Spring 2019 Review - Production Headphones
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In our next review we take a look at headphones designed specifically for music production. Most producers and engineers will recommend that production headphones are an essential piece of kit for any recording studio. Not only this, a decent set of full frequency headphones is also a great alternative to speakers for those who may not have the money or space for high-end monitors. Another thing to note here is that even if you do have a good set of monitors, your room may not be perfectly acoustically treated and headphones become a very important point of reference for your tracks. Plus it is highly advisable that you check the stereo image of your work on headphones. If your mix-downs are translating well from your usual monitoring set up to a good pair of headphones, then there’s a good chance you’re on to a winner! In this review we will look at a variation from the budget end to the more pricey sets of cans but the bottom line here is that a good pair of headphones could save you a lot of time and strife when it comes to both the idea’s stage and mixing stage of composing and producing music.
Now, a word about the types of headphones in this review. Most will be familiar with ‘closed-back’ headphones. This means that the outer part of the earpiece is closed off and any external noise will be much less likely to interfere with what it is you are working on. Conversely, open-back headphones allow the sound to escape from the outside of the headphones. You might think this sounds counter-intuitive but what this also allows is the user to hear the ‘sound of the room’. Using open back headphones can be considered more like using speakers as it will sound more like you are working in an acoustic space, giving a more spacious or airy sound. The choice here is often down to personal preference, however you may want to consider whether the environment you will be working in will be noisy and it might be important to block out that external noise. likewise, if you will be working in the presence of others (say, on public transport), be aware that the sound of open back headphones will be easily heard by people nearby. Furthermore, open back headphones maybe more suitable for performers such as vocalists recording lyrics as closed-back headphones will drastically alter the perception of the performers voice to themselves, possibly making them conscious resulting in a below par performance.
There are other factors to take into consideration when when deciding which headphones are right for you. One such factor is ohmage (Ω). This refers to impedance, i.e. the effective resistance of an electric circuit or component to alternating current, arising from the combined effects of ohmic resistance and reactance. In leyman’s terms this means that the higher the ohmage, the more gain you will need. This means that if you are working exclusively though the line out (headphone port) or your laptop or PC you might be better off with lower ohmage headphones, likewise if you are wanting them to double up as general listening headphones. If you have an audio interface or headphone amplifier you will be able to benefit from the increased clarity of the higher impedance models.
The products featured in this article are ordered from least to most expensive. That’s not to say that any in the list are categorically better that any others. As with most things in life you generally get what you pay for but some of the entries here are particularly good value for money, especially some of the mid-range ones that come recommended by some of the most prevalent audio engineers in the industry. Finally, the actual fit and overall comfort of the product is not to be overlooked. Theres no point shelling out on a product that might sound great but will end up being very uncomfortable after an hours use, so as we have advised in other reviews, get down to your local music store and see if there are demo models that you can try before you buy. There maybe be several products suitable in your price range and you might find that it is the ergonomic design that will help swing it for you.
KRK 8400
Beyerdynamic DT770
Beyerdynamic have been producing headphones for a long time. Anyone who has ever been in a recording studio (or seen any archive footage from Abbey Road Studios) might be more familiar with the DT100’s, a stalwart of the recording and broadcast industries since the 1970’s - not because they sound great, but because they are easy to wear on one ear (a preference for many vocalists and drummers), plus all the parts are serviceable and replaceable, and the same is true for the 770’s, however these actually do sound great! The frequency response you get for the reasonable price is unrivalled. The sound of these headphones is very true and accurate - and headphones that go as low as 5hz at around the £100 mark is very helpful for those wanting to pay particular attention to the low end of their mixes whilst not having access to large speakers or pricey subwoofers. The padded circum-aural design of the cups and padded headband make these cans very comfortable, even over very long sessions. They also come in an open back version, the DT990’s, that are around the same price, and a ‘semi-open back’ model in the DT880’s which tend to be around £70 more. The DT990’s come in a 80 and 250 ohm version so if you have an interface or headphone amp, the higher ohmage version should be considered. One downside of this whole range is that they are quite bulky and do not have a ‘fold away’ design like some others in this review, and they are probably a bit to hefty to use whilst out and about. They are however, a very rugged and robust feeling product that have a trustworthy sound.
Price: £103
Cup Type: Closed (DT990 for open version)
Frequency Response: 5Hz - 35-kHz
Impedance: 80 Ω / 250 Ω
Cable: 3m straight
https://www.bopdj.com/sound/headphones/studio/beyerdynamic-dt-770-pro-80-ohm.html
Audio Technica ATH-M50X
Audio Technica is a brand synonymous with high quality audio equipment. They have a full range of the M-series headphones, at varying price points. The M50x sit in the middle of the range and a great all round headphone. They deliver accurate audio and outstanding comfort, perfect for long sessions in the studio and on the go. Contoured earcups seal tight for excellent sound isolation, with minimal bleed. This means they will also triple up as great general listening headphones as they pack away neat and tidily and are also suitable of DJ use, especially with the 90° swivelling ear-cups, which will also come in handy for various other performers if using in a studio application. Another handy feature for such applications is that they come with three different detachable cables, so you can use them in different situations as you see fit.
