View other reviews for this product:
kant « UFO at the time »
Published on 12/16/12 at 14:32From the time I was expecting it to be referenced on AF, it was necessary that I glue comments!
Format 19 ¨ 4U (5U provide connectors for rear)
2 phono and 2 line inputs on RCA
1 post and 1 return effect on RCA
record output and a monitor output on RCA
A stereo RCA master output on XLR or mono with a screw that serves attenuator (limiter) to calm a little too deaf DJ
Bass mid high EQ (with kill switch), pan (not balance then you will understand), and gain input on 2 channels
Crossfade with punch in and punch out on each channel
Pre-listening headphones
This table has a mimic quite original. Already there is no phono / line, ie if you send a CD and vinyl on the same track, the two sources are mixed (beware mishandling). More incoming stereo signals are summed to mono to be treated routing to Stereo (rec, monitor, master). The pan is then sent to the summation of the stereo signal leftmost or rightmost while keeping the entire signal. This pan also has the distinction of not playing on the low frequencies, which proves very useful not to lose power when one wants to give an effect "rotary speaker".
UTILIZATION
19 "4U for 2 channels is rather spacious. So the space between the knobs to work even with Morteaux sausages instead of fingers. DJs Hip-Hop, go your way. 2 MK2 Your are too far , 70mm faders too long, and crossfade curve is very very soft.
on the other hand for techno is ideal.
Fader curves are well suited to mix gently.
Headroom on tracks is sufficient that either phono or line inputs.
Keys punch in and punch out (for short crossfade) are gadgets that you can not find on Mixers today.
Saw the pretty blue LED-meter to indicate the level post EQ for each channel. No meter output.
SOUNDS
We can not talk about slap in the console output. Moreover if the screw mitigation was a good idea, it is useless on this console.
The EQ is very effective and a great pull each frequency band (Q large enough).
OVERALL OPINION
It's been over 15 years since I know this table. I had had a first in 1996 or 97. It was worth 4500Fr then a second in 1999 or 2000 for 2000Fr. Moreover, the second was not quite the same (different screen, saturation LED red instead of blue). Before I was mixing on the TSB Gemini. Since I mixed on DJM, Xone ...
I may be wrong but it seems to me that this was the first (if not one of the first) to offer less infinite on EQ, and at the time I thought it was awesome.
This table was entirely designed for DJ techno (no microphone input, depending on the kill EQ, faders 70mm).
+ She has the mouth
+ Quality, flexibility faders (never a sizzling all these years)
+ Build quality (made in UK)
+ Originality of synoptic suitable at the time for techno parties
- The external power supply can be disconnected easily
- 10.5 V AC transformer (not really a standard)
- Lack of output level
- Switch line / phono missing
You all know that one grateux always his first guitar and do not want to part with even though he no longer plays it. Well that's what this table represents for me ...
Format 19 ¨ 4U (5U provide connectors for rear)
2 phono and 2 line inputs on RCA
1 post and 1 return effect on RCA
record output and a monitor output on RCA
A stereo RCA master output on XLR or mono with a screw that serves attenuator (limiter) to calm a little too deaf DJ
Bass mid high EQ (with kill switch), pan (not balance then you will understand), and gain input on 2 channels
Crossfade with punch in and punch out on each channel
Pre-listening headphones
This table has a mimic quite original. Already there is no phono / line, ie if you send a CD and vinyl on the same track, the two sources are mixed (beware mishandling). More incoming stereo signals are summed to mono to be treated routing to Stereo (rec, monitor, master). The pan is then sent to the summation of the stereo signal leftmost or rightmost while keeping the entire signal. This pan also has the distinction of not playing on the low frequencies, which proves very useful not to lose power when one wants to give an effect "rotary speaker".
UTILIZATION
19 "4U for 2 channels is rather spacious. So the space between the knobs to work even with Morteaux sausages instead of fingers. DJs Hip-Hop, go your way. 2 MK2 Your are too far , 70mm faders too long, and crossfade curve is very very soft.
on the other hand for techno is ideal.
Fader curves are well suited to mix gently.
Headroom on tracks is sufficient that either phono or line inputs.
Keys punch in and punch out (for short crossfade) are gadgets that you can not find on Mixers today.
Saw the pretty blue LED-meter to indicate the level post EQ for each channel. No meter output.
SOUNDS
We can not talk about slap in the console output. Moreover if the screw mitigation was a good idea, it is useless on this console.
The EQ is very effective and a great pull each frequency band (Q large enough).
OVERALL OPINION
It's been over 15 years since I know this table. I had had a first in 1996 or 97. It was worth 4500Fr then a second in 1999 or 2000 for 2000Fr. Moreover, the second was not quite the same (different screen, saturation LED red instead of blue). Before I was mixing on the TSB Gemini. Since I mixed on DJM, Xone ...
I may be wrong but it seems to me that this was the first (if not one of the first) to offer less infinite on EQ, and at the time I thought it was awesome.
This table was entirely designed for DJ techno (no microphone input, depending on the kill EQ, faders 70mm).
+ She has the mouth
+ Quality, flexibility faders (never a sizzling all these years)
+ Build quality (made in UK)
+ Originality of synoptic suitable at the time for techno parties
- The external power supply can be disconnected easily
- 10.5 V AC transformer (not really a standard)
- Lack of output level
- Switch line / phono missing
You all know that one grateux always his first guitar and do not want to part with even though he no longer plays it. Well that's what this table represents for me ...