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MIDIbit Brings USB & DIN MIDI To The littleBits Synth Kit USBtribe has introduced the MIDIbit – A USB and DIN MIDI i/o interface for the littleBits Korg Synth Kit. Here’s what they have to say about the video demo: "A demonstration of the MIDIbit’s outputs. First we connect to the ‘Note’ output and playback a sequence from Ableton. Then we add ‘Velocity’ control and modulate the Filter bit cutoff. Next we use the ‘Mod Whl’ (Modulation Wheel) output to automate the Filter bit cutoff, whilst triggering the Envelope bit from the ‘Gate’ output. To finish up, we connect a Sequencer bit to another Oscillator bit and a Delay bit and use the ‘Clock’ output to drive the Sequencer bit, stepping it in sync with the computer sequencer." Pricing and availability are to be announced, USBtribe says it’s ‘available soon’. Source: synthtopia.com

Image-Line has released a 64-bit version of FL Studio as a free option for new and existing customers. The new version lets you access up to 512 GB RAM, use 32- and 64-bit plugins and even use FL Studio itself as a VST in other 64-bit plugin hosts. FL Studio 64 Bit Features: • Access up to 512 GB memory, depending on your Windows version. • 32 Bit bridged and 64 Bit native VST plugin support. • Project compatibility between 32 and 64 Bit versions. • FL Studio available as a 64 Bit VST plugin for use in 64 Bit VST hosts. A FAQ on the 64-bit version of FL Studio is available at the Image Line site. FL Studio is available in several versions, starting at $99. Source: synthtopia.com

Today Numark announced NV, its intelligent controller for Serato DJ. The Numark NV features two 4.3-inch, high-resolution full color screens that provide extensive visualization of Serato’s flagship DJ platform and advanced interactive controls. The backlit performance screens deliver vivid, real-time visualization of Serato DJ; complete with spinning Virtual Decks, effects (FX), Cue Points, waveforms and more. Supporting four decks of control, its screens also provide song library navigation and detailed waveforms respective to each deck. These features allow the performer to manage set elements with the source laptop closed or out of sight without sacrificing functionality. FX, EQ and filter knobs are capacitive – responding with a twist, a touch or both. All-new touch-activated metal platters provide jog, scrub and scratch duties while intelligent adaptive platter technology optimizes touch-response based on the user and host environment. A total of 16 velocity-sensitive trigger pads provide intuitive control over 10 pad modes for finger drumming, sample slicing, effortless looping, hot cues and more. Another first for DJ controllers, NV also includes downloadable remix packs from Toolroom Records, allowing the NV user to remix with audio stems from the leading electronic dance music label. Numark NV Highlights: • Intelligent Serato DJ controller with dual high-resolution screens • 4 decks of Serato DJ software control in a sleek, low-profile design • Screens provide 1:1 real-time feedback of Serato DJ so you can focus on the music, not the computer • Dedicated hardware controls for critical software functions • Touch-activated knobs provide groundbreaking control of filters, EQ, and more • Dual 5-inch hyper-responsive metal platters with search and scratch modes • Adaptive learning platter technology for optimum response in any environment • 16 velocity-sensitive trigger pads with backlit RGB feedback • 10 pad modes for hot cues, loops, song slicing, and sample triggering • Dedicated 3-way touch-activated filter knob on each channel • Dedicated touch-activated control of Serato’s 12 professional iZotope® FX • Built-in professional 24-bit USB 2.0 audio interface • Zone/booth outputs and balanced XLR outputs for club use • Plug and play with Serato DJ (included) – no upgrade purchase required • Toolroom Records Remix Packs included (download) Numark NV is set to ship this fall and will retail for a suggested price of ~$699.99 USD. More information available at the Numark website. Source: synthtopia.com / djtechtools.com