Price: £119
Cup Type: Closed
Frequency Response: 15Hz - 28kHz
Impedance: 38 Ω
Cable: 3 x Detachable cables (1.2m - 3.0m coiled cable, 3.0m straight cable and 1.2m straight cable)
https://www.bopdj.com/sound/headphones/studio/audio-technica-ath-m50x.html
Sennheiser HD380
Sennheiser are famous for Microphones and Headphones. This model are collapsible, high-end headphones and are ideal for professional monitoring use. The HD 380 Pro offer a closed, circum-aural design which provides excellent passive attenuation of ambient noise while Sennheiser’s Ergonomic Acoustic Refinement (E.A.R) technology channels the audio signal directly into the user’s ears. The headphones are lightweight but don’t feel as rugged as some of the other offerings from Sennheiser but are still well built enough to withstand day-to-day studio use, and the 2 year warranty that Sennheiser offer will back that statement up. These are full frequency headphones and give a very true representation of your tracks, and the slightly higher price tag makes sense when you compare the frequency range of these compared to some cheaper options.
Price: £129
Cup Type: Closed
Frequency Response: 7Hz - 27kHz
Impedance: 54 Ω
Cable: 1m coiled extendable to 3m
https://www.bopdj.com/sound/headphones/studio/sennheiser-hd380.htm
AIAIAI TMA2 Studio Preset
AIAIAI are a new brand compared to most the others that feature on this page, and they only make headphones and earbuds (for the moment, at least), so you’d hope they know what they are doing. However, as the Danes like to do, they have taken a different a approach to most manufactures and they are set apart in that they have four ‘preset’ models. The idea here is that the whole range of products is modular, with two or more versions of the headband, drivers, ear-pads and cable available. This means you could buy the monitor preset and use these as production headphones, then when you move over to the decks you can swap the drivers and ear-pads to a more suitable configuration (you’d have to buy the other parts, of course). All of the components are available in a number of alternative specifications, all of which are compatible with every other component in the range. The available options include three headbands, four speaker units, five ear pads and six cables, which can be mixed and matched to create 360 possible combinations. Furthermore there are configurations created by artists, producers and DJ’s that you can find their website and available to buy. The swapping out of parts is quite straight forward and can be done in a matter of seconds. It also means if one part breaks they can be quickly and easily replaced, and will be less expensive then buying a whole new set of cans!
Price: £155.99
Cup Type: Closed
Frequency Response: 20Hz - 20-kHz
Impedance: 32 Ω
Cable: 1.5m coiled (but you can choose a different one if you prefer)
Audio Technica ATH-M70X
Where as some of the reviews in this post also mention variations of the brand in questions offerings, Audio Technica have found themselves with two separate entries. There is in fact four different models in the M-series of headphones. We have included the two that we think are suitable for music production - there are some cheaper option in the M20X and M40X variations. However the M70X are like the big daddies of the range. Ergonomically they are all fairly similar, however the 70’s have a more slightly more sleeker design and a nice, slimmer and more minimal design on the headband, however this comes without a compromise as the ear-cups still swivel like those lower down in the product range, and as a result they pack away nicely in a rather fancy protective hard case that comes as standard. It’s worth noting that the impedance is very low for a product at this price point, but it does make them extremely versatile. In fact the company recommend the following applications; Front Of House, Mastering, Studio Mixing and Tracking, DJing, Post Production and even Audio Forensics - yep thats pretty much everything then! If you are in the market for a high-end, versatile, reliable pair of closed back headphones, these are the ones!
Price: £229
Cup Type: Closed
Frequency Response: 5Hz - 40kHz
Impedance: 38 Ω
Cable: Cable: 3 x Detachable cables (1.2m - 3.0m coiled cable, 3.0m straight cable and 1.2m straight cable)
https://www.bopdj.com/sound/headphones/studio/audio-technica-ath-m70x.html
Sennheiser HD600
The Sennheiser HD600 (as well as the HD650’s) can be seen somewhat as the flagship model for the brands range of reference headphones. The price reflects this, but they do sound excellent - very true, very accurate. These are also some super comfy headphones and are also fairly lightweight. The reason the HD650’s are also mentioned above is that they look very similar, and actually sound very similar as well. There are numerous reviews and comparisons online that you could spend a long time wading through, but to save you the effort let us say that the HD600’s are probably the more suitable model when it comes to music production. The HD650’s are said to have a slightly warmer and fuller sound, while the HD600’s are more airy and and natural, with a slightly more pronounced treble. Both versions are open back and they give a very natural and transparent feel to the audio. For the money you do get some slight more advanced engineering in extremely lightweight aluminium voice coils, which ensure excellent transient response. They cannot be folded away and won’t transport particularly well, i.e in a rucksack, but if you are spending this much on headphones you might want to keep them safe in your studio anyway. We wouldn’t recommend wearing these on the bus… and neither would the person next to you!
