NEW PIONEER CDJ DIGITAL TURNTABLES BRING THE ART OF DJING TO NEW HEIGHTS NEW PIONEER CDJ DIGITAL TURNTABLES BRING THE ART OF DJING TO NEW HEIGHTS
CDJ-2000 and CDJ-900 Enable DJs to Access Their Music Directly from the Players
Long Beach, CA (September 17, 2009) – Pioneer Electronics (USA) Inc. Professional Sound and Visual Division, the leader in Pro DJ products and the innovator of the CD turntable, today launched two multi-format digital turntables, the CDJ-2000 and CDJ-900, with features that put the performance back into the art of DJing and reduce the need for laptops to access music files. DJs of all experience levels can enhance their mixing and scratching capabilities using proprietary technologies such as rekordbox™1 music management, Pro DJ Link, Needle Search and USB and SD card connectivity.
“Understanding the expanding needs of today’s evolving DJs, Pioneer’s new multi-format digital turntables allow DJs to access, search and control their content directly from the player itself,” said Matt Dever, Vice President, Professional Sound and Visual Division. “The new CDJ players provide the same legendary quality standards and playability of the CDJ-1000/800 with the added convenience of native playback of key digital media file formats accessed through a multitude of compatible media, whether it’s on CD, DVD, portable hard drive or flash memory device. In addition, both models are HID compatible with today’s top DJ performance software, making these players the natural selection for any performance DJ.”
Prepared For Any Performance
Adapting to today’s variety of media formats, the CDJ-2000 and CDJ-900 enable playback of MP3, AAC, WAV and AIFF audio files from CDs and USB memory devices, and from DVDs and SD cards as well on the CDJ-2000. A USB port located on top of the turntable enables users to quickly connect an external storage device such as a Tonium Pacemaker™ or a hard drive packed with music files, minimizing the need to bring a laptop computer to performances.
Both the CDJ-2000 and CDJ-900 turntables include rekordbox™, Pioneer’s proprietary music management software that organizes and catalogs a DJ’s entire music library. When music files are imported to rekordbox, the software analyzes each file and prepares them for use specifically with the new CDJ turntables. Key elements of Pioneer’s rekordbox software:
Analyze:
Beats Per Minute (BPM) Data – BPM / Tempo information for each song is identified and processed into rekordbox for use by the DJ in preparing and performing a set.
Waveform Data – The waveform of each song is identified and then displayed on the bottom screen for quick data visualization and for use with the needle search function on the CDJ-2000 turntable.
Customize:
Tag Info & Artwork – Edit and customize the file information to performance needs.
Hot Cues, Cue Points, and Loops – Prepare and customize cues and loops as well as create and manage hot cue banks.
Playlists – Create, edit and manage customized playlists for various performances.
Beatgrid – Utilizing the new Quantizing feature, cue points and loops can be set perfectly on-beat. The Quantize feature ensures cue points are set accurately and automatically, correcting and synching beats during manual looping or a real-time cueing, preventing off beat mistakes.
Users can then transfer analyzed music files to their preferred storage media and play them directly from the new CDJ turntables. The software offers song information that can be viewed easily during performances on the CDJs’ large displays to quickly search and access content by genre, title, BPM, etc. Also, as analyzed tracks are played through the CDJ products, the turntables automatically create and save a play history enabling users to review past performances on their PCs.
Pro DJ Link
The new turntables feature Pioneer’s Pro DJ Link that enables up to four CDJ-2000/900s to be connected via the Link Port to share a single music source, whether it is a hard drive, USB and/or SD memory card. Once linked, users have the ability to quickly find, display and choose the music file from a connected source through the CDJ’s built-in display and control knobs. A quick turn of the knob lets users scroll through created files and folders and a push of the knob confirms the song choice.
Advanced Connectivity
The new turntables feature a 24-bit/48 kHz sound card and HID and MIDI control compatibility via USB port. Up to 35 controls on the surface of each player can be used to trigger other devices, such as DJ effecters and software by way of HID and/or MIDI.
The HID controls were implemented into the players for superior interfacing with software, faster communication speed over MIDI, audio/visual streaming and two-way information on displays. HID enables easy, precise and native control of DVS systems such as Serato™ Scratch Live, Native Instruments’ Traktor series and MixVibes Cross2 without the need for time-coded discs.
CDJ-2000 Enhancements
LCD panel and Graphic User Interface – The flagship CDJ-2000 features a large WQVGA 6.1-inch full-color 480 x 234 LCD panel for displaying song titles and jacket art as well as detailed track information so DJs can select songs at a glance. The wave data of each song is also illustrated on screen, showing high and low amplitude to further assist DJs.
Needle Search – Helps DJs instantaneously get to a specific part of a song with a simple touch of the Needle Search pad. Found directly below the CDJ-2000’s high resolution LCD panel, the touchpad lets the DJ “place the needle” and jump quickly to a specific part of a music track.
Jog Dial – Adjustments for tension were enhanced from previous models allowing the DJ to further customize the feel of the jog dial from a light to heavy sensitivity. Four illuminated areas on the sides of the Jog Dial aid the DJ in finding the desired spot on the plate in dim lighting environments.
CDJ-900 Enhancements
Slip Mode – When activated, Slip Mode silently continues song playback during a loop, reverse or scratch and continues audible playback at the exact time when the loop, reverse or scratch is ended creating smoother transitions.
Advanced Auto Beat Loop – The CDJ-900 generates a four-beat loop at a touch of a button creating a customized sound to provide more time for DJs to blend in transitioning music.
The Extras
For more accurate tempo control while mixing, each player is enhanced with increased frame increments of 0.5 frames that allow the DJ to set a cue point or loop point with more precision.
To achieve the highest sound quality, both the CDJ-2000 and CDJ-900 were equipped with the audio industry’s highly respected Wolfson DAC processors, delivering a very transparent, accurate audio signal resulting in a highly improved signal-to-noise ratio and increased headroom.