Your DJ Sets Aren’t Safe On Soundcloud: 6 Alternatives For DJ Content Soundcloud has been the YouTube for audio content for a number of years now – the giant that everyone in the DJ and producer worlds use to share and discover new music, mixes, remixes, mashups, etc. But in the last few years, Soundcloud’s popularity has begun to cause headaches for content creators. Today we’ve rounded up a selection of alternatives for DJs and music producers looking to share their work with the world. Soundcloud Drama For DJ's Soundcloud has been suffering a backlash recently. Their new mobile app was received poorly, and the newly revealed partnership with Universal which allows the label to remove content from the site has sparked controversy and worries for the future. To further exacerbate the drama, reports have been made that the site is now implementing restrictions based on country. Over the last 2 years Soundcloud has come under increasing pressure from the music industry. Many users have complained that mixes are being taken down on copyright grounds. Will the site’s popularity become its unmaking? The site has been a huge part of the dance music scene and DJ culture since it’s inception in 2007. A powerful tool for both established and beginner artists, Soundcloud really picked up steam in the 1st wave of a copyright clampdown by Youtube. It’s easy accessibility and intuitive sharing capabilities have made it a prominent part of the current internet landscape. What if the recent developments signal the beginning of a downfall for the site? Where are the best alternatives to host your mixes, edits, compositions and audio sketches? We take a look at a few possible solutions… 1. MIXCLOUD Website: www.mixcloud.com File format: MP3 Prices: Free • A well established platform already, Mixcloud has attracted a large amount of DJs and fans since it began in 2008. The Good: • No upload limits. • Pays license fees in the style of a radio station so that your mixes will not be pulled down. • The site design has come a long way since their early days. • Lots of cross-compatibility with DJ software including Traktor, Serato, and Mixvibes. The Bad: • Pages are heavy with ads • Low bit-rate streaming, particularity on mobile. • No backwards scrubbing means that you can’t replay parts of the mix once the play-bar has gone past that point. • Aimed at DJ mixes, not a good platform for uploading tracks. 2. DROPIFY Website: www.dropify.com File format: various Price: Free – $99 per month • Committed to using downloadable content as currency, encouraging all types of business to explore the potential of trading files (which they call ‘drops’) for Facebook likes. The Good: • A smart way of boosting your Facebook profile. • Good experience in content marketing. • Could be used for Tracks, Mixes or whatever file you want! The Bad: • With an emphasis on downloading, this isn’t really for the casual listener, looking for something to listen to while working out or driving. • More of a Facebook add-on than a standalone service. 3. HEARTHIS.AT Website: www.hearthis.at File format: MP3 Price: Free – $33 per year (approx) • Newcomer to the game and certainly influenced by earlier layouts of Soundcloud. There is a slightly punky/Wordpress aesthetic to the site, but I anticipate it will get more polished if adopted by more people. The Good: • Anyone familiar with Soundcloud is going to be comfortable with the functions and layout of Hearthis. • Define your own streaming bitrates with a premium account. • ‘Maps’ function lets you search for music geographically and connect with other DJs close by. • Very reasonable upgrade costs. The Bad: • Occasionally buggy experience at the moment because it’s a new site. • No iOS app at time of writing. • The format is so similar to Soundcloud, it makes us wonder if Hearthis will be vulnerable to the same issues in the future. 4. BLEND.IO Website: blend.io File format: DAW project files and MP3/WAV Price: free • Previously covered in-depth on DJTT. The emphasis at Blend.io is on collaboration and community incorporating Dropbox-style sharing as a way to share project files. The Good: • No tiered membership system means that everyone has equal access. • Great way to learn about music production and song structure. The Bad: • Music uploaded to the site is covered by Creative Commons and the T&C’s you agree to allow Blend to use your work in a variety of ways. • Feels more like a members-only club, not particularly useful for promoting yourself to non-musicians. • It’s all about the tracks here, collaborative DJ Mix project files would be quite large! 5. MIXCRATE Website: mixcrate File format: MP3 Price: Free • The same age as Soundcloud, but somehow feels like the old veteran of the group. For DJs wanting a place to host their long-form mixes. The Good: • Simple approach makes it very clear what the site is. • Powerful search algorithm and a huge library of mixes. • Opportunity to be featured on the front page if your profile generates enough traffic. The Bad: • Mixcrate is old-school to the extreme and feels like there haven’t been any major updates in a while. • Does not have the same universal appeal as other audio hosting sites, might be a harder sell to entice listeners that are not DJs to visit your profile. 6. BANDCAMP Website: bandcamp File format: MP3 Price: 0% – 15% cut of artist sales. • This site has been an outlier for a while now. A longtime favorite of indie-bands, there are an increasing amount of electronic acts signing up. Bandcamp can be used to sell physical merchandise alongside downloads. The Good: • Bandcamp looks lovely, with a clean simple layout. • No upfront fees, Bandcamp takes a 15% cut of your sales. • Upload in the highest possible quality and let your customer choose their preferred format. The Bad: • No feedback system means you can’t leave comments on music. • Unintuitive search and recommendation system can make browsing through the catalog lifeless or disconnected. • The site encourages original material, so mixes and mashups are a no-no. Source: djtechtools.com

just a thought. your two speakers should not be heading off in different directions in a bedroom set up (or really any) setup. i would suggest something like this diagram i put below. have you in the middle and both spekers pointed at you (kinda like a triange), u will get better acoustics and just a better feel for highs/mids/lows. imo

not too bad mate. its got a flow.

