Showing posts with label m-audio. Show all posts
Showing posts with label m-audio. Show all posts

Mixvibes UMIX44 DJ Package Review

Mixvibes UMIX44 DJ Package
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I decided to buy this product to monitor tracks while mixing, my laptop could only deliver one output. The product met expectations as now I have the RCA output cable to my amplifier and monitor on my headphones.
The only bad thing is that the sound card seems to have an issue when loading tracks as the music gets frequent cuts every time you load a track. Have not found the root cause of the problem. I have adjusted the buffering level and it has improved. Still need to work with it a little more to figure out the problem.
In general OK. Have not tried any of the input channels which I believe are of great value.

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M-Audio Torq MixLab Digital DJ System Review

M-Audio Torq MixLab Digital DJ System
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I was a bit skeptical about actually mixing on a computer, but must say this delivers!! The Torq LE is a simple to use, and learn, program. The mixer does a great job, with a couple of exceptions. First, there should be kills on the EQ's and the headphone monitoring needs to be better thought out. You basically have to connect to 2 external audio outputs to hear the main mix and the monitor mix. I believe a simple headphone jack on the mixer itself would have been a great idea. Of course, since this is a MIDI controller, and not an actual mixer, I don't know the ramifications and troubles with doing that. Those are the 2 reasons I was not able to give this 5 stars. Overall, I think its a great product and for the price - its awesome!

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Torq MixLab� delivers everything you need to start producing and performing your own DJ tracks right away. Torq� LE gives you the features necessary to build a modern DJ station. And the included X-Session� Pro USB controller puts you in command of mixing and crossfader action. Easy to learn, Torq MixLab will have you up and running fast - ready to remix, and burn. Plus Torq is powerful enough for the big stage as well as small parties.

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Mackie MR5 MR5 Reference Monitor (Single Speaker) Review

Mackie MR5 MR5 Reference Monitor (Single Speaker)
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FIRST THING FIRST...
Forget speaker set-ups and systems that unnecessarily add treble and bass to the music you're listening to including ones with active equalization that determine on your behalf what you're ears should be perceiving at the moment and eliminating other frequencies that it believes aren't as audible anyway.
How about jumping back into studio monitors that deliver music the way the recording engineers meant it to be heard. Too expensive? Hold on. Not with a Mackie MR5. The price you pay is per piece all right, but don't forget these are powered speakers. And at this price point you get a flat frequency response which means there is no colorization. What is recorded is what you get.
Studio monitors used to be so expensive and out of reach that consumers were bombarded with those other brands that promised to wow your ears with a "perception" of full spectrum audio rather than actually provide your ears with, umm, a full spectrum.
Finally Mackie decided to release lower end audio gear with high end results that appeals to everyone else outside of the audiophile world.APPLICATION...
These speakers are built with 3 types of audio connections.
1. Balanced XLR
2. Balanced TRS (which also can accept unbalanced TS)
3. Unbalanced RCA
Originally intended for near-field monitoring as well as accurate enough for home studio mixing. But knock yourselves out in using these anywhere you see fit. If it's good for mixing, it's great for whatever else.
I used it as my desktop computer speakers. If your computer has a 1/8 stereo output a.k.a. mini-stereo then just purchase a simple (but solidly constructed) 1/8" stereo to RCA cable.HOW DOES IT SOUND...
GREAT! However, you need to re-orient your ears if you've been used to unnecessary and heavy equalized equipment. Take a moment to listen to your favourite CD. One that you are very familiar with from beginning to end. Turn off or flatten the equalizer setting. Take one pass on it and determine if you really to highlight or defeat certain frequencies only because you either have wall to wall carpeting and draperies or bare walls.
You're goal is to listen to music the way it was recorded. If you have unbiased speakers in all frequency range then you will notice nuances in the recording that you never even thought was there. Seriously.WHAT ELSE DO I NEED TO KNOW...
Although this is the smallest of the Mackie studio monitoring speakers, it's still a force to be reckoned with in terms of performance, size and weight. And that's a good thing. It looks, feels and performs like any solid studio monitor. Nothing has been spared. Rather than spend money on marketing, they spend it on actual R&D and build quality.
Frequency response of 60HZ-20KHZ (+-3db) with internal bi-amplification of 55 watts (85 watts peak) for the low frequency and 30 watts (50 watts peak) for the high frequency. And don't be fooled by other speaker manufacture ratings stating 200 watts power which don't mean a thing unless they meant peak power before the internal fuse blows while already clipping at maximum distortion. Did you hear how loud your built-in television speakers can get. To think they are rated from 3 to 6 watts only. So with these truthful power rating, these Mackies are LOUD! Your ears neighbours will come knocking first before you can blow the fuse of these speakers.COMPARED WITH...
The truth is I was perfectly happy with my Blue Sky MediaDesk 2.1 speakers just because I couldn't afford a THX pm3-approved Mackie HR624 at that time. The frequency response was awesome at 35HZ-20KHz. The speakers were fully sealed which provided less distortion and true bass output. I tossed the boxes so I decided to sell them when I moved cross-country than risk damaging perfectly great speakers.
I now moved the Mackie MR5 pair to the living room and disabled the built-in speakers of the television and then obtained a pair of KRK Rokit Powered 6 Generation 2 studio monitors which is equally accurate as the Mackie, but has better frequency response at 48HZ-20KHz (+-1.5db) due to it's 6" low frequency driver.WHAT TO GET...
If you're budget allows for a Mackie, I would get an MR5. A cheaper alternative but still along it's price range is the KRK RP5G2 which also comes with a 5" low frequency driver. But for the same price as the Mackie MR5 is the KRK RP6G2 with better frequency response and a hefty weight and size to boot.
The difference is the porting on the cabinet. Mackie believes in using a rear port, while KRK argues a front port is better as it allows more flexible placement without fear from unnecessary bass response due from the rear ports when placed nearer against the wall.
My recommendation is to listen to both at your nearest studio monitor dealer that stocks both and decide. In the future you can expand to a 2.1 configuration to extend the bass response even lower by purchasing their own respective subwoofer counterparts. As usual, KRK products are better priced so this might affect your decision now the same way it did to me.
If you want a 2.1 configuration right now, then the Blue Sky MediaDesk 2.1 with it's sealed cabinet enclosure all throughout will make sure that the bass you hear is the bass coming from the subwoofer and not from any port which only exists to help extend bass response to a lower frequency.
Either of this you won't go wrong. But please do yourself a favor and get yourself a decent studio monitor than an exorbitantly priced speaker set from a manufacturer that (1) either advertises amplification and frequency response that can be achieved at full clipping power or (2) won't even advertise their specifications at all and then claim their "actual" performance doesn't do justice to the over-equalized supposed sound output.

