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DJs
are always looking for ways to beef up their sound. I constantly
hear the same questions over and over again from my clients.
“What can I do to make my rig sound bigger?” “How can I
get that extra boost on the bottom end?” “Which effects
should I use to make my mix sound cooler?”
In
truth, nothing but the best subs will give you that crazy
big-ass bottom end, but there are pieces of gear that can
improve your sound. As for the sonic wizardry that can add
to a DJ or remixer’s sound, I am reminded of a Notorious
B.I.G. song, “The Sky’s The Limit.” I’ll take a look at
some concepts in regard to fattening up your sound and then
get into some gear that could change your mixes forever.
What To Choose?
At
the most basic level, increasing the sound output of your
rig could be handled by a wide variety of equipment. Hooking
up a compressor will allow you to boost the gain of your
output and limit it at a point you can choose so that you’ll
avoid blowing up the joint. An EQ can boost or cut certain
frequencies and most will allow you to increase the overall
gain as well.
There
are also the options of the Aphex Aural Exciter or the BBE
Sonic Maximizer units. As for effects processors, some include
an algorithm that’s similar but not identical to the Aural
Exciter or Sonic Maximizer, but mostly they are used to
add some trippy sonic vibes to your mix. Most of the effects
processors that we will discuss are for performance rather
than sound shaping.
Digging
In
When getting started, remember the No. 1 rule in shopping
for new gear: What do you want the equipment to do? In most
cases, I ask the client what he wants out of the purchase.
Let’s assume you have the speakers, amps, mixer and source
gear that you love. It sounds great, but now you’ll need
a way to fatten your sound.
One
of the most popular products is from Sun Valley, Cal.-based
Aphex, the Model 104 Type C2 with “Big Bottom” Aural Exciter.
It’s a stereo processor, with separate sections (Aural Exciter
and Big Bottom) for highs and lows. With it you can bring
your sound to life by increasing the presence and clarity.
On the low end, it will give you tighter bass articulation
and can help extend and bring out those low frequencies.
The inputs and outputs are both of the TRS ¼-inch variety.
It will surely add muscle to your mix without sounding distorted.
Check out the 104 in more detail at www.aphex.com.
Another recommendation is from Huntington Beach, Cal.-based
BBE (www.bbesound.com). I always liked the BBE line of products
and I can give you the word on a beginner unit, a semi-pro
processor and a top-of-the-line unit as well. The 362 Sonic
Maximizer offers ganged stereo operation in a 1U unit. It’s
not too bad on the wallet either. It’s perfect for the mobile
DJ or soon-to-be next mix tape king (or queen). There are
separate controls for the high process and low contour processing.
The
next level up in the BBE food chain is the 482. This piece
offers a dual-mono set-up, with process controls independent
of each side. The 482 is perfect for the semi-pro jock,
yet it doesn’t have balanced connectors. It uses unbalanced
¼ and/or RCA inputs and outputs. The unit can improve your
sound and has some serious headroom. At the top of the BBE
pile, the 882 Sonic Maximizer features dual-mono operation
with balanced XLR connectors. This has a sweet sound and
can seriously change the profile of your mix.
Syosset,
N.Y.-based Samson Technologies (www.samsontech.com) also
puts out a few products that can improve your output. Within
the Behringer line, the EX1000 (aka ULTRABASS) is a digital
bass processor with built-in limiter that adds exceptional
bass power to your sound system. It can restore lost low-end
frequencies and has a mono summed output to send directly
to a powered sub. The ULTRAFEX II is also a winner. It’s
a basic Sonic Maximizer-type unit with all the bells and
whistles you need to improve on your mix. Any of the products
I have mentioned so far will add depth and presence to your
sound. If you plan to change the sound, you’ll need more
of an EQ. Let’s take a look.
EQ on the QT
I’ve got to admit, although I am a fan of EQ, a good sound
system should be able to hum at perfect levels without it.
I am not a huge fan of drastically changing my sound, except
for effects, but I will attest that a good EQ has saved
many a mobile jock from a room or stage that caused feedback
too frequently. When it comes to EQ, I tend to think that
less is more. Some of the manufacturers that I recommend
when it comes to EQ units include dbx, Rane, Aphex, Alesis,
Behringer and Samson to name a few.
I really liked the price points and performance of the Rane
Mojo series EQs. Check out the MQ 302S Stereo 1/3-Octave
Equalizer and the 302L as well. They both offer terrific
sound via either Short Throw faders or Long Throw faders.
(Notice the S and L at the end of their product models.)
The 302S uses 20-mm faders while the 302L uses a long-throw
45mm sliders in a two-rack space. The units both use the
ganged-stereo processing, which eliminates the need to match
the same set of sliders on the opposite channel. Both units
have +/- 12db level control for optimal gain structure.
You might want to check out more information on EQs, so
use the web for sure. Numerous audio companies make EQ units,
as it is a product that is very popular and offered in numerous
price ranges and styles.