Price: £279
Cup Type: Open
Frequency Response: 12Hz - 40.5 kHz
Impedance: 300 Ω
Cable: 1.5m straight
Music and Gaming - Ghost in a Shell (PS1)
In this series we take a look at computer game soundtracks from the past that influenced a generation of people to become fans of electronic and underground music. It is no secret that for the youth of the 80s and 90s, computer games played an integral roll in influencing and forming musical tastes. From techno to hip-hop, video games exposed the youth to music that was outside of commercial radio at the time, and long before the internet. Join us on our journey in rediscovering the best of the bunch.
When I was a younger self I used to look forward to the release of Official Playstation Magazine like it was Christmas each and every month. Why? Because of the DEMO DISC that came with every issue. I used to rinse the one or two level games on them in times where buying the full game might not have been possible. It was a little taster of games I wanted until I had saved enough pocket money to go buy the full thing. And in Official UK Playstation Magazine 18 vol. 2 I was exposed to ‘Ghost in a Shell’ for the very first time along with its soundtrack.
Ghost In A Shell’ started as the Japanese manga series illustrated by Masamune Shirow. The manga, first serialised in 1989 under the subtitle of The Ghost in the Shell, told the story of the fictional counter-cyberterrorist organisation Public Security Section 9, led by protagonist Major Motoko Kusanagi, in the mid-21st century of Japan. There has since been a number of films released along with TV Series, however it is the game released for the PS1 which we are interested in today.
Ghost in the Shell the game was developed by Exact and released for the PlayStation on July 17, 1997, in Japan by Sony Computer Entertainment and later in the rest of the world. It is a third-person shooter featuring an original storyline where the character plays a rookie member of Section 9. The game was alright however the soundtrack Megatech Body was an absolute monster that I still listen to on regular occasions.
Although at the time of first playing the game the soundtrack, although appreciated, probably at the time not given the full appreciation it deserved. Several years after this I began clubbing and partaking in all that goes with it and I soon began to find myself listening to this at after parties along with similar appreciative pals.
With the likes of Joey Beltram, The Advent and Derrick May providing the tracks the theme is obviously Grade-A techno throughout the first half of the OST. Some of it serious, industrial and pounding, whilst others are more Detroit and Chicago influenced with bigger chords and groovier drums, like with Dave Angels ‘Can You Dig It’ and Derrick May’s ‘To Be Or Not To Be (Off The Cuff Mix)’. The second hour is a more eclectic collection of electronic music spanning electro, house and acid. A personal favourite from this half is a lovely detroit-ey house banger called ‘So High’.
I would love to pick out a more favourites but to be honest every one of the tracks is amazing and something I would happily play out in a club today. We really were spoilt for choice in the 90s when it came to gaming soundtracks and this epitomises that in every way.
If you’ve heard it before then reminisce. If not, enjoy.
1 – Takkyu Ishino - Ghost In The Shell
2 – Mijk Van Dijk - Firecracker
3 – Brother From Another Planet - Ishikawa Surfs The System
4 - Hardfloor - Spook & Spell (Fast Version)
5 - WestBam - Featherhall
6 - Joey Beltram - The Vertical
7 - Scan X - Blinding Waves
8 - The Advent - The Searcher Part II
9 - BCJ - Spectre
10 - Dave Angel - Can U Dig It
11 - Derrick May - To Be Or Not To Be (Off The Cuff Mix)
12 Fuchi Koma
13 Down Loader
14 Thanato
15 Moonriver
16 Brain Dive
17 Spook & Spell (Slow Version)
18 Die Dunkelsequenz
9 Section 9 Theme
20 So High
21 Mysterious Traveller (The Mix Of A Mix Mix)
Decloak Review - DJ Monitor Speakers Under £300
In this series we explore what is on the market in terms of music production software & hardware and DJ equipment. Each time will aim to provide you with all the information needed to be confident in your next purchase. Join our e-mail list here to keep posted on future articles. This week we are looking at DJ Speakers for less than £300.
Firstly, what are the advantages of using individually powered monitors over, say, an amp and passive speakers? Monitor speakers will provide a more accurate and truthful sound, plus a more adequate stereo representation of the music. HiFi speakers are generally designed to colour the sound and make it sound better than it might be on the recording. Other downfalls of a passive system include increased risk of overheating and more physical space needed for the amp. Most importantly, active monitors are designed specifically for near-field analysis of music and will always give accurate feedback about what it is your mixing, meaning they are essential tools for practicing your skills as a DJ or producer.
