VCF & LFO: I think the dual VCF’s and LFO’s are the features that anyone who owns a 92 will play with to start with. Yes, they are an enormous amount of fun and after experimentation you realise just how creative they can be, and this is coming from someone who was sick to death of listening to certain trance DJ’s hammer the hell out of filters. I use the VCF mostly in conjunction with the LFO and the tap button. The tap button is great as it allows you to alter the LFO to match the tempo or simply set it to any speed you want. My default setting for the resonance and LFO depth is 50%.

It is crucial that you experiment with the variety of settings available to familiarise yourselves with the range of effects available. Here is my current favourite: LFO on, x 2 on, tempo tap as fast as you can possibly get it. Hi filter on. The filter is set to the main track in play. Bring in the next track with the bass killed with no filters. Sweep the filter from min to max on the main track over an appropriate 16-count phrase. On the first count of the next phrase, slam the bass in on the first count of the next phrase of the incoming track. This will create a wonderful bubbling effect leading up to slamming the bass line in on the next track. Of course, this is just one example of what you can do. Other tricks include setting one track to high and another track to low and combining the two effects simultaneously. TIP: Before using the low filter set the filter to max. Remember kids, with filters, LESS IS MORE!!!!!

The filters are assignable to any channel via nice little switches and you can also set the VCF to the cross fader. I cannot comment upon that as I only use the cross fader for switching my Kaoss Pad 2 on. My only criticism of the filters is that there is a very faint click when switching the filter on. This is not a major issue as long as you switch the filter on right on the beat, then it is not really noticeable. FADERS: The Penny & Giles cross fader has an adjustment dial to allow you to set the cross fader to suit your mixing style. There are also four LED’s centred to the cross fader so you see exactly which channels are assigned to the cross fader. Those who use cross faders heavily will be delighted to see how easy it must be to replace the cross fader. Undo a few screws on the face plate and replace it in seconds. Volume faders are great. Smooth, easy to use and, of course, BLUE LED’s!!!!! How cool is that!!!! CUEING: Excellent. Best I have ever used.

Nice big well lit buttons. You can post eq, split cue and add the incoming mix to the headphones to your desired level as a nice little insurance policy before bringing the next track into the mix. The only criticism I have is that whilst cueing, the level meter will only provide a read out for the cueing level. Therefore, when you are bringing a new track into the mix whilst still cueing you will only get a readout for the cueing level and NOT the master as well. If you set it to split cue, you will then get a read out on the level meters for both both cueing and master level, but some of us don’t use split cue very often. If you are not cueing at all you will get the master level only. However, I personally think it is a slight oversight to not have a permanent master level meter.

MIDI: Good, but not great. But undeniably a huge advancement for DJ mixers. The LFO tap button also doubles as a MIDI tempo button to set the tempo for external MIDI devices. There is also a tempo adjust knob which, needless to say, will alter the tempo set via the tempo button. This should be quick and effective. Unfortunately it is not. It takes quite some time to get use to this system as it is ultimately flawed for a couple of reasons. The tempo button will only record the last two touches of the tempo tap button. Therefore, leaving a considerable margin for human error, thus inaccuracy. I think it would be far more efficient and accurate to calculate the average over, say, a maximum of 16 beats. This would set the tempo far more accurately, saving a great deal of time. My second criticism is the tempo adjust feature. The knob allows you to speed up or slow down the MIDI tempo. Similar to riding the pitch on a turntable, but with far more scope for error. It is crying out for some nudge buttons so you can adjust the tempo then simply nudge the tempo to line it up. As stated, good but not great. I think Allen & Heath may need to take a look at how Red Sound do things with MIDI, maybe. On a brighter note... Xone:92 + Korg Kaoss Pad KP2 = match made in heaven! I cannot put into words just how much I love this feature. Set your KP2 to the required effect. Move cross fader from left to right. Use the filter switches to control the X and Y parameters of the KP2. Plus control of the overall volume of the effect via the return channel volume control. This gives so much more control and creativity compared to rubbing the screen on the KP2 hoping to find the required effect.

Also seem to find effect variations that I would not be able to find using the KP2 as designed. I know effects should not really be overused, but this set up does actually encourage you to use effects a little more than usual because you have far more control and offers scope for more subtle use of effects to really add a further dimension to the mix. A word of warning. When combining the Xone:92 and the KP2, initially set AUX and RTN levels low (for instance, AUX 25% and RTN 75%) and build them up. Otherwise your sound effects will probably resemble something more similar to a fight between two alley cats! Your mixer won’t like that as it will keep peaking on the meter. Note: VCF, LFO and external effects can be combined. Regardless of my criticisms, the full range of features warrants nothing less than 10/10.

Price paid: £1,049 (approx. $1,800)

UTILIZATION

4/10 when you first set it up. 7/10 after a day or two. 9/10 thereafter. Cant give it 10/10 because there is definite scope for improvement with the useability of the MIDI, as previously discussed.

SOUNDS

I have never owned an Allen & Heath mixer before, so I am unable to compare the 92 to, say, the 62. I upgraded from a Vestax PCV 275 to the 92. I was delighted with the sound quality on the 275 but when I switched to the 92 my first impression of the sound quality was that it was actually difficult to describe. I don’t think the 92 necessarily generates a brighter sound than my 275 but where it stands out is with its fatter, wider, more full bodied sound quality at all frequencies that seems to just fill the room without even pushing it to its potential. I am running it through a NAD C370 integrated amplifier, which is quite a high-grade machine. Of particular interest to me was the dual mid range EQ’s as I play a lot of vocals and I like to bring the vocals to the forefront as much as possible. Initially, I felt a little disappointed as they did not seem to provide the extra dimension I was hoping for. However, this was as a result of my head being between my monitors. A friend of mine, who was listening via the main speakers (high quality Bose) as I gradually increased the mids screamed out at me “what the f### did you just do to the voice!”. So I guess that they work effectively.

OVERALL OPINION

Built like a tank....the heart of a stealth bomber....as beautiful as a Monet! Enough said!!!!

Every family / household should have one!!!!! No, it is not perfect and it can be improved upon. But using the Xone:92 with MIDI and external devices makes the Xone:92 experience something close to...I don’t know... flying the Starship Enterprise!!!...or more realistically and importantly, makes the Xone:92 experience feel like you are working with a genuine musical instrument and that you, as the DJ, are at one with a unique piece of equipment and creating something that no one else will be able to re-create. Whilst not wanting to resort to philosophical meanderings, there is a certain spiritual high associated with what can be created and achieved with the Xone:92. You will respect it, you will love it, you will be inspired by it. You will own the best piece of kit of its type. Give something back to it by learning even more about your chosen art form (music theory, harmonic mixing, production, anything!!!) so your skills will match that of your equipment of choice. That is what I am now striving to do well beyond what I hoped to be able to achieve when I bought my first decks, and well beyond all that I have achieved to date.

Originally posted on FutureProducers.com
Posted by: Scudge - UK ( 5-, 2004)