Many Ableton Live users know there is a simple and easy MIDI mapping engine available for controlling synths and tracks with any control surface. Map, click, turn, and control! Super easy – but did you know many controllers have more advanced “Remote Scripts” that give them instant -and more importantly dynamic- control over Live’s devices? The Basic Problem When in the throws of music production creativity, one hardly has time to stop and MIDI map your controller to each synth – especially when quickly previewing instruments and tweaking their parameters. Wouldn’t it be nice if your controller dynamically mapped to any instrument, effect, or drum rack you have selected? Well, it can! The Easy Ones Many major controllers have scripts pre-bundled with Ableton – you just need to enable them. Two octave keyboards with encoders and pads are particularly useful for song writing without touching the mouse. Here are the basic steps: 1. Go to Ableton’s Preferences window 2. Click on the MIDI/Sync tab 3. Look for your controller in the Control Surfaces column 4. If it’s there, select it – if not, move to the next section 5. Make sure the appropriate Input and Output are also selected for that controller 6. For recording control signals, enable Track and Remote by changing “Off” to “On” under the MIDI Ports section Many people get confused on the last point – here’s a quick explanation: Most controllers that you plug in only have Track turned “On” by default so when you go to record MIDI automation, the notes get recorded but not any control automation from knobs, encoders, or faders. To get this data into Live, you need to always arm “Remote” which is never enabled by default. Sync is not usually used unless you plan to sync the MIDI clock between Live and your controller. Once you have successfully connected your controller to Ableton Live and have data coming in and out of the computer, your control surface can both take over and display each parameter. Controllers with endless encoders and LED rings such as the Behringer BCD, Novation Nocturn and the DJTT Midi Fighter Twister are perfect for switching between devices and enjoying instant updates of the control surface. Finding Controller Heaven While the list of controllers supported out of the box is long and distinguished, it’s far from complete so chances are high your favorite MIDI axe is not there. For that problem, we just need a few extra steps to enter the fabled gates of auto mapping heaven. 1. Find a control script mapping with a Google search – there are many user-created ones out there! 2. Most of these come in a zip, so unpack it and locate the script folder (it does need to be in a folder) 3. Place that folder into the appropriate Live MIDI remote scripts directory • Windows: Place the folder in C:\Program Files\Ableton\Live\Resources\MIDI Remote Scripts • Macintosh: Right-click on your Ableton Live application and select “Show Package Contents”. Place the folder into Contents/App-Resources/MIDI Remote Scripts 4. Now we need to get the routings set up: • Open the Preferences window • Select the MIDI tab • Select your new control script in the Control Surface menu • Make sure to define your controller in the Inputs and Outputs section as well! DIT: Creating Ableton Live Controller Scripts There is a reason there are so many custom Ableton Live controller scripts out there: they are very easy to edit and create yourself! Simply by opening the text file, and using a little bit of syntax – it’s possible to edit an existing script of build one on your own from scratch. This is a fairly detailed topic which will get further coverage later but here are the basics. 1. Navigate to your MIDI Remote Scripts folder • Windows: C:\Program FIles\Ableton\Live\Resources\MIDI Remote Scripts • Macintosh: Right-click on your Ableton Live Application icon and select “Show Package Contents” and go to Contents/App-Resources/MIDI Remote Scripts 2. Go into Contents/App-recourses/MIDI- remote Scripts/_Tools 3. Read and download the following documents • InstantMappings-HowTo • UserConfiguration Basically, you follow the instructions in the How To document and edit the User Configuration file. • Create a directory in ‘User Remote Scripts’. The name of the directory will show up in the list of Control Surfaces in Live. • Naming: The name of the directory should not start with ‘_’ or ‘.’. • Copy the file ‘UserConfiguration.txt’ into your directory. The name of the file needs to remain unchanged. • Edit the copy to adapt it to your needs. The comments in the file will tell you what to do. Source: djtechtools.com

IK Multimedia is now shipping iRig MIDI 2, their portable Lightning/USB MIDI interface for iPhone, iPad and iPod touch (as well as Mac and PC). With detachable and interchangeable cable inputs, standard MIDI connectors, and compact design, iRig MIDI 2 adds a new level of portability and connectivity to mobile music-making. “Universal” Connectivity. The iRig MIDI 2′s Lightning connector provides connectivity with iPhone 5s, iPhone 5c, iPhone 5, iPad Air, iPad (4th generation), iPad mini and iPod touch (5th generation). iRig MIDI 2 also works with earlier generations of iPhone, iPad and iPod touch, using an optional 30-pin connector. Connection to Mac and PC comes by way of its included USB cable. iRig MIDI 2 cables are fully detachable and interchangeable via its Mini-DIN connector. For musical instruments or connecting other devices, iRig MIDI 2 is equipped with three standard-sized female MIDI DIN sockets: IN, OUT and THRU, allowing for full MIDI functionality and connectivity with any MIDI-enabled device. Companion Apps. iRig MIDI 2 comes with a suite of music creation apps; for iOS users, via App Store download, sound/groove station app SampleTank FREE, and piano app iGrand Piano FREE. Mac and PC users alike receive SampleTank 3 SE, a free special edition of IK’s SampleTank 3 desktop sound workstation. iRig MIDI 2 also works with all MIDI compatible Mac and PC software, plus the entire spectrum of Core MIDI apps for iOS such as GarageBand, Cubasis, Music Studio, BeatMaker 2, Animoog, Korg Gadget among others. Pricing & Availability. iRig MIDI 2 is available now from music and electronics retailers worldwide, as well as from the IK Online store for ~$99.99 USD. Additional information is available at the IK Multimedia website. Source: synthtopia.com