In this review we are taking a look at a range of speakers under the £300 mark (all prices are for pairs). To try and help sum up some pro’s and con’s of each type of speaker and help you decide what might be most suitable for your needs if you are a first or second time buyer of monitor speakers. The main focus here is on speakers suitable for home DJ setups, but we will also be taking into consideration at how they will fare in a hybrid production set up, and also how suitably they might double up for general listening. All but one of the speakers listed below are in the 5 inch range. This refers to the ‘Woofer’, which is the larger cone on the speaker where the low and mid frequencies are produced. The smaller cone is referred to as the tweeter. All but two of the entries are be available in bigger sizes (usually 6, 7, 8 or 10 inch). For most with a medium sized bedroom/studio, 5 inch monitors should suffice, but there’s not too much harm in going for bigger speakers if you want a bit more bottom end and volume (and don’t mind annoying the neighbours a bit more), if you have the cash to spare.
These reviews do come with a significant caveat regarding acoustics and speaker positioning. Not many people have the time, money or means to purposely soundproof any given space, however there are things you can do so that you get the best out of your choice of speakers. Speaker stands and isolation pads are well worth spending an extra 50 or so quid on as it will make finding a suitable position for them much easier plus it will isolate the speaker and significantly reduce any potential coupling effect (cancellation of low frequencies) caused by the speaker being too close to a wall or a lack of dispersion from the speakers being sat directly on a sound absorbing surface like a wooden desk or shelving unit.
Obviously talking about speakers and listing their pro’s and con’s can only give so much information. We would implore anyone thinking about buying monitor speakers to read this article, then go to your local DJ or Music shop and listen to the few that you think will be most suitable for you. Nothing will be more informative that your own ears!
PIONEER DJ DM-40BT
Pioneer are of course a very reputable brand when it comes to DJ equipment. These entry level speakers are of the active/passive type, meaning you will need just one mains connection, with the passive speaker being connected to the active speaker with a standard speaker cable. They rely on an RCA (red and white) connection and are ideal for smaller set-ups, especially where you might have a bus powered DJ controller or small mixer that only has RCA on the Master Output. They sound nice and punchy and can go pretty loud for their size, but there are clear limitations here with the woofer being just 4 inches (compared to the rest in this review being 5 inch). The bass frequencies aren’t as ‘rich’ as the manufacturer might claim when you compare them to some of the other options in this article, but it is still an impressive sound for a speaker of this size. The bluetooth connectivity is a really handy feature allowing you to connect another bluetooth device like a phone or tablet to wirelessly play audio, meaning these speakers will be really handy for those who might have their decks or controller in a room where you also listen to music casually. They also come with a 3.5mm Jack to RCA so they can easily be plugged into any headphone socket. They also come in a standard non-bluetooth version for around £50 cheaper, and both models are also available in white.
For more information click here and for the full manufacturer specifications click here
MACKIE CR5BT £215
These speakers have all the pro’s of the DM40’s with them being active/passive and having an inbuilt bluetooth receiver, plus they have a 5 inch woofer capable of reaching a little further into those much desired low frequencies. The specification claims they will represent frequencies as low as 60Hz, whereas the close competitor in the DM40’s reach is 70Hz (the human ear can detect as low as 20Hz). It would not be fair to compare those two exactly so we tested the 4 inch version of the Mackie CR range and the Mackie’s did come out better in terms of overall sound quality and richness so this is a speaker well worth considering spending a little more on if you want good connectivity on top of a nice sounding speaker. They do also have inputs for TRS ¼ inch Jack as well as the RCA giving the option to use a balanced connection and no need for any converters if your sound source does not have RCA Master out. All in all these are probably the best value for money in the active/passive category. That said, these speakers are rear bass ported. This means the port that allows the energy created by cone vibrating back and forth to be dispersed is via the hole at the back of the speaker and this can be more susceptible to a cancelling out of certain low frequencies depending on the positioning and acoustics of the room.
To find out more about the Mackie CR5BT click here and for the full product specification click here
KRK ROKIT RP5 G3 £258
The KRK Rokits are likely to be the most well known and most recognised of all the products featured in this review. Their iconic yellow ‘Aramid glass composite’ woofer is known the world over, and these have been a mainstay in many studios both amateur and professional for the past 20 years. The reason for this is mainly because they are a great sounding speaker with a frequency range of 45Hz to 35,000Hz, you can start to see the benefit in having two individually powered monitors. Unlike the first two entries both of these speakers will need to be plugged in at the wall, but with more power comes a better frequency response and more room to drive the speakers to higher volumes if required. Despite there clear popularity, some do not see the Rokits as having a particularly ‘true’ sound and claim that the bottom end is hyped. It’s certainly true that they do have a lot of wellie in the bottom end, and most speakers this size do not go as low as 45Hz. This might be something to consider avoiding if you are thinking about also using your speakers as production monitors as well as for the decks. This being said many may favour the rich bottom end, especially those playing hip hop and bass heavy dance music. Furthermore, there is a High and Low Frequency adjust setting on the back which can be adjusted accordingly, along with a gain knob. It has been reported by some that Rokits are prone to overheating, however this is likely to be due to prolonged use at volumes that might be too loud for one person - none of the speakers in this list are exactly ideal for parties or gatherings for more than a dozen or so people as they are designed to sound good in the optimal listening position. These speakers have RCA, TRS Jack and XLR connections.
