saving M4A.

In an increasingly crowded market, iRig Mix offers a fresh take with some great new features.

Read more about IK Multimedia iRig Mix/DJ Rig at MusicRadar.com

IK Multimedia iRig Mix/DJ Rig

Fri, 29 Jun 2012 12:50:00 GMT

Read more about IK Multimedia iRig Mix/DJ Rig at MusicRadar.com

iRig Mix is a mains adapter-powered analogue DJ mixer intended primarily for use with IK's DJ Rig app.

But it's the hardware that shines. You can use one device to mix with two hardware channels, complete with high and low EQ and powerful gain.

There's headphone cueing and all the signals go loud. You can use two iOS devices, with one deck displaying on each.

One complaint: we'd like to record as WAV or AIFF, not just space-saving M4A.

In an increasingly crowded market, iRig Mix offers a fresh take with some great new features.

Read more about IK Multimedia iRig Mix/DJ Rig at MusicRadar.com

Magix Digital DJ2

Sun, 01 Apr 2012 16:36:00 GMT

Read more about Magix Digital DJ2 at MusicRadar.com

Version 2 of Digital DJ - a cut-down edition of Image-Line's acclaimed Deckadance - doesn't introduce a huge number of new features, but it nonetheless maintains its position as arguably the best software DJ system in its price bracket.

What's more, the handful of additions should still be enough to entice existing users to upgrade.

All the fundamental things that we loved about Digital DJ the first time round are still in place, of course - the excellent auto beat-matching, the three-band EQ, the X/Y pad-controlled effects, the Relooper and so on are all still present and correct. And functionally, throwing together perfectly synced mixes with the mouse is as straightforward as it ever was. It wasn't broke, so Magix and Image-Line haven't fixed it - and we're happy about that.

Of the new features, the support for a wide range of DJ controllers from the likes of Allen & Heath, Numark, Behringer et al (the full list is on the Magix site) has to be the biggest. It brings authentic hands-on control to the party and genuinely elevates the software to 'pro' status.

Editable GM controller support still requires upgrading to Deckadance, which smarts a little, but at least owners of many dedicated DJ control surfaces are now catered for.

The new Snap buttons simply snap loops and cue point positions to the beat, which is every bit as useful as it sounds. Meanwhile, the new Quant function enables seamless jumping between cue points.

Finally, the new Song Manager remakes the previous rather button-heavy playlist and track management system as a proper databased browser. And the number of samples available in the sampler has been doubled to 128, although you still can't import your own.

Read more about Magix Digital DJ2 at MusicRadar.com

Magix Digital DJ2

Sun, 01 Apr 2012 15:36:00 GMT

Read more about Magix Digital DJ2 at MusicRadar.com

What's more, the handful of additions should still be enough to entice existing users to upgrade.

Editable GM controller support still requires upgrading to Deckadance, which smarts a little, but at least owners of many dedicated DJ control surfaces are now catered for.

The new Snap buttons simply snap loops and cue point positions to the beat, which is every bit as useful as it sounds. Meanwhile, the new Quant function enables seamless jumping between cue points.

Read more about Magix Digital DJ2 at MusicRadar.com

KRK Rokit RP10-3

Tue, 17 Jan 2012 10:32:00 GMT

Read more about KRK Rokit RP10-3 at MusicRadar.com

Home studio owners are spoilt for choice. KRK is just one of the many manufacturers that have flooded the market with accurate, revealing near-fields at attractive prices.

Strangely, affordable options are much more limited in the three-way monitor market. KRK's new Rokit RP10-3s aim to address this discrepancy, bringing three-way monitoring down to an affordable new price point.

"The RP10s are highly capable monitors that compete favourably with products twice their price."

Rokit don't stop it

The RP10s bear significant similarities to the rest of KRK's Rokit range, featuring front-firing ports, a vinyl-coated MDF enclosure, glass/aramid low-frequency driver and a one-inch soft dome tweeter. The major difference is the presence of a third driver; where the rest of the Rokit range are two-way designs, the RP10s are a three-way design with a 10-inch woofer and 4-inch mid-range driver.