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Thanks to its sophisticated design, our 5.25-inch MR5 Mackie Reference Monitor delivers superior sound with impeccable clarity?at an unbelievable price.

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Numark DJ I/O Multi Channel USB 2.0 DJ Audio Interface Review

Numark DJ I/O Multi Channel USB 2.0 DJ Audio Interface
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I use this for my portable DJ set up.I run a Windows based Laptop with Virtual DJ Pro. It separates each virtual decks into a right and left channel that I plug into a mixer via RCA cables. It provides full, clean sound with absolutely no lag. I have used this card for a couple of parties, it's small and runs off the USB port on my computer, so all I have to do plug it in and I am ready to go.
I wish it had XLR outputs though, so I could connect it directly to my JBL IONs without an external mixer. It's still a great value for the price.

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A compact, portable audio interface expressly designed for DJs, mobile music producers and other musicians who work with computers, the Numark DJ I/O connects easily with a standard USB cable to the computer and supplies extremely high-quality, 24-bit audio to output systems. With the DJ I/O, you can use your favorite DJ software and take full advantage of cueing and monitoring.
Compact and rugged enough to live in your gig bag, it has RCA stereo outputs and a headphone output so you can cue and output your main mix simultaneously. It also has a 1/4-inch mic input so you can be the life of the party.
The DJ I/O has stereo outputs for a main sound system, a secondary or monitoring system and headphones, as well as a microphone input with a hardware volume control. The audio interface comes with premium ASIO drivers, which enable you to easily optimize your system's audio performance.
Practical for use in a wide variety of setups, the convenient and highly portable DJ I/O is most commonly used with a combination of music-mixing software and a hardware controller such as TOTAL CONTROL, Stealth Control, or MixMeister Control. The DJ I/O delivers extremely low-latency audio performance for real-time playback accuracy at a choice of CD-quality 44.1kHz or premium 88.2kHz sample rates.
You can use DJ I/O with Mac OS X, Windows XP, or Vista. Both 32 and 64-bit Windows are compatible. The USB device is bus-powered so no additional power supply is needed, and you can optionally power the DJ I/O using a six-volt AC adapter (sold separately)
Features and Specifications
DJ audio interface for use laptop performance
Ultra low-latency playback for real-time mixing
Two independent RCA stereo outputs for main and recording systems
Microphone input with adjustable gain (1/4-inch)
Stereo headphone output (1/4-inch TRS)
Studio-grade, 24-bit, 44.1 kHz and 88.2 kHz audio quality
ASIO drivers with control panel for fine-tuning system performance
USB bus powered, requires no wall power
Output Level: +2.0dBV +/-0.5dB
SNR: > 100 dB (A-weighted)
THD+N: 0.008%
System requirements: Mac OS X; Windows XP or Vista (32- or 64-bit)
Backed by a 1-year warranty

What's in the Box DJ I/O audio interface, USB cable, software installation CD, quick start guide

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MAudio Audiosport Quattro 4x4 USB Audio/MIDI Interface Review

MAudio Audiosport Quattro 4x4 USB Audio/MIDI Interface
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I use this item for a virtual DJ setup with my technics 1200's and finalscratch time coded vinyls @ 125grams. I also use groovemaster IIrm and IIpro which suites my needs for beatmixing. This was my last piece of DJ equipment to complete my setup. Don't be fooled by the usb...it boast a latency under 10ms depending on PC configuration. I bought mine on ebay for 105. make sure you use TS to rca cables when you connect your preamp from your turntables to you quattro. you have to use all the channels for it to work with all virtual dj software. kudos to m-audio, they know whats up

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M-Audio's Quattro USB audio interface is perfect for any application that requires high-quality audio as well as portability and/or compactness, such as tight studio spaces. The Quattro provides four .25-inch TRS analog audio inputs and four analog audio outputs in the ASIO (Audio Stream Input/Output) format and two in/out in Windows MME (multimedia extensions) or when using the Macintosh Sound Manager. It also offers a front-panel 1 x 1 MIDI port.High-performance, 24-bit/96 kHz analog-to-digital and digital-to-analog converters ensure faithful reproduction coming and going, and all audio inputs and outputs are switchable between balanced (+4 dBu) and unbalanced (-10 dBV) operation to accommodate professional and consumer devices--and to work between them. Each 1/4-inch jack will accept either TRS or TS 1/4-inch plugs.You may connect the output of a line-level instrument such as an electronic keyboard or instrument preamp, the output of a microphone preamp (a mic preamp is required for use with a microphone), or the output of a CD player or similar line-level device.The Quattro lets you record at any sampling rate that your recording software will allow, up to 96 kHz at 24-bit resolution. You can also work at 16 or 24 bits with a sampling rate of 48 kHz or less. An ASIO control panel comes with your driver software, which lets you set the Quattro to its different operating modes. If you are not using ASIO or otherwise wish to monitor the signal at the Quattro inputs, a convenient direct/monitor switch bypasses the computer so you can directly monitor the input signal present at the Quattro.When all four input and output stereo pairs (two input pairs and two output pairs) are enabled, the Quattro will operate in 16-bit mode at either the 44.1k or 48k sampling rates. With three stereo pairs enabled, i.e., either one input and two output pairs or two input and one output pair, the Quattro will operate at 48 kHz sampling rate or lower, and at either 24- or 16-bit. When one stereo pair is enabled and in 24-bit mode, the Quattro will operate at the 96 kHz sampling rate or lower.You may connect the four outputs of the Quattro to a mixing console, or use two of the outputs for a stereo send to a monitoring system (power amp and speakers, or a home stereo), powered speakers, or a headphone amplifier.The Quattro can be your only MIDI device, or it can be used in conjunction with as many other MIDI devices in your system as your music program allows.
Additionally, the Quattro can be used in conjunction with M-Audio's Omni I/O desktop recording system (not included). The Omni will add two microphone/instrument preamplifiers to the Quattro inputs, and a mixer to the Quattro outputs. The Omni will let you blend MIDI keyboards with audio tracks, add effects to the Quattro outputs, and control monitor and headphone levels while mixing down.What's in the Box Quattro USB audio interface, one (1) USB cable, one (1) 9V AC 1,000mA power supply, one (1) driver disk containing drivers and additional software, and a user's manual.Note: It's usually possible to connect multiple devices to your USB port through the addition of a USB hub. The Quattro, however, requires all of the bandwidth that is available to the USB port, and therefore it is required that you plug the Quattro directly into your computer's USB port, and not into a USB hub with other USB devices. MIDI operation on Macintosh computers requires the OMS MIDI Manager from Opcode, which must be installed prior to the installation of the Quattro drivers.