To find out more about the Rokit RP5 G3 click here and for the full product specification click here
Pioneer DJ S-DJ50x £249
The Pioneer SDJx range are quite similar to the Rokits in many ways. They look fairly similar bar the yellow woofer, are front bass-ported, and they also sound fairly similar. There is a slight difference, though with the low range - it’s not quite as obvious as the Rokits. These are a great sounding speaker given the price. Another feature that they share with the KRK’s is the thin layer of dense foam padding on the base of the unit. This is helps isolate the sound and also stops any movement of the speaker caused by vibration (and meaning they are less likely to be accidently knocked or pushed off their resting place!). The specifications of this speaker states the frequency range is 50Hz to 20,000Hz, so not as broad as the Rokits, but it’s worth knowing that most adult ears can only detect up to 20,000hz when it comes to high frequencies. These speakers have the full complement of RCA, TRS Jack and XLR connections on the rear, plus a high frequency level adjust and gain knob, and a handy auto-standby feature that will mean they will power off after a period of no sound, which is fantastic for the more absent minded of us, and also if your speakers are in a tricky to reach spot.
To find out more about the Pioneer S-DJ50x click here and for the full product specification click here
YAMAHA HS5 £272
Yamaha is a brand synonymous with high quality speakers as well as other various instruments and studio equipment. The iconic white woofer has been a mainstay in many studios since the 70’s. The main observation when listening to these speakers over their competitors is that they provide a very flat and true sound. The midrange is much clearer in these monitors when compared to others in the same price bracket, meaning these should be a strong contender for those who expect to be producing tracks as much as DJing with them. That said the frequency range goes from 54 Hz to 30,000hz, so if you are using them to write music be sure to reference your tracks on a system that will confirm your sub bass frequencies are at the right level (or go for the 6 or 8 inch option). The HS range are probably the best value for money in terms of a DJ/production crossover due to the almost perfectly flat frequency response. However, these speakers only have TRS Jack and XLR inputs on the rear, so if you happen to have a DJ mixer or controller that only has an RCA output, it’s likely you will need some sort of adapter for your cables. One other factor to consider with these speakers is that, unlike the Rokits and S-DJ50x, they are rear bass ported, meaning some sort of stand and/or isolation pads will be essential to get the best out of them. All of the HS range are available in both black and white.
To find out more about the Yamaha HS5 click here and for the full product specification click here
ADAM AUDIO T5V £290
Adam Audio are a company that tend to be more associated with top end studio monitors. This incarnation of speaker is their most recent, and an attempt from the company to provide entry level users with the high quality Adam Audio sound. Clearly, at such a lower price point than the X series, they don’t sound quite as good as the mid to high range products, but one thing you might notice from the images of this speaker is that the tweeter looks quite different. This is called a ribbon tweeter and is pretty much unheard of at this price point. Ribbon tweeters are designed to be less harsh but still as accurate as the silk ones you usually find at this price point, and are more suited to long mixing sessions (either DJ or production) as they cause less fatigue to the ear. On the rear we see High and Low frequency adjustment settings, a gain knob, and an XLR and RCA input. A significant difference to other speakers here is that they have a switch to choose your input (for speakers without this, if there is two cables plugged in you will get no sound). So this means you can theoretically have your decks and audio interface connected at the same time and just use the switch depending on whether you are producing or DJing. Another feature that work well in tandem with this is the design on the speaker being as such to increase the size of the sweet spot, again meaning that if you optimise the positioning for when you are sitting down to write tracks, when you stand up to fire up the decks the sound should not change too dramatically. Unlike the their older sibling the A5X, these speakers are rear bass ported, so stands and or isolation pads would be strongly advisable. When comparing these to the Yamaha HS range, both provide a nice, accurate response, with the Adam’s sounding a little warmer with a less clinical mid-range.
To find out more about the Yamaha HS5 click here and for the full product specification click here
MACKIE MR524 £278
The MR range have recently been re-designed and according to the manufacturer have an ‘ultra-wide’ sweet spot, due to the curved shape of the front panel around the woofer and tweeter. This design is said to help disperse the sound well and will make your (production) mixes sound great anywhere due to their logarithmic waveguide that minimises reflections and match the high frequency dispersion of the tweeter to that of the woofer. This is what provides the ultra-wide sweet spot. This is a great thing to know for both producers and DJs. They are rear bass-ported and they do have various settings for various likely speaker positioning situations, plus a handy little diagram on the back panel of the speaker to suggest what setting you should choose if your speakers are close to a wall or in a corner. This means that (unlike the Adam T series) if you can’t stretch the extra for stands, you can tailor the sound of the speaker to best match your acoustic space. Technically these are 5.24 Inch woofers (hence the name) allowing the frequency response to go to 45Hz to 20,000Hz, although this might differ slightly depending on which acoustic setting you have selected. When listening to these speakers and comparing them to the others, they do have a noticeably wide sweet spot and a great punchy sound. It’s hard to say which of the monitors features sound the ‘best’ or more accurate, but it might well be these ones. Like we suggested earlier in the article, go and listen to them for yourself!