The CDJ-2000 will be available in November 2009 with a suggested retail price of $2,150.
The CDJ-900 will be available in December 2009 with a suggested retail price of $1,600.
Pioneer offers a complete line of professional DJ Equipment through its Professional Sound & Visual Division. Its DJM series of mixers has become an industry standard at clubs, studios, mobile rigs and homes around the world, known for its high quality sound and reliability. For more information, visit www.pioneerprodj.com.
Pioneer Electronics (USA) Inc. is headquartered in Long Beach, Calif., and its U.S. Web address is www.pioneerelectronics.com. Its parent company, Pioneer Corporation, established in Tokyo in 1938, is a preeminent manufacturer of high-performance audio, video and computer equipment for the home, car and business markets.
1 rekordbox is music file management software developed by Pioneer in cooperation with MixVibes for use in combination with Pioneer products.
2 For more information on the version that improves compatibility when connected with the CDJ-2000/900, please see the Tonium’s website at http://www.tonium.com.
3 For more information on the version that improves compatibility when connected with the CDJ-2000/900, please see the Serato Audio Research’s website at http://www.serato.com. .
4 For more information on the version that improves compatibility when connected with the CDJ-2000/900, please see the Native Instrument’s website at http://www.native-instruments.com. .
5 For more information on the version that improves compatibility when connected with the CDJ-2000, please see the MixVibes website at http://www.mixvibes.com.
PIONEER is a registered trademark of Pioneer Corporation
REKORDBOX is a trademark of Pioneer Corporation.
MIXVIBES and CROSS are trademarks of MixVibes Companies in the United States and other countries.
PACEMAKER is a registered trademark of Tonium AB.
SERATO and SCRATCH LIVE are trademarks of Serato Audio Research.
TRAKTOR is a trademark of Native Instruments.
WOLFSON is a registered trademark of Wolfson Microelectronics.
Specifications CDJ-2000
Compatible Media
Music CD Yes
CD-R Yes
CD-RW Yes
DVD±R Yes
DVD±RW Yes
DVD±R-DL Yes
USB Devices Yes
SD Memory Card Yes
Compatible Files
MP3 Yes
AAC Yes
WAV Yes
AIFF Yes
File Systems Compatible with USB Storage
FAT12 Yes
FAT16 Yes
FAT32 Yes
HFS? Yes
Frequency Range 4Hz – 20kHz
Signal-to-Noise Ratio 115dB or higher (JEITA)
Total Harmonic Distortion 0.0018% (JEITA)
USB Ports USB-A 1 and USB-B 1
Link Port LAN / 100 base – tx Yes
Audio Output Terminals
AUDIO OUT 1 (RCA)
DIGITAL OUT 1 (COAXIAL)
Other Terminals
CONTROL 1(?3.5 Mini-plug)
Audio Output Voltage 2.0 Vrms
Power Supply to Use 120 V ac (60Hz)
Power Consumption 28 W
Maximum Dimensions
(WxDxH in mm) 320 × 405.7 × 106.4
(WxDxH in inches) 12.6” x 15.94” x 4.19”
Unit Weight (kg / lbs.) 4.6 kg / 10.14 lbs.
Specifications CDJ-900
Compatible Media:
Music CD Yes
CD-R Yes
CD-RW Yes
DVD±R No
DVD±RW No
DVD±R-DL No
USB Devices Yes
SD Memory Card No
File Systems Compatible with USB Storage
FAT12 Yes
FAT16 Yes
FAT32 Yes
HFS? Yes
Frequency Range 4Hz – 20kHz
Signal-to-Noise Ratio 115dBor higher (JEITA)
Total Harmonic Distortion 0.003% (JEITA)
USB Ports USB-A 1 and USB-B 1
Link Port LAN / 100 base – tx Yes
Audio Output Terminals
AUDIO OUT 1 (RCA)
DIGITAL OUT 1 (COAXIAL)
Other Terminals
CONTROL 1(?3.5 Mini-plug)
Audio Output Voltage 2.0 Vrms
Power Supply to Use 120 V ac (60 Hz)
Power Consumption 26 W
Maximum Dimensions
(WxDxH in mm) 305 x 385 x 115.6
(WxDxH in inches) 12.01” x 14.78” x 4.55”
Unit Weight (kg / lbs.) 3.9 kg / 8.6 lbs.
Music File Management Software rekordbox™
Compatible Operating Systems Mac OSX (10.4.6 or later)
Windows Vista® Home Basic, Home Premium, Ultimate, Business
Windows® XP Home Edition, Professional (SP2 & Later)
Compatible Files: MP3/AAC/WAV/AIFF
System Requirements: Mac OS X: / Intel® Core. Duo (or equivalent processor)
1.83 GHz or faster
Windows Vista® or Windows® XP:
Intel® Pentium® 4 (or equivalent processor)
2 GHz or faster
Memory 512 MB or more
Free Hard Drive Space 250 MB or more (Not including the space needed for saving music and other files)
Disk Drives: CD-ROM Drive
Display XGA (1024×768)
or greater recommended
Vestax are a company full of surprises. Having laid down the blueprint for scratch mixers and dared to take on Technics in the turntable market, the digital age seemed to take them by surprise a little. A handful of bizarre folly DJ products followed as well as a few attempts at CD technology, but there was a period of time where I (and the industry for that matter) felt that the once mighty Vestax corporation had lost its way and would soon shut up shop.
How wrong we were.
Out of nowhere, the industry defining VCI-100 MIDI controller appeared. Taking the established 2 turntables and a mixer format, Vestax effectively squished it down into something the size of a book. It succeeded where others failed in that it was built like a tank and actually felt like using a regular full sized DJ setup – just smaller. Vestax certainly didn’t invent the MIDI controller for DJs, but they did define it and establish the rulebook that others have rigidly stuck to like glue ever since.
