Mixvibes CROSS DJ Package Review

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(More customer reviews)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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Bose L1 Model II System Single Bass Package Review

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(More customer reviews)I have worked as a mobile DJ since 1980 in the Pittsburgh area, and for most of that time, I used two Bose? 802 speakers (the pro version of the 901s) and the 302 acoustimass bass enclosure (which weighs 115 pounds). There was never a doubt that I had the best sound possible.
However, I tore a rotator cuff lifting the 302 into the car a couple of years ago; the system was just too much to load and unload, what with the speakers, two amplifiers, mixer, etc.
In January, I discovered the Bose? L1 Model II sound system. It is light, compact, and efficient, and it delivers incomparable sound that rivals the 802/302 system pushing 1600 watts but without the weight and clutter of cables, etc.
For DJ applications, I highly recommend getting two B1 bass units to deliver the kind of bass that carries into the room and which would be suitable for dancing.
If you are using the system as a single performer, then one B1 unit might be sufficient. However, my experienced friends have told me that this system does not work as well as some other systems with DRUMS. For that use, you might want to consider a different set of speakers, especially subs.
When I set up my L1 with two B1 bass units at a venue, the first "test" song I play is Billy Joel's "Innocent Man." If you're familiar with it, you know it starts off with dynamic bass. Then the high register kicks in, and the L1 system produces such spectacular sound that at every single gig I've done with them, someone--waitresses, bus boys, caterers, hall managers--comes over immediately to rave about the sound. One of the most frequent comments is "I can't believe how CLEAR the sound is!"
For what I do (weddings, corporate parties, reunions, etc.), it's the ideal system. Cocktail hour and dinner music, which have to be low enough to allow conversations to be carried on at tables, was always a problem. In the past, people near the speakers thought it was too loud, while people in the back of the room couldn't hear the music clearly at all. Now, though, I can set the volume, and that volume is pretty much the same if you're standing 10 feet from the speakers or 75 feet from the speakers. There is a very slight falloff in the sound volume after the first 100 feet, but even at that, it still carries well. Even though I've been doing this for several months now, I'm still amazed at how even the sound coverage is.
When it comes to the dance music, the volume doesn't have to be as "loud" as it had to be with the 802/302 system. When I fired those speakers up, there was always a "hole" on the dance floor in front of the speakers because the volume was so high it would make your ears bleed (OK, so it wasn't that loud--but it was loud!). With the L1 system, the sound carries so well that the volume doesn't have to be set at the "make their ears bleed" level. I can set it for the "right" sound for the dance floor, and it carries all the way across the room at the right volume. And people dance right next to the speakers. I was surprised to see that, to tell you the truth, and I even took a picture in May of the parents of the bride dancing about 2-3 feet from the speaker system.
A nice feature for me is the fact that the amplifiers are built into the pedestal base unit that holds the cylindrical tower (two speaker sections that fit together rather securely in a seven-foot high tower). The amplifiers are created by Bose precisely for these speakers. The cylindrical tower contains 24 matched speakers that are placed at specific angles within the tower to create that 178-degree horizontal "throw" of the speakers. The amplifiers sense how many B1 units are connected and properly direct sound and power to them.
Lots of "stats geeks" have trouble with Bose? speakers because they are into amplifier wattage, speaker capacity in terms of "power," etc. However, if you understand that Bose is engineering the sound of these speakers in a new way, then you'll understand that the sound is not directly reliant on some of the "old" measures of powering speakers. The bottom line is the sound your ears hear, which is the truest test of any speaker system.
If you buy this system, I recommend the Bose? ToneMatch? audio engine to go with it. It has three microphone inputs that have universal inputs (either XLR or 1/4 inch jacks), and a fourth input that accepts two 1/4 inch jacks (either balanced or unbalanced). Stereo sources can be connected here, so that solves the "stereo iPod" problem mentioned by another reviewer. There is also another connection, a direct USB connection, which will accept sound (either stereo or mono) from a computer. I use my laptop and a firewire drive, and all the music comes through the USB port into the ToneMatch? audio engine. Another benefit of the ToneMatch? audio engine is the large number of "presets." The presets will tailor the sound of the system to fit various microphones; a wide variety of instruments; and pre-recorded (DJ) sound sources. There is a "Low Volume" preset that is nice for dinner music, for example, and a "high volume" preset for dance music that eliminates the tinny highs and midrange, and the sometimes muddy bass sound that is often produced by sound systems when they are pushing the higher power outputs.
I recently did an outdoor venue for a Car Show and had to cover a huge area with sound. I used one Bose? L1 Model II with two B1 units and one Bose? L1 Classic system with two B1 units (I picked that up "used" as a backup for the Model II and for use in larger venues). I pointed one system up the hill into the wind and the other system downhill with the wind behind it. The "uphill" sound carried very clearly for about 70 yards, after which it was audible but not crystal clear. The "downhill" sound carried 120 yards with no hint of falling off. That answered my question, "Will this system provide enough sound for a large venue?" Last year I played that same venue with my Bose? 802/302 system (1600 watts pushing it), and the comments I heard this year were that the sound was much better this year and it was clear all over the area. Take it for what it's worth.
Bottom line evaluation for who should/can best use this system:
* For single performers, this is outstanding.
* For DJs, this is outstanding.
* For live bands trying to use more than one or two performers per system, this may not be your best choice unless you get one system per performer.
* For drums, this might not be the best audio solution unless you have four B1 units.
* For small venues, this system may have no equal.
* For larger venues, an additional system might be required to cover the entire area.
* While I have not had this concern, other DJs have reported that it is helpful to elevate the system to get better "throw" over a crowded dance floor. (Lots of bodies will absorb sound.)
Bottom line evaluation for the system itself:
* For portability, sound quality, and ease of setup, this is outstanding.
* For clarity and range of sound, this is outstanding.
* For bass reproduction at high sound levels in very large venues, this system is average with two B1s; below average with one B1; and slightly above average with four B1s.
Overall, I give the Bose? L1 Model II system (with TWO B1 modules) the top rating, 5 out of 5.