To find out more about the Mackie MR524 click here and for the full product specification click here
All prices accurate according to www.bopdj.com as of August 2018. Bop DJ have show rooms in Manchester, Leeds and Brighton.
Decloak Review - Entry Level DJ Controllers
We take a look at the latest entry level DJ Controllers on the market to try and help make sense of the myriad of choice. Pro and Cons discussed for each one to try and help you with your decision if you are thinking about purchasing your first controller.
In this series we explore what is on the market in terms of music production software & hardware and DJ equipment. Each time will aim to provide you with all the information needed to be confident in your next purchase. Join our e-mail list here to keep posted on future articles.
SUMMER 2018 Review
ENTRY LEVEL DJ CONTROLLERS
Buying your first DJ controller can be a daunting prospect with so much choice out there. Not only is it important to decide on the right brand of controller but you also need to consider the software that it will control. For the most part all the DJ softwares out there do essentially the same job, but there might be extra features that may or may not be of use to you. Most companies offer free trials or preparation modes, so it might be worth trying these out and seeing how you get on with the user interface and track analysis capabilities before making your purchase. It’s also important to note that different programs have varying minimum system requirements and these should always be considered so that your computer or laptop will be able run the programs smoothly. This article includes the versions of programs that come free with the controller. It’s usually possible to upgrade to the full versions or even get mapping for different programs altogether, so it is rare that you're completely pigeon holed after making your purchase. All prices in the article are correct regarding to www.bopdj.com July 2108.
To add value to your purchase here at Decloak we offer DJ courses in any of the listed DJ controllers below. Check out our DJ courses available here.
NUMARK PARTY MIX
£77.54 - Virtual DJ LE
The Numark Partymix is the cheapest of the options provided in this article, and you get a fair amount of bang for not so much buck. The hardware unit is small and compact and weighs just under 1kg, so will be perfect for house parties, especially as it has built in LEDs which sync to your music and give an extra dimension to your sets, that none of the other controllers in this price range offer. The Party Mix runs Virtual DJ and you get the activation code with the product. The unit features four performance pads on each side of the mixer section which can be utilised for cueing tracks, FX and even sampler mode to give your sets that unique edge. Such a compact unit does have some drawbacks though. The pitch faders are small, meaning beatmatching can be tricky and there is just two EQ controls - bass and treble, as opposed the traditional three band EQ found on most DJ mixers and controllers. All in all this is a great product for the price point, but might be lacking in features for those aspiring to get into clubs anytime soon.
For more info on the Numark Party Mix click here
Roland DJ-202 -
£219 - Serato DJ Intro
Roland are fairly new to the DJ controller game, but this should not mean they are overlooked in anyway. The main things to note here is that unlike its bigger brothers the DJ-505 and DJ-808 it does not include Roland’s now famous TR style drum sequencer, however it does still have sequencing capability. This is done by using the performance pads, which have eight modes, we won’t go into all of these right now, but they do provide sequencing capability to layer extra drum patterns over DJ sets. Roland have even included samples from there classic drum machines so you can lay beats down from the get-go. Another thing that makes this controller stand out is the MIDI out on the rear of the unit, meaning you can feasibly connect a drum machine or synthesizer and have this synced up seamlessly with the music you are playing on the controller. All of the controllers in Roland’s range boast the lowest possible latency platters meaning this product must be a serious consideration if scratching is going to be in any way incorporated into your sets. Another attractive feature for the DJ/MC is the Mic input that has studio-grade echo, gate and ducking effects.
For more info on the Roland DJ-202 click here
Pioneer DDJ-SB3
£229 - Serato DJ Intro
The DDJ-SB3 is the latest controller in Pioneer’s Serato Controller range. It is very similar in layout to the DJ-202, but where the DJ-202 boasts the drum sequencer, the DDJ-SB3 has the innovative Jazzy Jeff endorsed ‘Pad Scratch’ mode. This is a new feature that allows users to recreate scratch sounds just by pressing a pad. These sounds are synced to the tempo of the music so will always sound natural. Although there has been some backlash from scratch purists, this feature actually allows budding scratch DJ’s to realise the importance of timing and sample selection when it comes to scratching. So for those wanting to start out but without the money and or space for turntables this is a great way to begin to learn the art of turntablism. Furthermore, the Jog Wheels on this controller are aluminium (most in this price range are plastic) and super responsive so will handle genuine scratch routines with ease when in Vinyl Mode. Amongst other improvement from the previous models in the DDJ-SB range, this latest incarnation has larger pitch faders at 45mm. Other cool features on the SB3 include auto loop, key lock, FX fade, filter per channel, slip mode, ¼” jack mic input and four deck mixing.