The Vestax VCI-100 is supported in just about every piece of DJ software on God’s Earth. But MIDI support is a funny thing, in that developers have to fight with the arcane magic of mapping and trying to get things like platters to work properly within the 3 decade old confines of this ageing protocol. But Serato had other ideas, and set about making the software interface as simple as possible – as near to plug and play as is humanly possible. Thus Serato’s ITCH was born and many a manufacturer has been (and will be) won over by the superior architecture that is hidden from the user, but makes their MIDI DJ life so much better – invisible in fact. Vestax embraced ITCH entirely and have made a VCI variant that works primarily with ITCH, but doesn’t forget other MIDI software either.
Overview
The VCI-300 is a Serato ITCH based 2 deck controller aimed at giving you the very best performance from MIDI, and is essentially the ITCH version of their existing VCI-100 offering. It’s broadly the same format and size, with subtle differences in layout and build. Aside from being designed for ITCH, the biggest difference between the 2 is that the VCI-300 has a built in sound card which means simplified ins and outs handling. With the VCI-300, you only need your laptop and headphones, and then you can plug straight into the sound system.
ITCH runs in Windows and OS X, and is directly supported and developed by Serato themselves, so you can be sure that it just works and will continue to do so. Peace of mind has a high price however – the VCI-300 isn’t cheap but for a gigging DJ, having Serato in the driving seat helps you sleep at night.
First Impressions
Putting aside the obvious comparisons with the VCI-100, the 300 adopts a more rugged styling – rounded rubberised corners and rubber knobs are clearly aimed at tactility and toughness, and is just as heavy in your hand too. The VCI-100 certainly screamed quality, and the VCI-300 goes one step further in making it just that little bit harder to damage with the split but full face plastic faceplate. Sure it’s going to get scratched (especially in the fader area), but I’ve seen some 100s with big dents and scratches in the all metal face. At least the plastic can be replaced if necessary. And this also opens the door to full custom faceplates for those wanting to use other MIDI apps. And using these faceplates means that there are no visible screws either – a huge improvement over the 100.
GRIPE: Fine white lettering on a black shiny faceplate is hard to read in darker conditions.
The controls on such devices are often added as a second rate afterthought and wobble more than a jelly in the spin cycle. But the VCI-300′s controls are anything but that – everything is rigid, especially the knobs which if I’m honest are a little too stiff. But they certainly have NO side to side movement at all, but they will at least stay where you moved them to. This does however mean no accidental moving in what is a small working space. And the ultra low profile hard plastic buttons work with a reassuring click too.
Overall, the VCI-300 feels just as rock solid and superbly honed as the 100, but with all the added polish that an update affords. Quality wise, Vestax still sit atop the MIDI controller mountain.
How It Works
Without retreading old ground by going into the nitty gritty of ITCH (which you can do right here, the VCI-300 is driven by Serato’s ITCH software. Think of it like a DJ operating system that drives the hardware, that is specifically designed to run within the framework laid down by Serato. Via the medium of frighteningly high speed MIDI, Serato and Vestax are able to squeeze amazing performance out of the VCI-300, especially from the platters, which owners of VCI-100s will know that it could be better.
So instead of loading in config files or mapping controls within your favourite software, you install ITCH, plug in the VCI-300 and you’re set. The whole point of ITCH is to take away the complexities of MIDI and keep it very firmly under the hood so that you can plug and play. The KISS principle strikes again.
Layout
Having shown that ITCH’s functions are directly and irrevocably tied to the hardware, we’d better hope that it’s all laid out logically. Obviously, trying to cram maximum functionality into something smaller than an open magazine is no easy task, but thanks to good logistical design, colour coded buttons and some compromises, the VCI-300 is a joy to use. Let’s break this down.
Jog Wheels
Visually and mechanically these are very similar to the VCI-100 – touch sensitive 2 part wheels, that come apart via 3 screws to unveil the technology underneath, but just a tiny bit bigger than the 100. This is slightly different in that the metal part of the platter does directly touch the brass wheel underneath, but connects via a small spring. And just like the VCI-100, the outer plastic edge can be used for pitch bending while scratch mode is still engaged.
There are however 3 really big differences over the 100 that puts the VCI-300 in an all new league of controllerism:
Tension adjustment
The jog wheels sit on bearings that freewheeled unabated on the VCI-100. On the 300 however, this can be adjusted via wheels on the side faces, to spin between 1/2 and 5 spins with a good shove. For me, it’s a balance between free spin for juggling and something a little tighter for scratching.
Sensitivity
Being touch sensitive rather than pressure sensitive, this is all about how much actual flesh is touching the wheel before becoming active. At the back of the VCI-300, there are a pair of recessed pots that adjust each deck from the smallest tiny finger of a touch to something like 3 fingers before coming active.
Response
This is where the VCI-300 owns the 100 entirely. You may recall my VCI-100 vid on Youtube where I showed the “waawaa” phenomenon of releasing the Ahhhh sound but it having a double slur effect. The feel of MIDI controllers in general isn’t exactly vinyl like either. And while a pair of 5″ static jog wheels isn’t ever going to feel like 150g vinyl on a platter with sipmats, the actual response is amazing. Yes there is latency, but it’s such a tiny amount that chirps don’t really suffer once you allow for the ever-so slight delay. Releasing the wheel means instant drag free audio – no waawaa like the VCI-100. In fact, it’s a little too instant, and is very much stop or full start. And no amount of scribbletastic scratching could induce drift.
IDEA: Can we have a little software based vinyl pickup emulation please? It would be nice to have some control over how fast the audio is picked up again rather than instantly.
But having established that the VCI-300′s jog wheels are a step up from other MIDI controllers, you’re still going to have to make compromises if you expect the full compliment of scratch techniques. Vinyl intensive techniques that depend on the nuances of hand and wax movement aren’t really possible. That said, getting the best from the VCI-300 depends entirely on your own skills. Rather than post a half arsed set by yours truly, check out this set to see what can really be done on a VCI-300 scratchwise:
This probably goes without saying, but the jog wheels are multi-functional. You get the clearly obvious scratch mode, but when this isn’t engaged, the jog wheel becomes a pitch bender which that operates at very extremes ranges of bending. And provided the scroll button is engaged, you can scroll through your library as well for very quick track selection.