For our test I borrowed a pair of RP8 G2s in order to make a direct comparison. The difference in physical stature between the two monitors is obvious, and on setting them up together and trying them side-by-side it's clear that the sonic difference is equally dramatic.

The RP10 is significantly better in every respect: the bottom end's tighter and deeper, there's no honkiness from the port at any listening level, the mid-range is more detailed and transparent, and the top end is smoother and more revealing. The RP10s don't sound hi-fi in the hyped, flattering sense, but there's an enjoyably involving character to the sound that's missing from the smaller models.

Fat bottoms

The RP10s' low-end frequency response is seriously deep, with a bump at around 40Hz followed by a gentle roll-off down to the -3dB point at 31Hz. Needless to say, you won't need a subwoofer with these.

Strangely, KRK has chosen not to offer acoustic space settings to tame the bottom end. Instead, you'll have to make do with adjusting the LF level switches, but the maximum of 2dB low frequency attenuation might not be enough to compensate for placement near a wall or other equipment.

Soffit mounting is also out of the question, but horizontal placement is made possible thanks to a rotating sub-baffle which houses the tweeter and mid.

Given that most of the competition costs at least twice as much as the RP10s, it's inevitable that there must be compromises in the design. Like the smaller monitors in the Rokit range, the frequency response of the RP10s isn't the flattest we've ever heard.

Likewise, they certainly aren't the most powerful three-way design you'll find, with a 30W class A-B amplifier for the highs, 30W for the mids and 80W for the bass. Even so, they're relatively efficient and there's plenty of clean power before the amps break up.

Conclusion

The RP10s are highly capable monitors that compete favourably with products twice their price. Whether as a near-field with an incredible low-end response or as a dedicated mid-field to supplement an existing pair of monitors, I see no reason why they won't be popular with producers working in absolutely any genre.

Our only major concern stems from their size and imposing bottom end. The list price of £1,098 is likely to translate to a street price just over £800, and by pitching such a large monitor at a project studio-friendly price, KRK runs the risk of attracting customers whose rooms really aren't big enough or sufficiently treated for the RP10s to work properly.

That's not a criticism of the monitors, per se, but a warning. Assuming your room can handle them, the RP10-3s have to be considered an attractive option at this fantastic price.

Read more about KRK Rokit RP10-3 at MusicRadar.com

KRK Rokit RP10-3

Tue, 17 Jan 2012 10:32:00 GMT

Read more about KRK Rokit RP10-3 at MusicRadar.com

Home studio owners are spoilt for choice. KRK is just one of the many manufacturers that have flooded the market with accurate, revealing near-fields at attractive prices.

"The RP10s are highly capable monitors that compete favourably with products twice their price."

Rokit don't stop it

Fat bottoms

Soffit mounting is also out of the question, but horizontal placement is made possible thanks to a rotating sub-baffle which houses the tweeter and mid.

Conclusion

That's not a criticism of the monitors, per se, but a warning. Assuming your room can handle them, the RP10-3s have to be considered an attractive option at this fantastic price.

Read more about KRK Rokit RP10-3 at MusicRadar.com

Pioneer DDJ-ERGO-V

Wed, 04 Jan 2012 16:40:00 GMT

Read more about Pioneer DDJ-ERGO-V at MusicRadar.com

If you've DJ'd in a club, chances are you've used Pioneer equipment.They've been an industry standard for years and although they designed their latest kit to support the growing digital DJ denomination, it wasn't until the Traktor-focussed DDJ-T1 and its Serato sibling the DDJ-S1 arrived that Pioneer aimed a product squarely at controlling another company's software.

When the Kontrol S2 arrived earlier this year, we felt sure Pioneer would respond with a two-deck beauty of their own. And they have - kind of.

Ergo, vìs-a-vìs

In our review of the S2 last issue we said 'the ball is now in [Pioneer's] court to see if they'll attempt to match the S2'. While we were aware of the Ergo, Pioneer are on a mission make it clear that this is not the T1 or S1 cut in half.