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Marathon MA-TXP Flight Road Case Review

Marathon MA-TXP Flight Road Case
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Get this if you intend to travel with your Xponent. I had initially bought the official Xponent Gig Bag from M-Audio, but found it to be such a ripoff after one use - the material feels cheap and I was constantly worrying about the knobs and switches being knocked out of place. This Marathon case is solidly built, fits the Xponent perfectly, has a removable cover and has a removable front piece and a gap at the back for you to connect your cables and headphones. This way, you can use your Xponent WITHIN the case, keeping your Xponent off the table (in case of spillage). The case comes with two foam cushions, which I presume are meant to cushion the two jog wheels and to hold the Xponent in place when the case is closed. An added benefit is that the plasticky Xponent looks more "professional" when encased in this sturdy set-up - key when you're trying to appear as such in a club setting, in front of a crowd/owner that is used to seeing a DJ with turntables!

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E-MU 1616M PCIe Digital Audio System Review

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PreSonus Eureka Pro Recording Channel Review

PreSonus Eureka Pro Recording Channel
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The Eureka has gotten a lot of buzz. The box feels solid and substantial. It comes with gain, hard/soft compression, three band parametric eq, and master volume. The patch order of the eq and compresion can be switched, depending on your needs. Other useful features include phase inversion, variable impedence, and a saturation knob. A backlit analog meter can display incoming signal level or gain reduction. Inputs and outputs are both TRS and XLR. An effects insert point is included. An optional digital output card is available.
I bought the Eureka on the recommendation of a trusted music salesperson (yes, they exist) to power my Royer 121 ribbon mic. There were no preamps anywhere close to this price that he would consider recommending. As it turns out, he did me a great favor. The Eureka does a very solid job with the Royer mic (although I haven't heard the Royer on anything else, so I can only speak to the pairing of the two). Better yet, it gives me new options for almost every other piece of gear I own. I have an inexpensive Precision bass that really benefits from this box - the compression and preampe give it the fullness of a better instrument, while the eq helps to control the noisiness and unevenness between strings. The variable impedence allows users to try those DIY tricks on Shure SM57 mics without pulling out a soldering iron. Other budget-to-midrange mics also benefit. I run my Mojave tube mic through the Eureka to control peaks with good results. I haven't found anything that doesn't benefit at least a bit from the Eureka. I have even heard of mixes being run through the Eureka (one side at a time) to remove the dreaded "digital chill". Between the quiet operation and the versatility of the Eureka, it is no wonder that it is quickly becoming a "best kept secret" among many home recordists and even sine professionals.
Downsides: The knobs are close together and seem vulnerable to being bent. Three sweep eq's with no shelving eq are less than I'd prefer, but they do their job. The optional digital card can take signals from two Eurekas run in tandem, but the signal from the second Eureka must pass to the card in the "analog domain" before it is converted to a digital signal. As with any analog gear, favorite settings must be written down instead of being saved to memory for instant recall. None of these issues is a deal-killer - they just illustrate how hard I had to work to come up with any complaints at all.
If you're looking for a way to bring your home recording quality up a notch, or a way to give old gear a new lease on life, the Eureka may be just the ticket. Its quality sound, versatility and bang-for-the-buck put it in a niche that will make many bugdet-minded recordists very happy.

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TC Electronic Desktop Konnekt 6 24Bit/192kHz Firewire Desktop Audio Interface Review

TC Electronic Desktop Konnekt 6 24Bit/192kHz Firewire Desktop Audio Interface
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I had to get rid an Alesis iO device after the upgrading to Windows 7 and downgraded to an older, but compatible, Tascam USB interface device in the meantime. The Konnekt6 is better than both of them. The device buttons and knobs all have a quality feeling to them - plus they're functionally elegant with indicator illumination. The monitor volume knob, for instance, glows brighter as it is turned. The balanced output works great - as do the inputs. The WDM drivers work great in Windows 7 32 bit, as does the control panel. When running it for the first time, it recognized that there was a new firmware on the disk and seamlessly installed it. The control panel's interface seems well designed - I was able to grasp all of the mixer and device setting configuration without resorting to documentation. I probably will never use the reverb but it was easy to completely disable. So far, I'm very pleased with this purchase.

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Anyone familiar with the T.C. Electronics' Konnekt line of interfaces knows they offer high-quality recording features. This addition to the family, the Desktop Konnect 6, continues that trend but is in a smaller footprint size FireWire audio interface allowing you to focus more on your performance than worrying about messing with complicated technology. It gives you all the features you'll need, like an advanced Monitor control, IMPACT mic pre with excellent I/O options, and the top-notch M40 Studio Reverb to instantly record instruments and vocals into your Mac or PC. Monitor Control The volume control on the Konnekt 6 Interface is the knob that you'll use all the time. Therefore, it is great that it sits right where you want it: always within reach. With a volume control independent from the computer - between the computer and the active speakers - you can always turn down the volume, no matter what your computer does. High resolution meter The high resolution gives you precise information about levels. With clear level indication, you can always monitor the level of the input signal and know if you're near clipping. You can also choose to use the meter for mastering purposes. Reverb for tracking For monitoring convenience, the reverb is available as part of your monitor mix. You can control the reverb level directly from the top panel of Desktop Konnekt 6,and you can set reverb parameters using the control panel on the computer. Direct monitor mix Use the direct monitor knob to control the direct monitor level directly from the top panel of Desktop Konnekt 6. Together with the DIM switch and the MONO switch you have all the monitor functions you need at hand. Scenes With Scene select you can easily access three independent scenes or "setups". The three default presets are for Microphone and guitar, two guitars/basses, and stereo line signal. Control panel The control panel gives you full control over your monitor mix, including the M40 Studio Reverb. IMPACT and

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M-Audio Trigger Finger Drum Pad Control Surface Review

M-Audio Trigger Finger Drum Pad Control Surface
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Unlike the first reviewer my experience with Trigger Finer has been a good one. At first it took me awhile to figure out how to get the device to control the drums in Impulse (Ableton Live) once I realized that each pad had to be set in order to have each tone mapped it was a breeeze. I suspect that maybe the first reviewer as well as any midi newbie might have difficulty in that respects since it is not plug in play as M Audio states....it is program and play, however once you get it programmed correctly it is effortless. The htinkg is it is soo expandable and programmable it may be to its own detriment especaiily for peolle who are not fimiliar with mapping out midi controllers.