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Novation Launchpad Ableton Live Controller Review

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(More customer reviews)I have owned one of these for four months and have gotten a good grasp of its relative strengths and weaknesses. The Launchpad is a natural extension for Live's Session View. There is just enough visual information implanted on the interface for you to identify clips easily. The User1 User2 modes are great for a few MIDI triggers but lack any serious expression as the pads themselves aren't velocity sensitive. The mixer mode might be useful for some but I never touch it due to the limited resolution of expression and the immediacy required for their proper function (if minimalism is your goal in this department, seek the Korg nanoKONTROL USB Controller, Black). The saving grace, outside of its Session mode, is the user created software. The Launchpad has been transformed into a monome like device, a visual harmonic table, a step sequencer and a few other creative apps that are hard to describe in a concise fashion. When loading Live 8.1.1 (Vista) the Launchpad will sometimes not be detected and will need to be replugged into the USB port and Live restarted (it only seems to happen less than 3% of the time).
Physically the device seems sturdy 'enough' it has fallen a few feet onto a rug a couple times but I wouldn't call it 'road worthy' since it's still made of plastic. The pads have a nice soft rubber texture though kinetically clunky when being pressed dead center. There is a decent amount of give on the pads before it triggers but in practice it isn't a big deal especially without velocity sensitivity. The LED lights aren't entirely uniform in brightness and color. You might receive a unit with a few slightly brighter pads or ones that display more red but it's only noticeable when all pads are lit up of the same color.
I don't know of any other open grid interface device that comes close to its price which probably explains the $199 price tag. Regardless of the competition, the Launchpad feels more like a $100-$150 device (due to aforementioned limitations of the device). When all said and done, I would buy one again if I had to. There isn't anything on the market right now at this price for the utility you gain from having it. The Akai APC40 Abelton Performance Controller might be an alternative solution if you don't have any other control devices for Live and don't need its alternative functions or its minimalism.

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The compact Novation Launchpad is designed to give electronic music makers the most interactive experience possible in Ableton Live. Jointly designed by Ableton and Novation, Launchpad communicates bi-directionally with the software to give you real-time session feedback. With a multi-color 64-button grid and dedicated scene launch buttons, Launchpad can trigger and manipulate clips in Live as well as provides a totally new way of controlling Ableton Live's mixer. Launchpad's buttons can be used to sketch out beats with drum racks, and they can be assigned to other functions in Live using Ableton's Learn mode.
The device is bus-powered from a single USB connection, and has a ten-inch square desktop footprint. Rubber feet ensure Launchpad stays secure on the surface on which it's placed, and an optional padded neoprene travel sleeve is available. The Launchpad ships with a dedicated Launchpad edition of Ableton Live 8, but it can also control almost any other music software using Novation's award-winning Automap control software. It's compatible with both Mac OS and Windows operating systems.