Native Instruments today released Circuit Halo, a new Maschine expansion. Circuit Halo combines “intricately-sampled” vintage synths and classic drum machines with more contemporary patterns. Circuit Halo’s sound set also boasts new presets for the (included) Massive and Reaktor Prism synths. Synth Sounds: Circuit Halo features a collection of samples from vintage synthesizers such as the Roland Juno 60, Casio VL-Tone, Prophet 5, Yamaha DX7, Sequential Circuits Pro One and Six-Trak, and the original Korg MS-20. Each instrument was carefully multi-sampled to capture the “characteristic warm low end,” and idiosyncrasies such as pitch drift, that analog equipment adds to productions. Drums: The drum sounds in Circuit Halo come from a mix of vintage and modern drum machines. Boutique outboard gear such as a classic 80s British talkback compressor and 1/2″ analog tape were used for detailed tone shaping and a good dose of warmth and character. “Lush” reverb, reminiscent of the 80s sound, was also used to add depth and vintage flavor to the expansion. Special Kits: Circuit Halo’s four Special Kits contain a “wealth” of glitched-out, grainy sounds, noises and sweeps, sound effects, and percussion and stabs. All-new Prism presets provide organic leads, pads, mallets, and flutes while Massive presets deliver “textured, morphing leads,” basses, and stabs. A condensed version of Circuit Halo is also available as an iMASCHINE Expansion, and features two projects, four drum kits, and two multi-sampled instruments. Tracks can be exported to Maschine Studio, Maschine, and Maschine Mikro for completion. Circuit Halo was created in cooperation with Danish sound design expert Joël Krozer of 6 Bit Deep. Pricing and Availability: Circuit Halo is available now via the NI Online Shop and runs exclusively in the Maschine 2 software on Maschine Studio, Maschine, or Maschine Mikro. Circuit Halo retails for $79 AUD. A compact version for iMASCHINE is also available via the in-app store, and retails for $0.99 AUD. Additional information is available at the Native Instruments website. Source: synthtopia.com

This video captures a hour+ discussion at CCRMA by author Marc Weidenbaum on Two Decades of Aphex Twin’s Selected Ambient Works Volume II. Weidenbaum’s discussion focuses on the “cultural afterlife” that the album has experienced in the two decades since its initial release on the Warp and Sire labels in 1994. The discussion is based on Weidenbaum’s book in the 33 1/3 series, Selected Ambient Works Volume II. Summary: Faithful to Brian Eno’s definition of ambient music, Selected Ambient Works Volume II was intentionally functional: it furnished chill-out rooms, the sanctuaries amid intense raves. Choreographers and film directors began to employ it to their own ends, and in the intervening decades this background music came to the fore, adapted by classical composers who reverse-engineer its fragile textures for performance on acoustic instruments. Simultaneously, “ambient” has moved from esoteric sound art to central tenet of online culture. This book contends that despite a reputation for being beat-less, the album exudes percussive curiosity, providing a sonic metaphor for our technologically mediated era of countless synchronized nanosecond metronomes. Marc Weidenbaum founded the website Disquiet.com in 1996. It focuses on the intersection of sound, art, and technology. He has written for Nature, the website of The Atlantic, Boing Boing, Down Beat, and numerous other publications. He has commissioned and curated sound/music projects that have featured original works by Kate Carr, Marcus Fischer, Marielle Jakobsons, John Kannenberg, Tom Moody, Steve Roden, Scanner, Roddy Schrock, Robert M. Thomas, Pedro Tudela, and Stephen Vitiello, among many others. His work has been displayed in galleries in Dubai, Los Angeles, and Manhattan. He initiated and moderates the Disquiet Junto group, where musicians respond on SoundCloud to weekly Oulipo-style restrictive compositional projects (as of this writing, more than 420 musicians have uploaded more than 3,000 tracks in more than 110 consecutive projects). He developed the sound design with Taylor Deupree for the 2012 documentary The Children Next Door. Since 2012 he has taught a course he developed on the role of sound in the media landscape at the Academy of Art in San Francisco, where he lives. Source: synthtopia.com