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Mixvibes CROSS DJ Package Review

Mixvibes CROSS DJ Package
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Mixvibes Cross isn't the best known DJ Controller package. That honor belongs to packages such as TRAKTOR and Virtual DJ. Yet this DJ package has much to recommend it. It is stable, runs on multiple platforms (Macs, PCs, etc.) and is feature rich without being bloated with rarely used features. Plus, it supports a variety of DJ MIDI controllers. And, importantly, Cross supports my iTunes library.
You can customize the stock controllers and add controllers in the unlikely event that your particular hardware MIDI controller isn't supported. (This was handy for me because, as an Internet DJ, I mix using the channel faders and not with the cross fader. It's too easily to accidently bump the cross fader, so by using a modified controller preference in Cross I was able to disable the cross fader.)
There are some things that could be improved. Cross only supports two virtual decks. While this is what I use 90% of the time, there are instances when I could use a third or fourth deck. In addition, this is a Windows port. As a Mac user, the UI shows all the non-Mac elements of the porting. Preferences, for example, are located under the Edit menu instead of the more Mac-like location in the Apple menu. The iTunes implementation, while it works well, looks awkward in how the UI was implemented. It looks like what it probably was--a bolt on. Finally, I haven't been able to make much use of the Beat CDs and records that came in the package, but that may be more my than Cross's issue.
Still, the flexibility, capabilities, features and stability of Mixvibes Cross makes up for any of these shortcomings. All-in-all Cross is a great DJ Controller package that deserves much more recogition. It does everything that I need for my Internet radio show.

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M-Audio Studiophile AV30 Professional Reference Speakers Review

M-Audio Studiophile AV30 Professional Reference Speakers
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I bought these speakers to listen to music and news at my desk in my apartment, and BOY do they fit the bill.
I've put them through the ringer--rock, folk, house, drum & bass, hip hop, samba, All Things Considered--and they sound remarkably good in all applications. Everything but D&B and hip hop sounds almost as good as on my other monitors (KRK 5's) that cost twice as much. The fidelity is impressive, and the response is remarkably flat. If you're used to or prefer the more U-shaped sound of non-monitors, be sure to turn on the appropriate EQ in iTunes; they'll sound tinny otherwise, but that's what a flat-response monitor will sound like compared to regular 2- or 3-way stereo speakers. It's all those mid-range sounds you're used to covering up.
They also handle a good deal of volume. With the volume knob at 50% and my MacBook volume at 75%, it's "Turn that noise down!" loud and still as clear as at lower volumes for most types of music.
The bass lines in the D&B have some drop-off on the bottom end, but that's a LOT to ask of a value-priced monitor with a 3" woofer. I listen to really nasty stuff with super-low bass--Technical Itch, Dieselboy, Bad Company, and the like--so I expected that this would be the one area with less than amazing reproduction. I was right. (Roni Size's "Brown Paper Bag" is much more within their range.) Hip hop beats can lose a some punch, too, and this is the one area where you'll notice a little distortion at higher volumes. (The kick drums in D&B are usually a little more like real kicks than in much hip hop, and these sound great even at higher volumes.)
Again, for the size (don't have a ruler--each speaker is maybe 5" wide and 6" deep) and price, they do surprisingly well. Other challenging types of music with lots of bass that just isn't as low, e.g. House, come through remarkably well.
The 4" version was very well reviewed, so I thought I'd give these a shot because they cost less and take up less room. Also, the primary difference would be in the bass response, and I live in an apartment building, so for me, having less bass was actually a good thing. They still get too loud for me to play them anything close to maxed out, and they sound great.
One more thing: I like the design. M-Audio knew this would be more for desktop listening than studio applications such as mixing (for which I got the KRK 5's). Thus, they put all the inputs and controls on one speaker, which is nice because it only requires one power cable and you don't have to split an RCA cable to run one line to each speaker. It comes with a 1/8" to RCA cable (connects your computer's audio out port to the RCA jacks in the back) AND a 1/8" to 1/8" cable (connects your iPod to the Aux In port on the front). The volume knob in front is also nice.
If you want reasonably high fidelity for a low price at your desk, and you don't need subwoofer-type bass response, I'd recommend these speakers. Highly.

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system with accurate sound. Top musicians, producers, and engineers trust M-Audio? studio speakers to create their hits - and now the compact AV 30 speakers bring this professional legacy to your home. Unlike plastic multimedia speakers, AV 30s use proven

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Behringer UCA222 U-Control Ultra-Low Latency 2 In/2 Out Usb Audio Interface with Digital Output And Massive Software Bundle Review