Key Features
Launch clips and scenes: Launchpad's 64-button grid and dedicated scene launch buttons are ideal for launching and controlling your clips and scenes.
Innovative control over your mix: Including volume, pans, sends, track arming, soloing and muting. Launchpad lets you jump to different levels across eight channels at once.
Sketch out beats: Launchpad can be used to play drum racks, creating beats and triggering samples in real time.
Controlling other functions Launchpad can be used to control other functions using Ableton's 'Learn' mode. This includes Ableton's knobs and faders, which can be assigned to rows of buttons on Launchpad.
Multiple unit operation: Connect up to 6 Launchpads at a time. Expand your grid with multiple Launchpads, or have one Launchpad dedicated to mixer mode, and the other to launching clips.
Expand your Ableton control solution: Novation's Automap-enabled controllers work seamlessly together--a ZeRO SL MkII to control the mix, whilst Launchpad triggers clips.
Automap-enabled: Launchpad can control other DAWs and plug-ins using Novation's Automap control software. Automap can assign controls to software parameters on VST/AU/RTAS/TDM plug-ins by simply clicking on them, and touching a controller.
See what you're triggering: Automap provides a customizable heads-up transparent display across your computer screen. Ideal for seeing at a glance samples that you're about to trigger.
QWERTY keyboard shortcuts: Automap PRO, an optional upgrade available to purchase online, lets you assign almost any computer keyboard shortcut, and combinations thereof, to Launchpads buttons.
Old-school MIDI control: Utilizing Automap, Launchpad can operate as a standard MIDI controller, creating custom MIDI maps with 72 of its buttons transmitting either CC or MIDI note data.
Flexible trigger platform for Max MSP and Reaktor programmers: Programmers can utilize variable brightness and multi-color LED states to their full advantage when designing new and innovative tools in Max MSP and Reaktor.
Launchpad and Max for Live: Max is a visual programming environment that allows you to custom build instruments and effects. Launchpad can be used to control these instruments. For example, parameters on Max for Live's step sequencer can be triggered using Launchpad's buttons. Launchpad gives you a huge amount of visual feedback. Multiple colors and brightnesses across different buttons display visual information about whether the note is on, the velocity, note length, pitch, and whatever else you want to see.

What's in the Box Launchpad, USB cable, DVD-ROM with Ableton Live 8 Launchpad Version (Mac and PC installers) and 1 GB of Loopmaster sample content
Specifications
Physical Controls and Indicators:
64 (8x8 grid) square multi-color backlit buttons
8 round multi-color backlit system buttons (assignable)
8 round multi-color backlit function buttons (not assignable)

Connectivity: USB 1.1
Mac system requirements: Mac OS X 10.4 or later; Intel Mac or G4 and higher processor
Windows system requirements: Windows XP or Vista; 1.5 GHz or faster processor; 512 MB of RAM (1 GB recommended)
Dimensions: 9.45 x 9.45 x 0.79 inches (WxDxH)
Weight: 25 ounces (1 pound, 9 ounces)

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Akai MPD26 USB/Midi Pad Controller Review

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(More customer reviews)Where to start !
Ok the basics, This product boasts a lot of features, and for anyone who has dreamed of owning an MPC, but cant afford it this is a great alternative.
Straight out of the box this item looks good, its solidly constructed, and just looks cool.
It comes with a copy of Ableton Live LITE, which honestly is not worth using, it is very limited in what you can do and to take advantage of the MPD you really need the features of the full version.
When it comes to installation it couldn't be any easier, plug in the USB cable and away you go, the only other thing you need to do is set up Live or whatever program you are using, its just a case of selecting it from your midi devices section in your program preferences..
Once I had this set up I was already to go, or so i thought, I found that LIVE's preset instruments wern't all that great for the MPD, however after searching on the net i found some cool videos on youtube that show you how to set up preset settings in LIVE which work really well.
The next thing i found was that there was quite some delay when i would hit the pad compared to when i would hear it, which was very annoying, it made trying to time things right near on impossible, after a little more research i found out what the problem was, it is the latency, which is determined mostly by the quality of your sound card and its drivers. There is a fix for this that worked brilliantly on my setup, and on a mates who purchased the MPD 18, you need to download ASIO4ALL a simple google search and you'll find it.. This has got my latency down to near zero and i can no longer feel any delay at all.
Now that I finally have the MPD set up the way i like, and all my little hardware bugs sorted, I love this thing, It's mad addictive, and I find myself getting lost in the mix and time just dissapears.
In conclusion, this product is fan-freakin-tastic... For the price of this compared to the MPC it is definetlly worth it, Although all MPC owners out there will tell you how it is nothing like an MPD, the truth is it does everything an MPC will do but you need the computer set up in a way that allows you to do it... Im sure they will all disagree, I personally think they're just a pissed that they spent so much on something that you can do with the MPD for a fraction of the price.. Obviouslly there is the downside that you cant just pick it up and take it to a gig without having ya pc with ya, but for recording / beatmaking this thing is great.
Although it was a little tricky getting all my presets sorted, once that was done its sweet.