nothing wrong with basic mate

listened to it not long ago. very nice

Akai Professional has announced the availability of the iMPC Pro app for iPad. iMPC Pro re-imagines the classic music production center as an iPad app – offering 64 tracks for composing, editing and mixing music. It offers most of the features of classic MPCs and adds new features that the iPad makes possible, including: touch-based sample editing, a new timeline view, Inter-App Audio and social sharing. Akai iMPC Pro Intro Video: Features: • Sample audio from the iPad microphone, line-in, or your music library using the multi-touch turntable interface • 64 tracks for flexible multi-tracking recording and production • Sample Editor with undo history for slicing, chopping, trimming, and categorizing your loops and samples • New Timeline View opens a multi-touch gestural editor for sequencing, recording, and editing • New Flux mode lets you warp and glitch your beats in real-time or with automation • Precision Knobs expand on command for precisely dialing in parameters • 3D-performance mode lets your perform with your iPad’s accelerometer • Turbo Duck effect fattens up your tracks with sidechain compression • Sound library featuring 1,200+ samples from sound designer Richard Devine • Improved sampling workflow with re-sampling and sample library organization • 16 Levels mode with attack, velocity, length, and tuning settings for quickly creating variations of your sounds • Note Variation slider lets you adjust attack, velocity, length, and tuning as you play • Onboard effects include delay, bit crusher, and master compressor/limiter • Live Sequence queuing for real-time performance and playback • Time correct: 1/8 note – 1/32T with variable swing • MPC Note Repeat featuring 1/8 note – 1/32T timing with latch • Supports Inter-App Audio in iOS7 for sampling from your other music apps • AudioCopy and AudioPaste for copying/pasting beats and sequences from compatible apps • Seamless integration with Retronym’s Tabletop app for iPad, a modular audio environment • Export tracks to MPC Software for use with MPC Renaissance and MPC Studio • Works with MPC Element via the Apple iPad Camera Connection Kit (sold separately) • Supports WIST, wireless Sync Start protocol from Korg • Community sharing built-in: directly upload to SoundCloud, Facebook, Twitter, Tumblr, or export to your computer • iOS support for simple drag-and-drop, plucking, and multi-touch music gestures • Interactive gesture control for automation, mixing, and effects Here’s a playlist of tutorials for iMPC Pro: iMPC Pro is available now in the App Store with a price tag of $19.99 USD. See the Akai Pro site for more info. Source: synthtopia.com

nice post mate. will bump up to new version now.

This hour+ video, via the London Electronic Music Event, takes a look at the art of sampling. Producers Greymatter and Mr Beatnick discuss their approaches to the art of sampling: Whether lifted from vinyl or ready-made sample collections, sampling plays a pivotal role in the vast majority of electronic music output. But how can you use samples – and sample – creatively? Source: synthtopia.com