Behringer UCA222 U-Control Ultra-Low Latency 2 In/2 Out Usb Audio Interface with Digital Output And Massive Software Bundle
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I wanted an external audio interface for recording music into and through my laptops, which have unacceptably noisy mic inputs. I went with the Behringer UCA-222 because it was dirt cheap. So far it's fine for my purposes, nothing fancy, but I didn't expect anything fancy. Here are a few observations that may help other buyers, things Behringer doesn't really clarify in their documentation and advertising, or otherwise might be relevant and helpful to know before buying.
1) I spent a lot of time trying to figure out how the UCA-222 differs, if at all, from the slightly cheaper UCA-202 (Behringer U Control UCA202 USB Audio Interface). I finally concluded that the only differences are the name (202 vs 222), the color (222 is sports car red), and the software included. The units are otherwise identical. This is useful to know, since I've read people on other forums wondering this too. Behringer seems to go to lengths not to say this in so many words. I have a theory why (just a theory) and it involves the other main difference, the software that comes with the 222. Now more on that:
2) The 202 comes with the free and open source Audacity, and with Kreatives' Kristal Audio Engine (also free)--(neither one is the best free choice out there). The 222, on the other hand, also comes with Energy XT2.5 ("Compact Behringer Edition") and another disk with "over 100 virtual instruments plus more than 50 effects plug-ins including VST host-, audio- and podcast-software for direct start-up." For me, the question became, is the 222 worth $6 more to get this software? I decided, what the heck. Some notes on this software:
EnergyXT2.5 Compact: EnergyXT is a more or less full-featured digital audio workstation that Behringer is also promoting as their exclusive sequencing solution, in several packages (overpriced, imho, see for example: Behringer energyXT2.5 Portable Digital Audio Workstation (Standard). You can download and buy the full-sized program for 59 euros, and the upgrade from the limited compact edition sells for 29 euros. So, doing the math, the retail price for this program is about 30 euros (~$37 by today's exchange rate). The compact version is limited to 8 tracks (so you'll have to bounce down to get extra space), 8 simultaneous instruments (not a big limitation), 2 global send effects, and 2 insert effects per mixer channel (which CAN be a BIG limitation!), plus a couple other details (see EnergyXT website to dig out details). I have other workstations that I'm used to and prefer, so this wasn't a great addition for me. But all audio recorders know that having another piece of software, with its internal effects and abilities, on hand can come in handy at times. (EnergyXT for example has a nice internal drum machine). Another note: EnergyXT is more suited to MIDI than to audio (it looks and feels a lot like FruityLoops), whereas I like Reaper, Cubase, and Magix better. Like Reaper, EnergyXT is small, light, and seemingly pretty fast (I haven't used it enough to know whether it lives up to the speed and stability that they tout for it)--and it does get a 9/10 user rating on kvraudio.
The "U-Control Ultimate Software Package": There are indeed a lot of good things on this disk. But most if not all of them are free for the downloading (as free- or shareware) online. Knowing something about the VST world, this is more or less what I expected to find, when Behringer was giving away "150 vsts!" for about $6. That's actually the sneaky little secret in this product and how it is marketed, but you can't really blame Behringer too much. It doesn't make very good ad copy to say: "And we'll throw in a CD that includes over 150 pieces of freeware and shareware that you could download yourself. But hey, they're all here in one place, organized on a disk. That should be worth something, right?" But the bottom line is, that is worth something, even for those (like me) who have all or most of this stuff already lying around in my downloads and already installed in my VST folders. But I hope at the very least that Behringer has arranged some sort of profit-sharing deal with the many hobbyist, semi-pro, and struggling pro software developers that made this stuff. I mean, it would be sleazy of them if they're just bundling up freeware to add value to their product and not paying for it. On the assumption that they ARE paying the software developers for it, I feel good about contributing a bit to all those great VST developers, even if it is pocket change and via a big pro-audio hardware company.
Again on the assumption that Behringer is paying the free software developers for distribution rights, I'm not going to go ahead and write up a list of the exact VSTs and other software that is included (as I initially intended to do). If you know what I'm talking about here, chances are you've downloaded and used and enjoyed much of this stuff for free for years. If you're considering whether to buy the 222 or 202, and wondering whether the $6 or so more you'll spend (by Amazon's prices) is worth it, just ask yourself if you want or need a licensed copy of EnergyXT and/or a CD with a bunch of great (and middling) shareware VSTs and VSTis all organized by type on a CD, for easy loading on any new computer. If those two things are worth $6 to you, go with the 222. If not, go for the 202. Same piece of hardware (except of course the sporty cherry red: in the end, that was one reason I went for it, I liked the color a bit better).
The UCA222 itself is pretty bare-bones and basic. I use it to connect my laptop to an external mixer into which I route my guitar amps and microphones. It uses the Windows Legacy Audio Drivers, so you don't have to install any driver (though Behringer does provide one, but I did not install it, since I use ASIO4ALL to perfect satisfaction). The unit's output maps onto a standard Windows Audio Software Mixer and the volume is controlled at the software side. The unit's input is far more basic: it does not even generate a slider in the Record side of the Windows Mixer. You'll have to go into a program that records (your sequencer), set the input to the USB device, and arm an input to detect it. This took me some time to figure out (and I generally understand how these audio devices connect to programs)--in fact, I thought my unit's inputs were defective for a little while till I figured it out. But in the end it worked (with a little bit of annoyance and time wasted).
Another thing to know is that the unit is strictly 16 bit audio. This will definitely matter to many recording enthusiasts. 24 bit devices are readily available these days, and if digital quality is of the utmost essence, you will probably not be satisfied in the end with the UCA-222 (or 202).
Bottom line: It's hard to beat Behringer's bare-bones units for price. If you have a need or use for the extra software--and it's a good bag of goodies--throw in another $6 for the shiny red 222.


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Looking for a simple, affordable way to get your music into the digital realm? Or maybe you'd like to connect your computer to an external effects unit or recorder? Want to transfer your old cassette tapes to CD before the oxide falls off the tape? The fastest, easiest way to get analog audio into your computer is with the U-CONTROL UCA222 Audio Interface.

PC and Mac Ready This ultra-compact, USB-powered device lets you connect your PC or Mac computer to virtually any piece of audio gear. It gets its power from your computer's USB bus, so no external power supply or batteries are required. And the UCA222 requires no special setup or drivers--just plug it in to a free USB port and start recording.
Versatility The UCA222 features two analog mono inputs for connecting any line-level device, such as a mixer or tape deck, and two analog mono outputs for connecting active speakers or studio monitors. On the digital side, the UCA222 provides USB connectivity and an additional S/PDIF optical output for direct analog-to-digital conversion. The stereo headphone output has a dedicated level control and allows you listen to either the input source or the computer output.
Plenty of Options When used as a professional interface between a mixing console and your computer, myriad options become available. Some of these might include connecting the UCA222's RCA outputs to the TAPE INPUT jacks of your mixer or active monitors, or directly into the input channels of the mixer. Connecting to mixer input channels gives you access to equalization and allows you to use the AUX Send features of your mixer to build extremely versatile monitor mixes for your recording sessions.
Tons of Free Software Because you'll want to take full advantage of the UCA222's podcasting and recording potential we've included a massive software package including Audacity, Podifier, Juice, Podnova and Golden Ear. You're ready to go live on your Mac or PC computer right out of the box! You also get more than 100 virtual instruments and over 50 effects plug-ins, turning your computer into a complete home-based or mobile recording studio from input to output.
When you're ready to take your recording projects to the next level, XT Software's energyXT is just the trick. This amazing DAW (digital audio workstation) makes it easy to manipulate your audio and MIDI files, turning song ideas into stunning CD or web-ready recordings. energyXT includes its own multi-FX processor, built-in synthesizers and a drum machine, both of which can be accessed directly via an external controller (such as our UMA25S or UMX25) or programmed in step-write mode.
Great Value For a fraction of the cost of other USB audio interfaces, you can have state-of-the-art digital conversion, world-class recording and editing software, and hassle-free connectivity between your PC or Mac Computer and any piece of audio gear.
What's in the Box U-CONTROL UCA222 Audio Interface, Software CD, User's Manual