This is designed from the ground up, to be compatible with Virtual DJ, of which the LE version is provided and is skinned to the style of the controller.

Aside from everything you'd expect from a two-deck controller, what's interesting on the Ergo is the jog wheels, which feel just like the 350's but also offer very cool visual feedback.

Much like the CDJs, a red LED orbits the jog while it's playing, but once an effect or filter is active, 'Pulse Mode' sends the jog spinning with LEDs and colour, faster depending on the intensity of the effect.

We wish the light show made more sense though - there's no way to really get useful feedback from them, apart from that an effect is active. This is definitely the Ergo's coolest feature, but it'd be much more useful if maybe the lights were brighter, depending on how much of that deck is 'on air'.

It feels like while implementing this trick, Pioneer missed another in making the blue lights genuinely useful. There's no LED metering, but behind the volume fader does pulsate in red when a signal is present.

Get connected

Round back it's as expected - a stereo balanced TRS output, phono outs, mic and phono inputs with volume control. USB provides all data and power - there is no power supply connection.

The Aux input is one advantage that the Ergo has over the S2, if you put them head to head, though there's no volume control for the second out, if you wanted to use it as a booth output.

The faders and jogs on here feel great but it's really let down by the buttons and knobs. The transport buttons are very loose and click loudly when pressed.

The smaller knobs and buttons such as the cue on/off and mix and volume knobs are horrible to touch and are much too small for a sweaty nightclub setting. In fact, the majority of buttons are small, loose and too indented to provide tactile feedback.

Virtual DJ

You only have to take one look at Pioneer's promo videos for the Ergo to realise it's not aimed at the club nor is it attempting to compete with their pro line.

The one major advantage it has over the S2 is the switchable desk control - it's possible to control four decks using the C and D Deck buttons. If four-decks is a high priority, but your budget is low, you may be happy with the compromises - do check the Reloop Jockey 3 too.

The Ergo does work with other software. We tried it with Traktor - the feedback was buggy and buttons wouldn't always light up, leaving you confused as to what state an effect is in, for example.

It's hard to recommend over the S2 that comes with the full version of Traktor and works instantly and seamlessly.

If the Ergo came in at £100 less, it'd be a market leader, but as it stands, with an LE version of software and a build quality that doesn't reflect the price, the Ergo feels like a dead end rather than the stepping stone the DDJ-T1 was to the CDJ world.

Read more about Pioneer DDJ-ERGO-V at MusicRadar.com

Pioneer DDJ-ERGO-V

Wed, 04 Jan 2012 16:40:00 GMT

Read more about Pioneer DDJ-ERGO-V at MusicRadar.com

When the Kontrol S2 arrived earlier this year, we felt sure Pioneer would respond with a two-deck beauty of their own. And they have - kind of.

Ergo, vìs-a-vìs

This is designed from the ground up, to be compatible with Virtual DJ, of which the LE version is provided and is skinned to the style of the controller.

Aside from everything you'd expect from a two-deck controller, what's interesting on the Ergo is the jog wheels, which feel just like the 350's but also offer very cool visual feedback.

Get connected

Round back it's as expected - a stereo balanced TRS output, phono outs, mic and phono inputs with volume control. USB provides all data and power - there is no power supply connection.

The Aux input is one advantage that the Ergo has over the S2, if you put them head to head, though there's no volume control for the second out, if you wanted to use it as a booth output.

The faders and jogs on here feel great but it's really let down by the buttons and knobs. The transport buttons are very loose and click loudly when pressed.

Virtual DJ

You only have to take one look at Pioneer's promo videos for the Ergo to realise it's not aimed at the club nor is it attempting to compete with their pro line.

The Ergo does work with other software. We tried it with Traktor - the feedback was buggy and buttons wouldn't always light up, leaving you confused as to what state an effect is in, for example.

It's hard to recommend over the S2 that comes with the full version of Traktor and works instantly and seamlessly.

Read more about Pioneer DDJ-ERGO-V at MusicRadar.com