The wheels are complimented by the play and cue buttons. I know some people complain that they’re sat right under the wheels and could lead to accidental pressing, but where else would you put them? I found no issues with having them there, and it’s just a matter of getting used to them really. That said, I would have preferred the cue buttons under the platters, but there is only so much space to play with. Again, it’s a simple matter of technique adjustment.
Additional playback features include brake speed from instant to what feels like around 2 weeks. Feels like an exercise in showing off ITCH’s superior slowing down algorithm more than being anything useful. And for those doing shows to teens and kids, you can still play NWA tracks thanks to the censor button which gives a momentary reverse that re-engages back in the track when you release it. This feature, via the shift button, makes the audio properly play in reverse. And if you so wish, you can switch between 33 or 45 in the preferences.
Faders
The faders aren’t anything special and I suspect are just the same as those in the VCI-100. The crossfader is a 45mm one and has an easily accessible curve control that gives a pin sharp curve as well as a software reverse switch in the preferences. The 65mm line faders have also gained a curve control which gives an on/off sharp curve as well. The lag on all faders is 2mm – not too shabby for a controller.
The faders is surprisingly nice to use and is easily scratchable right up to crab level. I suspect that the VCI-300 will appeal to Hip Hop DJs because of this, which does have me worried that this pretty insubstantial fader set is likely to fail under the excessive hammer of a scratch DJ. 3rd party options to fit into the shallow VCI chassis are slim on the ground, but I have seen a Pro X fade shoehorned into a VCI-100 so there’s hope yet.
IDEA: Why stop just short of the full fader compliment? How about a software fader reverse setting for the line faders? And if possible a lag adjust as well?
Pitch and Key
I’m just going to come right out and say it – the VCI-300′s pitch implementation is plain odd. Across the 60mm pitch slider you get a whole ±6% range. Totally understandable from a control point of view so that you can still get the same level of sensitivity across this short travel. But that is the only pitch range you get. Instead, Vestax have opted for a pitch shift method – you get 2 buttons with move the 6% pitch range up or down in 6% blocks. When I say 6%, there is a variance of up to 1% on that figure in my experience, but seeing as you have to look at the screen anyway, it doesn’t really matter.
So at any one time, you get a 6% range anywhere between -50/+100%, and at 100% you can even stretch it to 112%. But if you find yourself needing a quick return to 0%, you press both buttons to reset the range, or engage the digital quartz lock for a temporary return to 0% while leaving the selected pitch shift intact.
So about this strange pitch arrangement – it flies in the face of any type of pitch control I’ve ever seen. On pressing the up/down buttons, I expected to find the range switching to say 10%, 16%, 25%, 50% and 100%. But no – instead I got this somewhat limited method that really doesn’t lend itself well to accurate wide pitch shifts at all. I’m sure that for regular mixing within an established BPM range, this method works well and gives you the control you need, but I still felt uncomfortable with it. Not because it’s new, but because I found it too limiting. You could have made it 8% given the huge number of potential Technics users out there who may feel the need to toe-dip the digital scene.
IDEA: Seeing as the pitch is controlled entirely by software anyway, how about making the pitch slider operate in relative (like it is now) and absolute (selectable ranges) modes? Have a software switch that allows you to use the up/down buttons either as pitch shifts or range selectors. I know I’d be happier with the choice, and it would be something that no other product would have (although I stand to be corrected on this).
So having established that the VCI-300′s pitch control is left field in its thinking, Serato have also thrown in key locking as well. Now Serato are very well know for their superior pitch n’ time solution, so would expect that the keylocking in ITCH would be of a high quality – and it is. When slowing down, I was happy with the quality up to about -25% – beyond that you’re into double beats territory. But all the way up to +50 is solid and useable, even if it is annoyingly difficult to do a smooth keylock beyond 6%. Above 50% ITCH seems to apply a proportional key lock, but I doubt anyone would use keylock outside of a small range anyway so it’s not a complaint as such.
Update: Like he good hack that I am , I posed my concerns directly to Serato about this unusual pitch method. Bill Mitsakos from Serato came back with the following explanation:
First of all, why 6% instead of 8. The slider part that Vestax provided is approx 3/4 the length of the technics 1200 slider, which is 8%. This way, moving the vci slider by let’s say 1 cm translates to the same percentage change in pitch as on the 1200.
So why the pitch shift buttons instead of a range selector? The thing that sucks about wide ranges is that they come at the cost of much lower precision. The shift buttons give you a huge range of +100% and -50%, without sacrificing any precision. You raise a good point, that there is no way to do drastic pitch changes quickly. This is something we should look to fix in software (like a shift-pitch function type thing).
An important detail is that the pitch range buttons do not shift by exactly 6%. They shift by exactly 1 semitone ( which is approx 5.9%). This value is compounded so the further away you are from 0%, the greater the percentage change (relative to zero). So while u can’t do drastic tempo changes with the yank of a slider, you can do some very cool harmonic tempo changes (especially if u are using autotempo so that one track follows the other).
I do totally understand the reason, but would be so much happier if Serato could make the more conventional pitch ranges available.
Cues and Loops
The VCI-300 gives you 3 saved cues points (the NS7 has 5). Each of these is colour coded and the relevant buttons light up on the VCI-300 if the cue points have been defined – which is a simple matter of hitting the right button at the right time. Deleting the cues is an equally simple matter of shift-cue and it’s gone.
Because of the lack of jog wheel cue points or vinyl stickers, the hot cues really come into their own if you don’t like watching the screen to spin back to the right point. Obviously, this will lead to accusations of cheating from luddites unwilling to drag themselves into this century, but for the type of DJ who is likely to buy a VCI, this is a real godsend. It’s not cheating, but is just a different way of doing things. The VCI-300 isn’t vinyl, so you have to come up with new ways of making music, and if that means getting creative with cue points then so be it. There’s a new world open to you if you want, and a lot of things that you just can’t do with vinyl.