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Numark NS7 DJ Turntable Controller with Serato ITCH Software Review

Numark NS7 DJ Turntable Controller with Serato ITCH Software
Average Reviews:

(More customer reviews)
Coming from a turntable and vinyl background, I was and still am excited about this product. I purchased it and have been very content. The unit is about 35lbs. and VERY solid. I have to get use to scratching on it compared to turntables. The platter should have been made 9" but I'm taking it in stride. All crossfaders have a quality feel, no static and the scratch curves feel as good or better than my Rane TTM57sl.
My only complaint is that Numark did not future-proof this unit with effect buttons. I find the software (Serato iTch) and mixing is (CURRENTLY) a little more boring than Serato Scratchlive and my 57 mixer. Serato is supposedly working on effects and making iTch's software closer in features to Scratchlive.
I purchased the Numark case with the unit and REALLY love doing mobile gigs now. No more individual TT cases and mixer cases. No more RCA and ground wires and at least 15 minutes less setup time. I'm saving close to 70 lbs. in travel weight too. One bit of advice is to be wary of using PCs with this unit. I have a Unibody Macbook Pro 2.66Ghz but struggled making a Core2-Duo 2.2Ghz 4GB ram PC work "glitch-free" with the NS7 and iTch. It had quirky behavior while tracks were playing, random stops and various audio dropouts. Many PCs will (by default) have IRQ sharing which can hose up USB connectivity (the main source of NS7 communication to your laptop) if there are conflicts.
In troubleshooting, I had to insure bluetooth, anti-virus, firewalls, NIC cards, screen savers, wireless Network cards, on-board video and all sorts of services were disabled on the PC (a TOTAL administrative nightmare!) and still ended up having to run the latency at 5ms or greater for decent performance. My mic had major echo delay with this setting so enough was enough.
I purchased the MBPro and have not had a SINGLE glitch since. My latency is at 1ms AND I can run apps in the background while DJ'ing without problems. I highly recommend the NS7 (with adequately powered MAC) for any mobile DJ.

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Designed in collaboration with Serato, the Numark NS7 DJ Turntable Controller combines an all-metal chassis with adjustable torque, motorized, aluminum-turntable platters, vinyl, and a professional audio interface to deliver a complete performance solution that will satisfy even the most hardcore turntablist.
It offers a full complement of premium faders, knobs, buttons and the new Strip Search virtual-needle-drop control, which integrates seamlessly with the included Serato ITCH software. The NS7 delivers hands-on control of every aspect of Serato ITCH and sends data to the software more than ten times faster than standard MIDI resolution. And because it was designed for ITCH, NS7 setup time is the bare minimum--no tweaking, no mapping; just plug and perform.
The NS7's dual decks flank the mixer section. Its recognizable, professional appearance is supported by clean design in matte and glossy black. The entire unit is housed in a heavy-gauge, industrial-strength metal casing that is ready for the torture of travel.
Key Features
High-resolution controller built for Serato ITCH and compatible with Scratch LIVE libraries
Direct-drive, motorized turntable platters with classic and modern feel settings
Includes Serato ITCH DJ software, fully pre-mapped
Audiophile-grade audio circuitry with mic and line inputs, system and cue outs
Extensive loop, cue, and track-access controls
Strip Search (patent pending) virtual-needle-drop control
Controls most MIDI applications without requiring a mouse or keyboard
Rugged, all-metal construction
High quality, replaceable, customizable CP-PRO crossfader and D-TYPE line faders
Support for Whitelabel.net files in ITCH
Mix using either 33 RPM or 45 RPM speeds

Perfect Feel The NS7 has two seven-inch, motorized, high-torque aluminum turntable platters, and the turntable controls feature modern and classic settings that alter the feel to model the feel you prefer. Seven-inch, legit vinyl records with 45 RPM adapters sit on real slipmats--no simulation.
Solid, rugged, rubberized buttons and knobs compliment a high precision, replaceable CP-PRO crossfader and D-TYPE line faders for an unquestionably high-quality feel. The CP-PRO digital-VCA crossfader has a solid feel that is smooth and rigid. Like the crossfader, the D-TYPE digital-VCA line faders are replaceable. The crossfader offers contour adjust and reverse adjustment, enabling you to customize its operation.
System Simplicity Forget the mouse and the keyboard. The NS7 renders ITCH software perfectly simple to operate, with its click knob and large, backlit buttons navigating though your music library. You'll spend less time looking at the screen and more time enjoying performing thanks to the visual feedback you get from NS7's more-than 100 LEDs and more-than 100 hands-on controls.
A single USB cable between NS7 and your Mac or PC is all you need to send audio and data back and forth. The NS7 has onboard audio outputs so it's the only piece of gear you need to connect to the PA system or powered speakers. It outputs 24-bit, 44.1 kHz digital audio to the sound system on XLRs and RCAs. The front panel contains mic input, RCA line input, and both 1/4" and 1/8" headphone outputs with volume control.
The NS7 comes with an integrated laptop stand that supplies safe, secure mounting for your laptop. You can use an ultra-small space because NS7 elevates your laptop off the table.
Precision Control The NS7 sends control information over USB at more than ten times the standard MIDI rate. This innovative communication technique yields extremely high-precision, low-latency control.
There's nothing like dropping the needle on a record for quickly locating a point in the track, and with Strip Search--the unique virtual-needle-drop touch strip--you can locate a point instantly within the track using the on-screen waveform
Five hot-cue-assign buttons on each deck digitally mark your cues on the track. These marker points are recallable in ITCH and Scratch LIVE, and you can load Scratch LIVE cue points in ITCH.
Each deck offers an extensive Serato-style loop section, and you can choose between manual and auto-loop functions and an automatic BPM analyzer further assists loop makers. Creating automatic smart loops of any measure length is a breeze, and you can mutilate and modify to heart's content with a variety of controls such as Doubling, Halving, Shift, and manual controls.
Audio Quality The NS7 contains a host of professional audio connectors and a multichannel, 24-bit USB digital-audio interface. The high-definition post-mix analog audio output features a minimized circuit path with containing only one audiophile-grade bipolar capacitor. This optimized design maximizes phase coherence, ensuring that audio is tight and punchy.
Serato ITCH Software IF you use Scratch LIVE, you'll become quickly familiar with Serato ITCH. Because ITCH doesn't require a timecode interface, your system can be as simple as, say, NS7 and your computer. Since ITCH makes timecode a thing of the past, you won't need to worry about needles skipping or vinyl wearing out. You can load your Scratch LIVE crates, loops, presets, and cue points seamlessly in ITCH. The NS7 also works with most other MIDI DJ software and supports iTunes.
ITCH handles audio processing and mixing including channel fading, EQ, crossfading and track trim are processed for outstanding control and management of your tracks, ease of recording your set, clip-proof gain management, and BPM calculation using the power of your computer's processor.
The History function in ITCH keeps a comprehensive record of every track played and exports sessions from your history to 'txt', 'csv', or 'm3u'. ITCH also has a Loop Roll function that provides a looping effect where the playhead jumps back to normal time when you release the loop. Built-in key support ensures that ITCH reads key tags from MP3 files and displays them in the 'key' column in your library.