Part 4 - The End Result

Welcome

Is there a perfect mixer for ~$300? We’ve gathered mixers from Allen & Heath, Pioneer, DJ-Tech, and Behringer—all of which can be found in stores for ~$300 or less—to help you make that choice perfect budget-mixer choice. In order to give each mixer a decent amount of screen time, we’ve cut the video review into two parts. You can check out both below, and read on for more. Video Part 1. PIONEER DJM-250 The Good: Clean sound and high level of build quality; great filters; the most inputs of any mixer on test The Bad: Not much in the way of ‘exciting’ features; limited outputs The Bottom Line: A solid all-arounder which will adapt to many DJ styles and environments The lowest priced mixer in the Pioneer range, the DJM-250 definitely has DNA in common with its far more expensive family members. The feel and styling will be immediately familiar to any DJ who’s used a Pioneer mixer from the DJM-500 onwards, and build features like metal pot shafts inspire confidence. The faders are only ‘standard’ ones, but smooth to use, with a light feel, and the crossfader is switchable from a smooth fade to a sharp cut, with the cut-in distance comparable to bigger mixers like the DJM-800. A huge selection of inputs, including switchable phono/line inputs on the channels, plus three Aux inputs, means you could potentially have a massive seven line-level sources, plus a mic, hooked up to the mixer simultaneously. That makes it perfect as the basis for a bedroom or basement studio setup, where you might want to hook up, say, your TV, your games console, or set-top boxes into your sound system, too. The mixer is suitable for taking out to gigs, too, though, as it features professional XLR balanced outputs, and a nice loud cue output. Only the lack of a monitor output, or even a separate record output, lets the connections down, although the master cueing level is unrelated to the actual master output control—a feature I’d love to see added to Pioneer’s top-flight mixers. Everything feels solidly put together, and sound quality is good. The DJM-250 is a perfect example of a ‘simple’ option at this budget. No crazy features to get excited about, although the filters on each channel are excellent, and hugely playable, but a perfect balance between quality and price. I’d have no problem recommending the Pioneer to anyone; it’s a completely safe, but not the most exciting, choice. As I use Pioneer mixers at all my residencies (when I can’t take my Z2), I felt right at home on the 250, and that kind of comfort level can’t be overlooked if you’re at the stage of DJing where you’re getting regular gigs. Allen & Heath Xone:23 The Good: Sound quality is amazing; built like a tank; excellent Xone filters The Bad: Crossfader is disappointing; Send & Return loop is not suitable tor the most popular FX units; limited inputs The Bottom Line: Beautifully made with incredible sound, but a few design quirks which might not work for everyone The Xone:23 feels like a much more expensive mixer than its current $300 street price would suggest. The build quality is impeccable, and the sound quality is simply astonishing. The renowned A&H filters are present and correct, and sound as good as ever, with no clicking or popping when you assign them. The crossover points on the full-kill EQs are perfectly judged, too. Anyone into long blends and smooth mixing will have a great time with this mixer. In those respects, the Xone:23 follows in the fine traditions of every Xone mixer produced to date. That means anyone who has felt love for Allen & Heath mixers in the past will be delighted with it. Unfortunately the quirks of the range have made their way into the this model as well. With the honorable exception of the Penny & Giles fader on the Xone:02, I’ve found every Xone crossfader I’ve used to be somewhat underwhelming. The Xone:23’s is distinctly odd—on the smooth, blend curve setting, it fades nicely but all sound is cut out at least half an inch before the end of the fader’s travel. On the sharp, scratch setting, it cuts reasonably sharply, but the cut-in distance is by far the largest of any mixer in this group. A&H do mention the possibility of upgrading to an Innofader, but the 23 is already the most expensive mixer in the test, so I can’t judge it on that basis. The assignable, post-fader send & return loop for FX is a great feature, in theory, but has one big shortcoming—it doesn’t work properly with Pioneer’s RMX or EFX units, because those are designed to work in an ‘insert’ fashion, as opposed to A&H’s send & return bus. Now, I understand that A&H and Pioneer are mortal enemies in the mixer business, but I don’t think anyone could seriously argue that Pioneer’s effects units are not the most popular with DJs around the world. It also won’t work with send FX in Traktor or Serato DJ. So to have an FX loop which just doesn’t work with those setups means that many potential users of the 23 might immediately be put off. It’s a shame, because it’s well implemented in every other way. The only other potential issue with the Xone:23 is the lack of inputs. The idea of a pair of inputs on each channel, each with its own gain control, is a good one, but restricting those inputs to two line and two phono inputs, for the mixer in total, is just too limiting for many modern digital setups. You can open up the mixer and remove some resistors to convert the phono inputs to line level, but that’s hardly a trivial job (A&H suggest that you’ll potentially void your warranty in doing so, even), and nothing like as flexible as having a simple switch to go between phono and line level, just as all the other mixers here do. The output section is not so threadbare, with a full complement of XLR master, record, and separate booth outputs; nothing to fault there. It’s always seemed to me that Xones are very polarizing mixers; some people absolutely adore them, and for good reasons: The sound and the build are superb. But others, and I have to include myself in this group, just can’t seem to get on with the way they work. If you’re a Xone fan, the 23 will rock your world in a big way. But I had hoped this would also be the Xone that finally converted me to the A&H way, too, and sadly it just doesn’t quite manage that. Video Part 2. DJ-TECH DIF-1S The Good: Fantastic crossfader; flexible inputs and DVS hookup system; great build quality for the money The Bad: No balanced outputs; lack of master cueing could be a problem for the target market The Bottom Line: One of the best faders in the game, combined with great build quality for its price; perfect for aspiring turntablists With the rise of China as a superpower in all areas of manufacturing, it was only a matter of time before we started to see some interesting new takes on DJ technology emerging from that country. DJ-Tech are very much leading the charge, and the DIF-1S was a product that really caught the attention of the DJ world when it was revealed in 2012. What’s great about the mixer is the purity of its mission—a great crossfader, in a solid but basic box, at a cheap price. Taken on those terms, it absolutely succeeds. This is a mixer designed for cutting, pure and simple—and having garnered the approval of DJ QBert (who released a special Thud Rumble edition of the DIF-1S last year), you can be assured it’s up to that job very nicely. It’s got a Mini Innofader crossfader that comes standard, with reverse switch and continuous curve control. I’m now very familiar with the Mini Innofader, with one in my Kontrol Z2, and, since reviewing the PNP version for DJTT, having picked one up for my DJM-700. It’s a superb fader—end of story. …But of course there is a bit more to talk about than just that fader; the rest of the mixer mustn’t be overlooked. The build quality is remarkably good for the cost—it has a street price of ~$200, only twenty bucks more than the cheapest mixer in the test. The upfaders are nothing like the crossfader, and have no curve control, but good enough for blending. It’s heavy, has metal pots, and everything feels chunky and solid. Even pulling off the knobs to examine those pots was challenging; the DIF-1S is indeed a well put-together mixer, and any product which aspires to being adopted by turntablists needs to take a beating. The sound quality is clean—no complaints on that front. It doesn’t approach the majesty of the Xone:23 sound, but is certainly on a