IDEA: for the next versions of static platter controllers, perhaps an LED ring around the jog wheel that simulates platter spin would be really useful in reducing the reliance on the screen.
Things start to get clever with looping. Assuming that ITCH has accurately analysed the BPM on your music library, you get the VCI-300 to autoloop. One press of a button and you’re looping, and you can reduce or increase the length of the autoloop as well from 8ths right up 16 beats. The clever stuff here is with cues – you can automatically make autoloops from the cue points, and they work in just the same way as other loops. Deleting the loops is a simple shift-loop combo.
The latest v1.1 update also brought loop rolling i.e repeat beats or fractions of beats with a key press and picking up where it should be in the track when you release. It works perfectly, and while you can activeate it from the VCI with shift-autoplay, it still requires reaching across to interfere with the keyboard on your computer, as the roll is only what is defined by the keyboard in ITCH. For me starts to impinge on the key beauty of ITCH which is keyboard free DJing. I trust that future hardware accessories will return functionality to the DJ gear rather than the laptop.
Overall, the cues and loops work really well. The colour coding is extremely useful, as is the turning of cues into loops. I think I was spoiled with the NS7′s 4 cue points, but there has to be space saving compromises somewhere. Perhaps when the inevitable ITCH add-ons arrive, we’ll see access to more cue points.
Ins and Outs
As previously mentioned, the VCI-300 comes complete with a 4 channel 16 bit 44.1KHz sound card. So instead of having to buy, carry and configure a separate lump of hardware, the VCI-300 and ITCH has it all covered. Thus, the VCI-300 gets the usual compliment of inputs and outputs that means you simply plug your VCI-300 into the sound system and you’re spinning – or static jogwheeling as it where.
Looking at inputs first – the VCI-300 isn’t simply left to 2 decks. You do get extra inputs via a microphone and aux ports. Both of these are controlled via software, and clicking the MIC/AUX button bring up their own strips. Each has gain and 3 band EQ controls and importantly can be assigned to faders as well. The real gem is that in the event of a system crash, a THRU switch totally bypasses ITCH and pushes the aux and mic inputs through to the master out. This is ideal for those rare times when everything goes tits up and you quickly need to fire up a premade mix from your iPod.
As I keep saying in every review, sound quality is largely subjective, and in the digital domain is dependent more than ever on the quality of the source audio. The VCI-300 doesn’t disappoint at all, and gives you a very punchy sound via the kill to a software switchable +6 or +12dB EQ. No surprises here really. But being an all in one unit, you can only use the built in sound card for output.
Output wise you get 2 outputs – TRS jacks or RCAs depending on your needs (shame it’s not 2 separate outputs though) and of course has its own gain control. The VCI-300 has a single TRS jack headphone port with a full gain control, as well as a master/cue pan control. No split cue though – that would have been nice. And the master out and headphones get an overdrive control for that extra bit of oomph as well.
Metering the output is a 12 part LED strip that gives you post EQ output levels, but only for the channels – there’s no master out metering. Again, I suspect this is a casualty of the economies of scale. I don’t miss it, but others might.
One last software output is the record feature. This can capture your set to 16 or 24bit AIFF or WAV files. Be warned – to do all all this audio work and record to your HD requires unhindered grunt. Make sure you have a fast machine that is doing nothing but ITCH work.
TIP: Now while the VCI-300 is bus powered, if you use multiple USB devices, or worry that your laptop may need a reboot should something go wrong mid set, buying a power supply would be a very good idea to keep the VCI-300 running in THRU mode.
In Use
Bar a few setup options, all you see on screen is just enough to help you play your tunes, which for me is how it should be. The emphasis with ITCH is to give the focus of your DJ life over to the associated hardware rather than staring at the screen to do the simplest of tasks. The VCI-300 is designed to handle almost everything that you as a digital DJ would want to do without resorting to intrusive trackpad or extra MIDI controller sessions.
See that big round control surrounded by buttons? That’s how you browse and select tracks from crates. ITCH, like every other piece of DJ software worth a jot uses files and crates, and also has full integration with iTunes too. And for Scratch Live users, it shares your existing data and is completely interchangeable – make a change in one, it reflects when you fire up the other.
Initially, you’ll find yourself still in the habit of leaning across to your laptop, but in a matter of minutes, the VCI’s controls are second nature. And this extends to general usage too. While some of us have DJed with conventional setups for decades now, using the VCI-300 is a little bit of a culture shock. Rather than operating within a 4-5ft wide physical space, all of your movement is confined to around 12 inches of focussed DJ space. For mix DJs, this isn’t really an issue, but for the more action packed turntablist, it feel like trying to use your phone on a crowded train. You do however get used to it, and you must be aware that the stage presence when using a VCI is lessened, simply because when you’re concentrating, it’s all focussed on an area the size of a magazine.
The one thing I struggled with at first is having to work with the screen to emulate regular vinyl spinning. Static wheels means having no idea where your music is pulled back to. Spinbacks sound great, but you need to look at the screen to find out exactly where your wheel has stopped. For some, this will be a problem, but if you’re scaling down from full sized turntables to a VCI, then you must be willing to make compromises and sacrifices somewhere. And if you’re wanting real vinyl feel, why don’t you just use something more suited to that type of spinning anyway?
Auto Sync and Tempo
I thought I’d give this particular feature a section of its own, if only to stimulate some sort of debate post review. What we’re talking about here is what some (actually seemingly just hardcore Scratch Live users) think should never EVER appear in a Serato product. Indeed, Serato themselves proudly boast that Scratch Live “is the only digital DJ system that stays true to the art of DJing with no auto sync or effects by design”. Well it does kind of have effects via the Rane TTM57SL, but that’s another issue.