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PreSonus Inspire 1394 4X4 Firewire Recording Interface Review

PreSonus Inspire 1394 4X4 Firewire Recording Interface
Average Reviews:

(More customer reviews)
Now this is the way computer peripherals are supposed to work - 15 minutes or so after opening the box, I was laughing my way through my first home recording effort. No tearing my hair out, no frantic searching on-line for new drivers, no pouring through obscure FAQs looking for solutions... it simply works! Mind you, this is with Mac OSX, 10.4.11.
Audio quality is plenty good to my middle-aged ears, and completed recordings downloaded to my IPod sound just as good as any commercial tune. Sure, crank the gain up full and add the boost and you can hear a little bacon frying in the background, but more sedate settings are very quiet indeed.
The absence of buttons and knobs on the unit is fine as well, the on-screen control panel has proven fast and easy to use.
Bottom line? The Presonus Inspire is simple, inexpensive, and performs well.


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Now compliant with Intel Macs! The INSPIRE 1394 is a revolutionary FireWire Recording System featuring professional quality 24-bit/96k analog to digital conversion rate, four simultaneous inputs, software control panel as well as audio recording and production software giving you the smallest, most flexible, most affordable and all-inspiring computer recording studio ever! What's InsideThe INSPIRE 1394 is loaded with state of the art components and technology enabling the easiest computer recording experience ever. The INSPIRE 1394 installs effortlessly on both Windows XP and Macintosh-based computers and works seamlessly with virtually all popular recording software including Cubase, Nuendo, Sonar, Cakewalk, Logic, Logic Express, Digital Performer and many others. The microphone and instrument preamplifiers loaded in the INSPIRE 1394 are designed to deliver ultra-low noise, high gain preamplification for all types of microphones and instruments needed for professional quality recordings. Ins and OutsThe front panel of the INSPIRE 1394 features two custom-designed PreSonus microphone preamplifiers with +48V phantom power and two instrument Hi-Z inputs. The back of the INSPIRE features selectable line or phono (with RIAA filter) inputs great for all types of keyboards, samplers, drum machines and turntables. Outputs on the INSPIRE 1394 include RCA unbalanced and mini TRS jacks as well as headphone output. Software Control PanelThe INSPIRE 1394 is comp...

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M-Audio Fast Track Pro 4x4 Mobile USB Audio/MIDI Interface with Preamps Review

M-Audio Fast Track Pro 4x4 Mobile USB Audio/MIDI Interface with Preamps
Average Reviews:

(More customer reviews)
This thing CAN sound AMAZING-- but it probably won't, unless you are very careful. Make sure you have the latest drivers. Don't even BOTHER with the MME ("wave") or WDM drivers; it's ASIO or nothing, because M-Audio's MME/WDM drivers are so bad, I was completely convinced this thing had both a noise gate and a lousy ADC, when it turned out to be driver issues.
The pre-amp doesn't have as much gain as you might hope, but if you've got it cranked and you can barely get anything out of an SM-57, something is WRONG with your install. Try using ASIO. I had absolutely horrible results with Adobe Audition 1.0, but the 2.0 demo, using ASIO, a few reboots, and some tweaking, finally sounds perfect.
That said, the headphone output on this thing is awesome. Oh, rock on.
I hope I can get this thing working properly, because the only real competition is about three times the price.
NOTE: This device has PARTIAL support available for Linux/ALSA, with more on the way. That is independent support, mind you-- NOT M-Audio drivers.
I will revise/replace this review as I see better results; this is already better than my last one.

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The M Audio Fast Track Pro delivers all the mobile recording flexibility of the Fast Track USB, plus evenmore professional features. You get 2 front-panel mic/line inputs complete with phantom power for condenser microphones, inserts for outboard effects, balanced and unbalanced analog outputs, S/PDIF digital I/O, MIDI I/O, and more. Fast Track Pro also features near zero latency direct hardware monitoring and low-latency ASIO software monitoring, plus an A/B source switch and dual output pairs for DJ-style cueing. Fast Track Pro is compatible with most popular PC and Mac music software. USB connection and bus power along with class-compliancy for Mac OS X make it a breeze to set up. M Audio Fast Track Pro Features 4 x 4 24-bit/44.1kHz audio interface 2 front panel mic/instrument preamp inputs (Neutrik XLR/ 1/4-inch TRS) with: Gain controls Signal/peak lights Pads for each input Insert jack (1/4-inch TRS) for outboard processors 2 balanced outputs (1/4-inch TRS) 4 unbalanced outputs (RCA) SPDIF digital I/O with 2-channel PCM SPDIF out also supports pass-through of AC-3/DTS surround-encoded content 1 x 1 MIDI I/O with activity LEDs Headphone output (1/4-inch TRS) with level control headphone A/B source switch for DJ-style cueingLIInput/playback mix control for hardware direct monitoringLIMono switch for input/playback direct monitoringLIMaster output level controlLINear zero-latency hardware direct monitoringLow-latency ASIO software monitoringLIUSB connection to computerLIPowered via USB or optional AC power adapterLIKensington lock portLIMac and PC compatible; class compliant with Mac OS X 10.3.9 and higher/UL