par with the other mixers on test. The EQs cut to -26 dB—not a full kill, but not far off—and the cutoff points seem tailored nicely towards scratching, to my ears. What the mixer does lack is much in the way of professional outputs—there is a booth control, but both that and the master are only on RCA phono connectors. So no balanced outputs here, but it’s good to have two outputs, with independent level adjustment, at least, for recording mixes at home. The DVS connections are nicely implemented; it’s basically a send/return insert loop for each channel, which sends the switchable phono/line input out to your DVS soundcard, then back in again on a separate input. What that means in practice is that you can leave your decks/CDJs hooked up to the mixer all the time at home, and patch your soundcard in or out very quickly, if you need to take that out to gig with. If you don’t use it for that purpose, it can be repurposed as just a regular line-level input, meaning you can have up to six sources (in total) hooked up to the mixer at once. There is one oversight in the design of the DIF-1S which it must lose marks for, and that’s the cueing. Limited to a simple cue on/off for each channel, the lack of any ability to listen to the master output in the headphones is a big no-no on any mixer aimed at turntablists. Precious few parents/neighbors/significant others will cope with hearing the constant wiki-wiki of a turntablist in training for very long, and so having no master cue function could prove to be a deal-breaker in many households. There are workarounds, of course—I used to practice by connecting my headphones to my amp, back in the day—and it looks like DJ-Tech have listened to customer feedback, as their new DIF-1M does indeed feature master cue facility. But while that is something that you might need to consider when it comes to the DIF-1S, it’s the only real flaw in what is otherwise a very impressive mixer for $200. BEHRINGER NOX404 The Good: Insane amount of features, many of which are really fun; excellent crossfader; USB connection is a nice addition The Bad: Build quality not quite as high as the other mixers on test; some odd layout choices The Bottom Line: A hugely fun and very flexible mixer, only let down by the slightly cheap feel of its construction The last Behringer mixer I spent any serious time with was one of their old VMX series, a long time ago, and I must admit, even by the standards of the era, that was pretty poor. But I’ve watched with interest as Behringer have continued to refine their DJ kit as the years have gone by, with the DDM-4000 gaining many fans, and now the NOX series getting a lot of love from DJ's. And having spent time with the NOX404, I can see why. This mixer is FUN. It has more features than any other mixer here—optical crossfader, USB soundcard, assignable send/return loop, built-in FX, adjustable curves on all faders, pan controls—with simply a ton of ways to interestingly interact with your music. For the ~$180 street price, this mixer’s feature count is simply astonishing. Inputs and outputs are fully covered. You’ve got master output of XLR and RCA phono connectors. An Aux output with its own level control. Line and switchable line/phono inputs on both channels, plus an aux input, mic, and the send/return loop is on 6.35 mm jacks. Not much more you could ask for… …Except maybe a USB port. The only mixer on test to have any digital hookup, the sound card on the NOX404 is pretty basic, but still useful regardless. Offering a single stereo stream in and out of your computer means recording your sets is as simple as connecting up the USB lead and choosing the right input in your recording software. Plus, you can play audio back to the mixer by switching channel A over to the USB input. No, you won’t be assembling a full DVS system with the sound card in the 404, but it works very nicely, and it’ll certainly be a huge step up from plugging a 3.5 mm jack into your computer’s onboard sound for recording. The crossfader is of the optical variety: An Infinium fader. Having spent some time with it on the Mackie d.2 mixer, I know it’s a superb fader, up there with the Mini Innofader found in the DIF-1S, really; it even offers tension control, which the Mini doesn’t have. Full curve controls on the upfaders might also sway aspiring turntablists towards the NOX404, as will the ability to cue the master output in the headphones. The FX section is a mixed bag—some sound great, others not so much. I’m willing to bet any DJ will find something in there they could make regular use of, though. For me, the FX that don’t rely on beat syncing work best, as getting an accurate BPM into the mixer is not as simple as it could be—you always have to do it manually. The FX aren’t post-fader, meaning no echo tails, etc., but the send/return loop is, and because it has a wet/dry control, it can work with pretty much any unit out there, including the Pioneer range. The only downside is the slight audible popping when you engage the loop on either channel. It can be worked around, but it’s there. With so much going on, faceplate real-estate is at a premium, and to be honest I could have done without the fader Mode switches, which seem a bit superfluous. The same goes for the pan faders, which I guess could be useful for some, but their positioning right below the bass EQ knobs could be an issue. Of course, Behringer might be supply-chain masters, but they are not magicians, and there has to be a price to pay for all that functionality in a sub-$200 mixer. Whilst the sound quality is perfectly respectable, the build quality of the 404 just doesn’t feel quite as reassuring as the other mixers here. The pots are plastic, and all exhibit varying degrees of wobbliness—the cue level knob on our review unit, especially so; the mixer was also missing one of its rubber feet. The buttons, likewise, all feel a bit plasticky. Now, to their credit, Behringer do offer an excellent warranty: three years for the mixer as a whole, and a year for pots and faders, etc. So I think you can buy with confidence, but I’m pretty sure that in five years, a DIF-1S will be in better shape than a NOX404 bought at the same time. WRAP-UP I was kind of hoping that there would be a real standout product in this group test—one budget mixer to rule them all. That’s not the case, but I’m not disappointed by that in the end. When I think back to some of the mixers in this price range when I started out, it’s clear that we’ve never had it so good as we do today. It’s almost unfair to compare the Xone:23 and the DJM-250 against the other two mixers. Yes, the price difference is only ~$100, but proportionally, thats huge at this price range, and you can feel every cent of those extra dollars. Both of our ~$300 mixers are very well built, with good/great sound—perfect, indeed, for a DJ’s first real upgrade after outgrowing their initial basic kit. Of those two, my choice would be the Pioneer. It works better for me in terms of the way I DJ, and with the kind of kit I use (I’d have to run my RMX-1000 on the master output of either, so that’s not a consideration). But even amongst the circle of DJs I spin with, there are many for whom the Allen & Heath will be absolute mixing nirvana. Hopefully, by the time you’re ready to drop $300 on a mixer, you’ll have an idea of your own style and needs, and neither of them will disappoint if you choose the right one. Down around ~$200, well under the limit of our budget, we see two wildly different takes on what a budget mixer can be. The NOX404 is an all-singing, all-dancing powerhouse of a mixer, which will adjust to pretty much any style of DJing. It’s massively fun to use, with only my doubts about its potential longevity casting a shadow over the proceedings. The DIF-1S is a pretty unique proposition; a dope crossfader in a big solid box. The rest of the mixer is a touch uninspiring feature-wise, but certainly feels like it will take a beating. The lack of a master cue is disappointing, but not the end of the world. If it were my $200? Well, I’m not a hardcore, proper turntablist, and the NOX404 has a great crossfader, too. Plus, I’m the kind of person who loves shiny things, and crazy features, so if I were a beginner today, I’d buy the Behringer. I wouldn’t necessarily be expecting to pass it down to my grandkids, but I’d sure have a lot of fun in the meantime. Source: djtechtools.com