So what is auto sync and tempo? Via the calculated BPM, pressing the AUTO TEMPO button on a particular deck makes the BPMs match so that you can easily adjust the music to beatmatch. ITCH shows you the adjusted pitch on screen and is switched off by pressing auto tempo again. I found this incredibly useful for quick mixing breaks in succession in a kind of 10 classic breaks in a minute style. Numark’s NS7 had this as well.
But the VCI-300 goes a step further and offers the allegedly scene destroying auto sync, where pressing shift-auto tempo makes the beats properly align without the need to touch the jog wheel. Well it attempts to do that depending on when you engage it and just how well defined the audio is. It’s never going to be perfect unless you’re using sparse 4 to the floor dance beats, but it’s pretty good nonetheless. Just make absolutely sure that the BPMs are correct before entrusting your mixing to it. But trust me haters – this won’t kill the scene.
Beyond ITCH
While the VCI-300 is designed from the ground up to work flawlessly with ITCH, for some people the solid but comparatively limited feature set doesn’t match up to the lavish spec sheet of software like Traktor Pro. And it seems that you can use other software with the VCI-300 – Deckadance for example has native support, with all controls ready mapped to the respective function, but its the high speed MIDI features where support begins to fall over. The platters for example offer a challenge to any software, even those that claim to support high res MIDI. Some Traktor config files have turned up but nothing that offers the rock solid performance of the VCI paired with ITCH.
Added functionality offered in other DJ software packages usually means effects. And thankfully I can now report that Serato have got busy and via the soon to be released Vestax VFX-1, the VCI-300 (and other ITCH units) will be able to control effects within ITCH. It’s an optional extra that offers a heap of effects functionality to ITCH. This means a VCI-300 is now modular, offering effects if you want them, rather than having to pay for something you might not want. More on this in a future review sometime after September 2009.
Whitelabel.net
A new feature that has been available to Scratch Live users for a long time is access to Serato’s Whitelabel.net side project. In a nutshell, Serato have struck deals with labels to give owners of Scratch Live and ITCH hardware access to a heap of material. Anyone can download it and listen to low res versions, but when played through Serato based hardware, you get the high quality version. It’s extremely clever and expands your crates without even trying. I’m not saying you’re going to get the top 40 for free, but it’s certainly worth having a dig around to see if there is anything that takes your fancy.
The Inevitable (but wrong) Comparison
Living as I do on the world wide web, I travel around many forums, where a popular question is “NS7 or VCI-300?”. I can only assume that because these are the first ITCH based units on the market, people want to draw some sort of comparisons between them. But in my book, they’re entirely different units aimed at diverse DJing styles. I would liken “VCI vs NS7″ to “laptop vs desktop”. Both run the same operating system in much the same way, but it’s the hardware that is key and how you work with it that counts. It’s the kind of DJ that you are that dictates which one to buy.The graphic above should give you a hint as to why I feel they’re very different.
The VCI-300 is very much geared towards space saving portability, whereas the NS7 aims to reproduce a conventional DJ setup. The VCI can be thrown into a laptop bag, whereas the NS7 needs transporting in a coffin. The VCI is adequate as feeling like real vinyl whereas the NS7 is a scratch and juggle dream. The VCI-300 does miss one hot cue and features like fader start, so there are some features that fall off when you don’t go supersize.
There is however a better comparison to make, and that is the VCI-100 with other DJ software or VCI-300 with ITCH. If you want guaranteed plug and play hassle free rock solid performance with superior jog wheel response for scratching and juggling, but with a core feature set, then the VCI-300 is for you. If however you want something a little more hackable to your style where you can fully configure the controls to whatever you want (including all the extra goodies that DJ software offers) and have a choice of sound card, then get the VCI-100.
Summing Up
I’m not a fan of MIDI controllers as such. They do the job, but don’t entirely match my needs. The related messing with MIDI puts me off completely, as does the jog wheel performance on pretty much every unit on the market. But the Vestax VCI-300 with ITCH eliminates both of these stumbling blocks completely. Installation, analysing and crate making is simple. And when you start to mix, scratch and juggle, you soon realise that this is an incredibly easy but superior setup to use. And while it lacks effects yet (but they are just around the corner), the VCI-300 nails functionality and allows you to work a compact controller like never before.
I think the union of the hardware and software still has just a little way to go – both from what can be done with the current hardware, but also in the additional hardware that will come along. There’s a degree of refinement necessary that a few software fixes will address. But from the simple point of view of rocking a broad set of styles and techniques, the VCI-300 totally nails it.
Ratings
Build Quality
Much better than I expected. Ruggedised case and controls, but the plastic face may scratch, and I have doubts over the longevity of the crossfader in the regular hands of a more scratchy DJ.
Sound Quality
Sounds just fine to me. Can be pushed to distortion if you crank up every control. But if you have to do that, you’re doing it wrong.
Features and Implementation
On the whole, Vestax and Serato have almost perfected the small controller. But things like the 6% pitch method are failures. But these small letdowns can (and should) be fixed in ITCH.
Value For Money
In an arbitrary like for like comparison with similar units, the VCI-300 is overpriced. But what you’re actually paying for is the stellar performance, build and feel that ITCH brings to the VCI-300. This kind of feel and reliability has a price, but if you’re a pro DJ, it’s worth every penny.
Highs:
+ Compact size
+ Build quality
+ Plug and play ease of use
+ Jog wheel performance is second to none (in ITCH anyway)
Lows:
- Bizarre 6% pitch method
- Expensive for a controller
Bottom Line
Vestax and Serato have condensed down the pure basics of what it takes to be a DJ into a laptop bag. And it works perfectly. If portability or space are a key issue for you, get a VCI-300 and be very happy
Timecode records are an amazing technology but sometimes their performance can be a fickle beast. DVS systems like serato and traktor scratch are subject to a wide number of variables including noise interference, cartridge quality and turntable calibration just to name a few. Its not uncommon to show up to a club and find one turntable is barely working with only a few minutes to trouble shoot before your set. For this reason I personally prefer the reliability of midi but turntable lovers must be able to diagnose timecode problems quickly and accurately. In this article Ranier, the author of the Traktor bible, will show you how to correctly identify almost all possible timecode problems.