For more info on the Pioneer DDJ-SB3 click here
Numark Mixtrack Platinum
£203 - Serato DJ Intro
The second Numark controller to feature, the Mixtrack Platinum is the latest in the mixtrack range. The main selling point here that the other controllers in this price range are lacking is the dual 1.75” LCD display screens in the centre of each jog wheel. This is a feature that will attract those that are conscious of staring at a laptop whilst mixing. There’s that now old adage of DJ’s looking like they’re checking their emails mid set, which can now be minimised with this controller as you can see information such as BPM, playhead position, key lock on/off, slip mode on/off and the time elapsed or remaining for the playing track. This can also help speed up your workflow and allow more time for actually mixing the tracks. A general gripe of controllers at this price range is the truncated length of pitch faders compared to industry standard kit. Not so with the Mixtrack platinum - the pitch faders are super long and even the more finicky DJ’s would be satisfied with them. The Mixtrack platinum also features a three band EQ, a bidirectional filter per-channel, 4 deck mixing and a strip for needle search so you can quickly and easily preview tracks.
For more info on the Numark Mixtrack Platinum click here
Pioneer DDJ-400
£249 - Rekordbox
This is the latest in the Pioneer DDJ range, and an eagerly awaited update for its predecessor the DDJ-RB. There are many improvements, most notably the increased length of the pitch faders. The layout is also improved, with the effects section mimicking that of Pioneers DJM range. This means that those looking to get into the clubs ASAP might benefit from this layout as it shouldn’t be too dissimilar to what you might expect to see in DJ booths across the world. The same goes for the loop function buttons being located at the top left of the jog wheels, which have indents on. Both of these features are inherited from the CDJ-2000NXS2 flagship player. Unlike most the controllers featured thus far that have a ‘mirrored’ layout, the DDJ-400’s deck sections are identical in that you will find the pitch faders to the right of both jog wheels, again giving the feel of a more professional club set up. This controller also features eight performance pads which can be used for beat jump, beat loop, slip loop pad FX (which are really cool) and can also utilise Rekordbox’s sampler feature. It should be noted these pads are quite small, even smaller than that of the DDJ-RB. Like other units in this price bracket there is the 3 band EQ and HPF/LPF on each channel. It should be noted that only two channel mixing is possible with the DDJ-400.
For more info on the DDJ-400 click here
Pioneer WeGo4 - £269
Rekordbox/Virtual DJ LE
You might think this controller looks a little different to some of the others. This particular unit makes DJing very accessible. It comes with licences for Rekordbox and Virtual DJ LE, however it is also compatible with Algoriddim DJ Pro. With this, all you need is an iPhone or iPad with an iTunes or Spotify Premium account (plus a half decent Wi-Fi connection) and you you will have millions of songs at your fingertips. There is no compromise for convenience here, with Algoriddim DJ Pro allowing you to manipulate tracks from iTunes or Spotify in exactly the same way you would with your own library in Serato or Rekordbox. Beat sync, key sync, looping, fx etc. are all possible, meaning hours of fun with hours of music. It must be said the unit itself feels more plasticky and less professional than it’s cousin the DDJ-400, and the layout is maybe less intuitive for some with the loop and fx being on clicky buttons around the jog wheels unlike the nice, soft tactile pads seen on most controllers. However, it is compact and portable and definitely a great choice for house party and hobbyist DJs that might not have the time to go searching for music to download or already have a large collection behind them. This is even more so with the connectivity. It works with iPhone or iPad plus Mac OS and Windows Laptops. There is a two band EQ with filter however this can be changed to a 3 band EQ within the Rekordbox settings if this is your program of choice.
For more info on the DDJ-WeGo4 click here
Denon MC4000
£359 - Serato DJ Intro
This is a two deck Serato MIDI controller for the professional DJ. Most notable about the hardware is that it is in a steel chassis so will give peace of mind to those gigging out and about regularly - the build feels as solid as a tank. Plus the pitch faders are described by Denon as ‘long throw’ and measure in at 100mm, wiping out any concerns that many people have about fiddly pitch faders often seen on the more compact all in one units. Another plus for the mobile DJ is the dual mic input with studio-grade echo effect, and “ducking” feature allowing DJs or MCs to effortlessly lay vocals to the top of the mix without having to ride the faders. The overall layout also feels professional with the full complement of three band EQ, bi-directional filter, three Serato FX on/off pads with depth knob, looping section and four performance pads, making this a contender for most comprehensive controller at this price range. It is also compatible with Traktor 2 and Virtual DJ.
For more info on the Denton MC4000 click here
Reloop Beatpad 2
£445 - Algoriddim DJay 2
The Beatpad is the most expensive controller in these reviews. It too utilises the power of modern technology with Algoriddim DJay 2, plus you get the program included in the price, along with eight performance pads that the WeGo4 dearly misses. These are however, rather strangely located above the jog wheels, braking tradition with most other controllers. Despite this, the overall build quality certainly lives up to the rugged Reloop name. The slick low profile jogs, large tempo fader, rugged fader, selector and EQ pots all have a nice, professional feel. And like many others in the list, mapping for Traktor 2 and Virtual DJ are also available so your not stuck with one program. The pads have eight different modes such as hot cues, loops, sampler and touch or jog FX, all of which will work seamlessly well with your own library or tracks loaded from iTunes or Spotify, as do the beat sync and key sync to allow harmonic mixing. This controller comes with cables to connect iPad or Android tablet to the controller and a nifty slot to hold your tablet so you can see exactly what is going on with your performance and makes viewing and loading playlists and tracks really simple. The Beatpad 2 is the king of connectivity, as it also supports iPhone, and other android system, Mac OS and Windows, making this one of the most versatile controllers on the market.