ye i read OP as $200 a pair myself.

will have a listen when i get a chance for sure

well he definitely has the spare change laying around

we are a top bunch of whales

ASIO4ALL, a Universal ASIO Driver For WDM Audio, has received its first major update in four years. ASIO4ALL 2.11 is a combined 32/64 bit version, supporting Win 98SE/ME/2k/XP/MCE/2003/XP64 and Vista/Windows 7/Windows 8.x x86/x64. Here’s what’s new in version 2.11: • Improvement: Make an attempt to reclaim an unavailable audio device, includes workaround for a (confirmed) Windows bug. • Improvement: Add general fixed factor resampling capabilty • Improvement: Latencies now displayed for the preferred buffer size, if host elects to violate the spec. • Improvement: Support for single common sample rate that is *not* a multiple of 8 or 11.05 • Workaround: Realtek PULL mode not supported for “odd” ASIO buffer sizes. Symptom was a “Beyond Logic” error depending on ASIO buffer size. • Fix: Potential application compatibility issue regarding ASIO reset request message • Fix: Increased latency in x64 mode • Fix: Pull mode _and_ latency display now working • Fix: ASR issue with MSVC 2013 x64 -> Performance impact with hosts compiled with MSVC 2013 • Fix: UI appearance with different system locale • Fix: Hang with some x64 hosts • Fix: Crash on exit of A4Apanel64.exe • Fix: Minor memory leak • Fix: All known 2.11 Beta(1,2) regressions fixed Download at the ASIO4All site. Source: djworx.com / synthtopia.com

this ended up selling on ebay $46,300