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The MPD26 is a MIDI-over-USB pad controller with genuine MPC pads. It's perfect for producers, programmers, musicians and DJs. Its blend of intuitive MPC controls and technologies meshes with easy USB connectivity to bring the feel of classic beat making to the world of computer music production.
A MIDI-over-USB pad controller with genuine MPC pads. Click here for a larger image

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Roland SP-404SX Portable Sampler with Effects Review

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(More customer reviews)This is a really cool effects device for the price. Although I was able to figure out the basic functions without reading the manual I eventually had to break it out in order to learn how to use this device for my purposes. For what I plan to use it for this is plenty powerful enough and at half the price of the SP-555 it is a great deal. Better yet, this model can run off 6-AA batteries and has a built in mic. Granted, I tested out the built in mic and it sucks compared to connecting a real microphone to the unit but at least it has one. Also, this can support up to a 32GB SD card vs. the 555 which only supports up to a 2GB CF card. Again, 2GB of storage for both of these devices will store a tremendous amount of samples but it is nice to know I have options. Have I mentioned that this is less than half the price of the SP-555? It really depends on what features you will be using the most. For a mobile and club DJ like myself, this has everything I need to make my DJ drops and add special effects to many of my samples.

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Kawasaki iSoundz Audio Pro Digital Mixer Review

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(More customer reviews)It came in a timely manner and it was not damaged I did not like that the post office left it on my front step ....

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Akai APC20 Compact Ableton Controller Review

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(More customer reviews)When I first saw a DJ at the San Diego Media Arts Center using this thing at a laptop jam, I thought it was incredible... but when he told me the price he paid on Amazon I thought it was doubly incredible. If you already have Live, the APC20 is a bargain by itself. But if you don't have Live, this package is TRIPLY icredible since it comes with an almost fully functional version (much more functional than standard Live Lite) thus saving you hundreds of bucks! I think the software alone would be worth the price for someone like me... a dabbler without deep pockets.
Caveats & Quibbles
I run XP and had trouble with drivers, but I got a quick helpful response from Akai support. I also had some VST plug-in hangups. They seemed to resolve themselves when I uninstalled and reinstalled. If that doesn't work for you, finding which plug-in is causing the problem can be tedious.
The included USB wire was kinda short (maybe 3 feet). And the USB doesn't power the APC20; you need to plug in an additional wire to a power source.
The biggest potential problem... once you fire up this sucker you can kiss normal life good-bye. You'll be lost for hours playing with infinite push-button permutations of polyphonic pow-ah!


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Korg KP3 Kaoss Pad Dynamic Effects Sampler Review

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(More customer reviews)first thing, i am no where near a pro with effects and recording equipment, that said, i have a long history with korg, and know from exp they make really good effects and at good prices. this machine is addictive. i want to let potential buyers know what you can do with the kaoss right out of the box, with about 20min w the manual. so it is basically an effects processer, instrument(drum machine and synth) and a sampler(w 4 banks a-d) i have a 400 disc player, and ran the rca through the korg line in, and line out into a 8 track digital recorder. and its just fun. i hit random play, and rarely get past the first 30 seconds of a song. the kaoss makes it very easy to sample any line in, and loops them, you can use up to 4 at a time,and you can save your fav samples on sd cards (2gb max,which you can buy on amazon for 7$,i like kingston) thats just the beginning, once you get a sample or samples, you have a hundred dif effects(phaser, grain,delays, re-verb common effects and sounds in the korg library) so you get a sample, you loop it back and you can manipulate it in a infinite number of ways. it also has bpm, a feature that syncs the beats in the machine to music from the line in, so it does the timing for you, and the beats loop in increments(4,8,16} the touch pad(which is huge) act as the knobs on effects and synths. so the clip its playing changes with every move of your finger. , every time you change the effect it opens a new world of the same sample.
now the drum machine and synth, there could have been more banks here and less effects, but some i imagine would say the opposite. i very much like that it loops seamlessly, and you can change the measures, but not as versatile as traditional drum machines. the touch pad responds very well, though when you tap faster as in a drum roll, it will hold up, but the sound is more in the held position anyway.and its somewhat user friendly, i say that cause i hate manuals, i just like to play, so i have figured out about 20% of this machine, and still i cant help to smile just looking at it. i have been looking into samplers for 15yrs and this is the least expensive, most fun, and easiest to use machine i have ever seen. . i, you can be silly, serious, either way it will impress(it will process anything w rca jacks, so there is no limit, there is allot of rhythm in the most common tv shows, radio programs, even the worst lp has sumthing sweet korg gives one year warranty,
update drum machine and synth work welly well w my microkorg, play one w your right and other with the left hand, ,my guitar through the mic input is really cool, you press hold on the effects, and you can change the sound completely after each riff, not so good w my bass, distorts at low levels

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Embraced by DJs, musicians, and producers alike, the Korg KP3 Kaoss Pad Dynamic Effects Sampler is intuitive, immediate, and just plain fun to use. By simply touching, tapping or sliding your finger over the touchpad, the Korg KP3 allows you to control multiple effects parameters and manipulate samples in real time. On stage or in the studio, these gestures and moves can become truly powerful and expressive performance elements.
Click here for a larger image.

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