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M-Audio Torq Xponent Advanced DJ Performance/Production System Review

M-Audio Torq Xponent Advanced DJ Performance/Production System
Average Reviews:

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So after scouring the internet for reviews of the xponent, and having used its cousin the Torq Mixlab and getting down the basics of CPU based DJing, I am proud to say that I couldn't be happier with the Xponent. I got it a few weeks ago, have a Macbook that runs great with it, and have so far had no problems whatsoever. The software is fast and loads my itunes library (over 16k songs) in about 30 seconds. One of the best features of the Torq software is how it figures out (or you can override) the beat of each song and SAVES it. This means that when you're spinning, you can sort by BPM and see the 20 songs that are close in BPM that you have used before. This makes song selection a pleasure!
All the switches and knobs are very responsive, and as a person who basically started DJing (beatmatching, mixing, cueing) a month ago, I feel right at home here. The loop features are easy to use and drop in, and the sampler is very powerful and easy to use. I just spun a big house party with this thing a week ago and it went great! The effects are fun, and using the mouse pad like a Chaos Pad allows for some cool remixing on the fly. I find that scratching is easy to do and there are various settings to determine how sensitive the wheels are.
All in all, this is a great product for a novice or someone who likes to pick music and wants to get into real mixing. If you're the person always holding the iPod at the party but want more control, this is definitely a great place to start (and as far as I'm concerned, finish). As for all the haters of digital DJing, I don't really care, its much easier than bringing vinyl and remembering BPMs and you can plug in someone at the party's ipod and use their music in real time. I find that the Xponent is extremely versatile, perfect for a beginner or seasoned DJ alike, and it and its grandchildren will be leading us into the future of DJing. Hope this helps, there is a lack of people talking about the Xponent and its a truly great device that has allowed me to finally do something I've wanted to do for years, but I've never had the resources to get set up with vinyl and dj lessons.
Cheers!
-DP


Click Here to see more reviews about: M-Audio Torq Xponent Advanced DJ Performance/Production System

The professional-grade Torq Xponent system seamlessly integrates high-performance DJ software with a fully functional hands-on controller, representing a new era in digital DJ performance and production. The Xponent hardware combines the features of a two-channel DJ mixer with CDJ-style tactile controls, letting you cue, mix and manipulate digital files without touching the host computer. In addition to the essentials, M-Audio Torq 1.5 software delivers a variety of real-time creative tools to take your sets beyond the ordinary--and the Xponent hardware control surface puts all that power right at your fingertips. This integrated solution opens the door to new techniques that are simply impossible with traditional DJ setups.

Rock-Solid Professional DJ Hardware The Torq Xponent hardware/software system delivers everything a professional DJ needs to perform with a computer. Xponent is both an advanced MIDI control surface for Torq software and a four-output USB audio interface that includes two stereo RCA outputs and a standard 1/4-inch headphone output for cueing. Every control on Xponent boasts the same rock-solid construction and rugged feel as traditional DJ hardware. So if you're ready to make the leap to the world of software-based DJing, you'll feel right at home with Xponent.
Get Inside the Mix Torq 1.5 DJ software makes it easy to go beyond basic beat matching and crossfading between tracks. With a 16-cell, tempo-synced sampler, easy looping capabilities and multiple cue points, you can chop up a song--on the fly--and reorder, remix and extend any section you want, all while staying perfectly in time. The QuickScratch feature lets you instantly scratch with any two loaded samples. Tempo Anchors remove tempo variations from your tracks--or cause other songs to adopt the tempo changes--making mash-ups and live remixes a breeze. Tempo Master synchronizes all tracks, samples and effects within Torq, while MIDI clock transmits tempo information to outboard hardware and other computers so you can collaborate with friends. And if you also want to produce, Torq is ReWire-compatible with Pro Tools M-Powered software and other popular applications.
Advanced Effects Processing Torq 1.5 gives you 10 essential effects right out of the box for dynamic manipulation of your tracks. Imagine the possibilities of stacking multiple distortion, filter, repeat, chorus or bit-reduction effects while mixing between songs. You can turn any track into your own original creation--and even record it on the spot with the integrated performance recorder. Torq also allows you to create recallable snapshots of your favorite EQ, effect and mixer settings, and even supports the vast world of third-party VST effects plug-ins.
Dynamic Control Over Torq 1.5 Software The best DJ tools allow you to get your hands on your music--from cueing to beat matching to scratching. M-Audio designed the Xponent control surface with full-size, DJ CD-player-style controls so you can get into the music and engage the crowd during each moment of your set. Xponent features 64 assignable backlit buttons (including Play, Cue, Seek, Loop, Key and Sync controls), two volume sliders, eight assignable knobs for effect control and two 100mm pitch sliders. The built-in touchpad/assignable X/Y controller allows you to control your mouse or the effects in Torq, so you never have to take your hands off the unit in the middle of a performance.
Made to Work Together Torq 1.5 DJ software for Mac and PC automatically configures itself to work with Xponent--every hardware control is pre-mapped to its corresponding function in Torq. It's easy to get up and running with Xponent because all of the hardware controls are located exactly where you'd expect them to be. The transition into digital DJing couldn't be simpler.
Plays Well with Others In addition to VST compatibility, Torq 1.5 software can interface with any ReWire-compatible host application. You can easily route the output of Torq to a program like Pro Tools M-Powered and explore even more performance, production and sound design possibilities. When ReWired to a host application, the tempo of Torq automatically locks to the current session tempo, so you never have to worry about syncing playback between Torq and your preferred DAW. In addition, the Xponent control surface can be MIDI-mapped to other digital audio workstation software including Ableton Live.
What's in the Box Xponent USB DJ Controller and Audio Interface, Torq CD-ROM (Torq Software, Xponent Drivers, and Documentation), USB Cable, 12VDC 1000mA Power Supply, Quick Start Guide

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