TIMECODE BASICS
The magic of using timecode to control Traktor results from the interplay between the timcode decoder inside Traktor and the data format on the timecode media. This article covers the practical aspects and explains how to use the calibration feature to detect, analyze and solve timecode problems. Part 2 (to be published Friday) explains what’s inside the timecode signal and how Traktor extracts the contained information to control the deck playback.
If you are spinning with timecode then you should display the scratch panels for two reasons. One reason is that the scratch panel contains the RST button; this is the button you need to calibrate your decks with. The other reason is that scope view offers valuable information that can help solve timecode related problems.
Activating Scratch Panels in Traktor Scratch Pro
To do this open the dialog Preferences/Deck Details and activate the Scratch Panels with the check box for the decks with which you are using timecode. Scratch panels are always activated for two adjacent decks (i.e. A&B, C&D). The visibility of the scratch panels can only be set in this dialog. Traktor does not provide a MIDI command to do this. The Scratch Panels setting is stored within the layout definitions.
Activating Scratch Panels in Traktor Scratch Duo
Traktor Scratch Duo offers no direct way to activate the Scratch Panels. This can only be done by using the layout selector in the Traktor header and selecting the appropriate layout. There are two layouts where the scratch panels are enabled. Those are: Ext. Mixer (Sync) and Ext. Mixer (Scope). If your layout selection list offers different layouts you need to start the Setup Wizard (click its command in menu Help). Select No or Other Controllers in the upper list of the Wizard and Traktor Scratch – A4DJ in the lower list. After clicking Apply the Wizard rebuilds the layouts you need to activate the scratch panels.
Scratch Panels: Vinyl View and Scope View
The scratch panels offer two different views: the vinyl mode and the scope mode. In vinyl mode (sticker view) the scratch panel looks like the adjoining figure. Vinyl mode shows a “virtual” vinyl or compact disc: the disc rotates if the deck is receiving timecode signals form the turntable or CD player. The direction and speed that the “virtual” vinyl is rotating corresponds to the direction and speed that the timecode vinyl or timecode cd is turning. (Part 2 of this series explains how Traktor detects this information.)
Click the scratch panel to switch between vinyl view and scope view. In scope mode the scratch panel displays information about the signal that the timecode decoder receives from the turntable or CDJ player. And: Scope mode displays the most important button when using timecode: the RST button. Clicking the RST button calibrates the deck. More information about calibrating can be found further down.
The Calibration Circle
The scope mode is an important source of information for detecting, analysing and solving problems with timecode control. The following table shows how the scope mode can look like and explains what to do to solve possible problems.
This is how the calibration circle looks with timecode vinyl if everything is okay. Traktor displays information about the detected medium in the lower part of the panel (here the 15 minute side of the vinyl).
This is how the calibration circle looks with timecode CD if everything is okay. Traktor displays information about the detected medium in the lower part of the panel (here CD).
Traktor is waiting for the timecode signal. This is a normal message and we don’t need to be worried. This scope is shown, for example if the needle is lifted from the vinyl.
The scratch functionality is deactivated. Reason is in 99% of all cases that in Audio Setup an audio interface has been selected, which is incompatible with Traktor Scratch. Solution: Open dialog Preferences/Audio Setup and select an audio interface compatible with Traktor Scratch.
Traktor receives a timecode signal from a timecode CD, but the input mode for Audio 8/4 DJ is set to Timecode Vinyl. Solution: Set the input mode on Audio 8 DJ to Timecode CD/Line; set the input mode on the Audio 4 DJ to Line (CD Control).
Traktor receives a timecode signal from timecode vinyl, but the input mode for Audio 8/4 DJ is set to CD-Control. You can see a very small circle in the middle of the scope. It can be larger than in this figure if the cartridge has a high output level. Solution: Set the input mode on Audio 8 DJ to Timecode Vinyl; set the input mode on the Audio 4 DJ to Vinyl Control.
Traktor has detected the control medium (vinyl, 15 minutes side), but it only receives the right channel; the left channel is missing. Solution: Check the cabling and check the cartridge connec-tions.
Traktor has detected the control medium (CD), but in this figure the right channel is missing. Solution: Check the cabling and check the cartridge connections.
This is how the scope view looks if a deck receives a normal audio signal and not a timecode signal.
Traktor has detected the timecode medium (here vinyl), but the medium is skipping. If you are using vinyl check if the needle needs cleaning.
Traktor receives a timecode signal from timecode vinyl, but the calibration circle isn’t really a circle. This happens when the balancing weight of the pick-up arm isn’t properly configured. Solution: Check if the zero marker of the balancing weight is properly configured. Check it the balancing weight itself it set to the correct value.
Traktor receives a signal from timecode vinyl, and again the calibration circle isn’t really a circle. You also get this kind of view if the balancing weight of the pick-up arm isn’t properly configured and if the anti-skating wheel is set to 0. Solution: First check the balancing weight. Then set the anti-skating wheel to the same value as the stylus force.
This is how the scope view can look like if both cables have been removed. Traktor receives interferences only. Solution: Check cabling.
And here is space left for your figure, if I still have forgotten one of the views.
Calibrating
The scope view contains a button labelled RST (Reset, the official manual calls this the ON button). This button starts the timecode calibration of the deck.
When using timecode there are five important rules. These are:
Calibrate your decks every time you start a new Traktor session. (This is a rule without any exception.)
Calibrate your decks every time you change the input mode – this reinitialises the timecode decoder and it detects the proper timecode medium. (This is another rule without any exception.)
Calibrate your decks every time after you switch between using normal records/audio CDs and using timecode vinyl/timecode CDs. (This again is a rule without any exception.)
Calibrate your decks every time you change the cabling – this can help solve the issue where the tracks are playing backwards. (This again is a rule without any exception.)