Compress
To Impress
I don’t have the same theory on compression as I do EQ.
I value a compressor and recommend one for most beginning
clients. It’s a way to eliminate or lessen the chances of
blowing speakers. The punch of your output can be increased
and yet if you send your rig out with a new DJ, once you
set the compressor right, you’ll be able to hopefully put
your mind at ease. No one is gonna tell you how to set your
compressor; that’s up to you and what you think you are
comfortable with. As with EQ units, there are numerous companies
that make compressor/limiters. Among them, the ones I usually
recommend are the Alesis 3630 (www.alesis.com), the dbx
(www.dbxpro.com) 266 XL, Behringer Composer (MDX 2100) and
Rane MC 22 Mojo Series (www.rane.- com). There are plenty
of options out there so again, check the web or see your
local retailer for more info.
Suggestion: Effects
If
you want to add some wild style to your mix, why not check
into some effects processors? You can’t imagine how cool
the lamest track can sound with some technology added to
it. Or take a hot track and make it even hotter. As with
most outboard gear, there are numerous companies that make
processors. I would sometimes recommend studio-level processors,
but that was in the days where effects were mainly for studio
musicians or producers. Now though, numerous companies have
begun to design effects gear with the DJ as the prime user.
Most are still of the rack-mount type, but there are some
killer boxes out there.
Among the newest and coolest are three separate units from
a manufacturer based in Victoria, B.C., Canada, called Electrix
(www.electrixpro.com). Best known in the pro audio industry
for its pioneering R&D work for companies like Digitech,
IVL Technologies was already a leader in the field of effects
processing when it became interested in the DJ and remix
markets. After sufficient study, IVL developed its Electrix
division and the resulting effects units for DJs are nothing
less than stunning in design and sound. They make the bomb
shit – trust me.
The
three units include the Mo-FX, the Warp Factory and Filter
Factory. These pieces get their magical touch and sound
from real-time control. The Mo-FX is set to give you usable
effects like distortion, flange, auto-pan/tremolo and delay.
The Warp Factory is truly a fantastic-sounding piece. Call
it the ultimate Vocoder for DJs or remixers. You can “morph”
or warp any two signals together such as vocals and synths,
keyboards and turntables, sampler and drum machine. There
is also a phono pre-amp that will allow you to insert the
unit between a table and the mixer.
The
Filter Factory, like the other Electrix gear, is designed
with the DJ in mind. It’s an analog, high-order, performance-oriented
filter system. You can have direct real-time control over
frequency, resonance, LFO rate, LFO depth with various waveforms
and a tap-tempo feature. All three of them are kick-ass
and, cleverly, can be used within a rack or in table-top
mode – no programming and no presets for any of these units,
though they all have MIDI I/O.
Another
cool unit is Korg’s Kaoss Pad (www.korgusa.com). It’s a
small, square table-top design (it looks like a Gameboy)
that puts real-time effect processing in the hands of any
DJ at an affordable price. The “X-Y pad” effect controller
allows the user to use the effects processor as if it were
a musical instrument. Tap it to produce a syncopated rhythm
that is impossible with knob or slider type units. You can
count on any number of effects like delay, flange, phase
and other modulation effects. There are 60 versatile effect
programs ideal for mixing or making mix tapes/CDs. There
is a mic input and MIDI control as well.
If
you’re looking for that robotic Vocoder sound, also check
out the VX 11 unit from Stanton Magnetics’ Next! line. With
its “filterbank” settings, the 11-band rack-mount Vocoder
unit can take your mix to the land of otherworldly effects.
Also from Next!, the Rez 30 Resonator – with its three band-pass
filters – can manipulate any sounds from source components
(or outboard gear) into the realm of analog warmth.
Other manufacturers make some interesting units, too. They
include Pioneer New Media Technologies (Effector), Alesis
(MidiVerb 4 and Micro Verb 4), Behringer (DSP 1000 Multi-Effects
Processor), Roland (SRV 303, SX 700, SDE 330/SRV330) and
Lexicon (MPX1, MPX 100). There is also some funky new stuff
from Portland, Maine-based Independent Audio (www.independent-
audio.com). They have three units – the MODul8, ColOSCIL
and FREQue – that are worth checking out.
In
reality, you can find hundreds of products that can improve
your sound, but before you go out and spend mega-bucks,
ask yourself what you want the gear to do. It’s a brave
new world out there. Your uncle’s old reverb unit won’t
do you much good now. Check out the latest in effects, signal
processors and the like. The only limitation is your imagination.
And oh yeah, get some new cables when you buy new gear,
please.
If
you have any questions for Scott Rubin, please write to
DJ Times c/o Scott Rubin, 25 Willowdale Ave., Port Washington,
New York, 11050, fax (516) 944-8372 or e-mail djtimes@testa.com.
Copyright
© 2000 DJ Times Magazine
TESTA
Communications Publishing
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