For more info on the Reloop Beatpad 2 click here
DJ Tricks & Tips : Set Programming
Part 1 of DJ Set Programming - Looking at the big picture - a few vital questions to ask before you begin preparing for your gig.
PART 1
Looking at the Big Picture
In part one of this feature we will be taking a look at the importance of set prep. For some gigs this is something that may not be so important. More experienced DJs who are familiar with their tunes will not require much planning before gigs, but that doesn’t mean they don’t do any. The first thing to do is look at the big picture before getting straight into the detail of track selection and order and this involves answering questions about the gig as a whole, such as who are the audience and how long is the set?
Let be honest, few things are as fun as jumping on the decks without a care in the world and playing some of your favourite tracks off the cuff. However sometimes you may find yourself in a situation where a little bit of prep may go a long way.
How you go about your preparation really comes down to the equipment you will be using, and it can involve as little as choosing the records you want to play in advance to fully harmonically programming a set with loops, transitions and effects.
Over the next few weeks we will be dropping hot tips from our up and coming DJ Masterclass, from choosing the right equipment for your set-up to choosing the right tracks for you podcast. With the likes of the incredibly useful RecordBox these days, prep can be extremely quick. This doesn’t always result to a quality set, however. With DJ technology advancing a rate that leaves most veteran spinners left behind with the tech they learnt on, we are going to take the tips on this feature back to fundamentals - i.e. tips that are going to be useful no matter what your choice of equipment.
Today we will be seeing what questions you should ask about your upcoming set to discover what, if any prep should be carried out.
The Context
Is the Set Live or Recorded?
Are you playing out at a gig in front of a crowd or on the radio? Or are you recording a podcast or mix to be played on the radio? This will normally decide how much prep you need to do, as something that is to be uploaded as a recorded podcast is the equivalent of writing a message rather than speaking it - it is permanent and therefore worth perfect before recording the “final draft”. Playing live, although perfection in mixing and beat matching is something desired by all DJs, small mistakes in a live DJ performance are forgettable. They only happened that one time and so long as the crowd remain the moment and the DJ recovers, all is forgiven.
From an artists point of view, however, this is not so easy to accept when it comes to mistakes whilst recording a podcast to be played (hopefully) over and over again around the world. It is only natural to want to make this as perfect as possible, and therefore prep is key to alleviating what can be an excruciatingly annoying task.
So by asking this question we know how much time in advance we need to begin our prep work. For example , if it is to be released as a podcast you might want to be starting earlier as you need to give time for mess ups whilst recording. This happens. And it is painful. But a right of passage none the less to creating a prefect podcast!
The Duration
How long is the set?
This is probably the most important detail you need to be aware of. It ultimately means “how many tunes do I need?” This is something I have been working out for a long time and it really comes down to your mixing style and the genre of music you are playing. If you prefer to mix long and slow, bring the new track in with about 2 minute or so to go of the current track, then I find 13-14 tracks per hour of set time is what is needed. I would also normally throw in a few more for good measure if I was playing a set, rather than recording a mix as things can go wrong in terms of set times and last minute decisions to play something else.
Things get a little more complicated the looser set time details become. Playing B2B for example with someone you haven't played with before would require a much broader choice of records to allow you to follow the other DJs tracks up.
The Audience
Who are you playing to?
Who is the Audience? Is it to a local crowd of familiar fans? Or is the crowd outside of your familiarity? Will you have to adapt your usual style somewhat to create accessibility to a different crowd? Depending on how much you value and commit to one particular “sound” you may not be willing to give too much leeway here, which is perfectly fine so long as you are not playing gabba at an event you were expected to play RnB at.
Of course, we all find ourselves being offered gigs that are perhaps not right for the sound we are looking to establish ourselves in. It is fine to reject gigs that will force you too far out of your own comfort zone.
It is however always good to spread your fingers into different pies when it comes to your listening, collecting and playing as a DJ, as ultimately it will only serve to give you more versatility in the long run.
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These are just a few important questions that any DJ needs to ask before he takes to the decks of an important gig. There may be further questions depending on the likes of equipments used by the DJ but fundamentally these 3 questions should be answered as it will give a lot more of an understanding to how best to approach the preparation process.
If you are interested in learning how to DJ or simply improving your current abilities behind the decks then feel free to check out what courses we have on offer at our Manchester based studio.
Next time in Part 2 we will take a deeper look into tune selection, whilst analysing each to create a sense of journey when putting them together.