Calibrate your decks every time there is a timecode related problem and check how the scope looks by using the previous overview. (I guess you expect it now: This again is a rule without any exception.)
When a deck is calibrated Traktor analyses the incoming timecode signal. It detects the medium type (vinyl, CD) and whether both the left and right channels are connected. To repeat: You must calibrate every timecode deck every time you start up Traktor (if you want to use timecode control). This helps in detect-ing potential problems early. Additionally you cannot switch to absolute tracking mode if the decks aren’t calibrated.
HOW TO CALIBRATE
Open the scratch panel and switch to scope mode.
Drop the needle onto the timecode vinyl or start playback of the timecode CD.
Click the RST button. The calibration process only takes some seconds. During the calibration the yellow bar at the right side of the scope view raises.
Check if the calibration circle is okay. Also check if Traktor is displaying an error or warning message in the lower part of the scope view. In this case use the table on the previous pages to solve this issue.
Also you can use the MIDI command that corresponds to the RST button to calibrate your decks. The command is: Timecode | Calibrate.
Today we’re giving M-Audio Torq a little love. Torq users, holler back if you’re out there and let us know what you’d like to see in future Torq articles.
One of the many features that M-Audio snuck into its Torq 1.5 update was the Chain Effects Mode, which gives you an additional routing option for effects and greater creative possibilities. Every effect in Torq can work as either a send effect, which is designed to blend the original audio with the effect’s output, or as an insert effect, which is “inserted” between the deck and the mixer so as to replace the the original audio with the effect’s output.
DEFAULT AND CHAIN EFFECT MODES
When you launch an effect in Torq, the software automatically sets the effect routing Routing button to the most appropriate setting: Send for Reverb and Delay and Insert for the rest of the standard effects.
In Default mode, an Insert effect will be inserted between the output of the deck and the mixer. However, in Chain mode, that effect is instead chained to the output of a Send effect. That means the Chain effect does not apply to the entire song, but rather only the amount of the song passing through the Send effect. So the Send Amount control for the Send effect also determines the amount of the Chain effect you’ll hear.
You choose the effect mode in the Behavior tab of the Preferences window.
To hear the difference between Chain and Default modes, listen to the following audio clips.
In the first clip, the effects are in Default mode. A loop is playing with a Send effect — Delay — with the feedback set to 80 percent and the send amount set to 50 percent. After four bars, an Insert effect — Flanger — drops in. After another four bars, the Delay send amount increases steadily up to 100 percent, drops down to 0 and then goes back up to 100 percent, to show that the Flanger remains constant as the Delay send amount changes.
Here is the same clip as before except that the Flanger is now a Chain effect, meaning that instead of being inserted between the deck and the mixer, the Flanger is now effecting the output of the Delay. Again a Delay send effect has the feedback set to 80 percent, and the send amount set to 50 percent. After four bars, the Flanger drops in. After another four bars the send amount goes all the way up, then all the way down and then all the way up again. Notice that in Chain mode, the Flanger drops out as the Delay send amount drops down, because the Flanger is chained to the Delay’s output. The overall flange sound is also subtle, because you can hear more of the unflanged song.
To further illustrate the purpose of the chain mode, let’s look at Torq’s Repeat effect, which chops up audio into rhythmic stutters. With Delay as a Send effect and Repeat an Insert effect in Default mode, Repeat’s level is unchanged if the Delay send level fluctuates. In this clip, Repeat is invoked in Default mode as the send level of the Delay goes up and down.
In Chain mode, with Delay as a send effect, Repeat only chops up the output of the Delay, so if you prefer, you can use Repeat and other effects like it as an enhancement to the track you’re playing rather than being so overbearing that they interrupt the whole song. In this clip, Repeat is invoked in Chain mode as the send level of the Delay goes up and down. Again, the more you reduce the send level of the Delay, the less you’ll hear the Repeat effect. If you turn off the Send effect entirely, the Chain effect has no effect on the music.
These basic audio examples serve to illustrate the difference between Torq’s Default and Chain effect modes, but the sky’s the limit for where you take Chain effects in your performances. As this blog always emphasizes, practice up, and you’ll figure out how to make the Chain effects uniquely yours. And if anyone at M-Audio happens to read this, consider making it quicker to access Chain mode. Having to open the Preferences window kills some of the spontaneity.
Big Props To the crew at DJTECHTOOLS for the guide!
One of the hottest, most unexpected but utterly logical things to come out of the DJ Expo was Denon’s Scratch Live focused DN-HC1000S controller. Not a regular MIDI controller you understand in the VCI sense, but the one takes away much of the reading your email syndrome of DVS usage. Well what you see here is the finalised version, complete with a few additions. And I have a price for you as well.
Here’s a list of the mapped buttons out of the box:
FILE SELECT
BACK
FWD
A-LOAD
B-LOAD
FILES
BROWSE
HISTORY
PREPARE
CUE-1 ~ CUE-5
CLEAR CUE POINTS 1 ~ 5
LOOP CUT
LOOP ROLL
AUTO LOOP
RELOOP
IN LOOP POINT
OUT LOOP POINT
EXIT LOOP
CENSOR
REVERSE
TAP BPM
SAMP 1 ~ 6
LOAD TO SAMPLE
PITCH BEND
TRACK SEARCH
FAST SEARCH
START AND STOP RECORDING.
INSTANT DOUBLE DECK A.
INSTANT DOUBLE DECK B.
CHANGE MIDI CH. TO NO.1, 2, 3, 4 (CH 2~4 is mappable)*
SELECT MANUAL LOOP SLOT
KEY LOCK ON/OFF
* For those not sufficiently clued up MIDI wise, this means that you can make your own configurations for other applications, making this a controller for all DVS users – not just Scratch Live.
The shift key also activates additional controls, signified by the white labels under certain buttons. And this is an all metal construction – case and faceplate too.
Not much news on the pricing yet but we’ll keep you in the loop as soon as we know…
