audio Archive - DJ equipment, wireless guitar mic systems
audio equipment from Samson, Gemini, Pyle Pro, and SoundTech
| Volume 2: Issue 2 |
February 2005 |
Dear Friends,
Happy Valentine's Day!
Hey, that reminds me -- I still have to buy that PA system my girlfriend wants for Valentine's day! The SoundTech AL12R might be just the thing!
What are you getting your loved one?
Well before I go out and gift wrap that PA, let me share some information and links with you that may make your audio (and Valentine's Day) decisions a little easier:
DJ-man Reveals Helpful Hints for Aspiring DJ's
A warm welcome for my colleague DJ-man, who will be helping me with background on DJ products and our launch of a new DJ section in our catalog as we expand beyond our pro-audio roots.
We thought we might start with a primer on the basics of DJ equipment and some more advanced information on beat mixing -- so here goes:
What makes the difference between a professional DJ and a poser? We have found it comes down to mastery of the equipment. Specialized and high end equipment for DJs requires a fair bit of practice before you are good enough to play in a club. However, a beginner can still DJ in a professional manner using high-end Gemini or Pyle Pro turntables.
Follow this link to browse a wide range of DJ equipment, including some cool starter packages.
The key to DJing, like so much else, is practice. Having a set of Gemini turntables in your apartment (DJ-man stashes his next to his bed) means that you can practice when the mood hits you and in a few months be ready for your first gig, busting up a dance floor.
Being a DJ (man or woman) means using DJ equipment to maximize the smooth transition between tracks:
- you need to stay focused
- move people to the dance floor and keep them there with your rhythms
- play a list that is not all familiar pop or radio
- vary your mix to suit both the guys and the gals
- and (this last one is from AudioMan's personal experience) try to avoid blowing up the sound system
Results are all that matter. Minimize the silence and maximize the spin. The crowd may be clueless about what you're doing, but they'll know if the sound works.
It's not easy to make a nice tight, smooth mix for hours on end, but it can be done.
The turntable is the place to begin. This is the heart and soul of the DJ's craft. Now I know some of you want to go the full digital route, and that is perfectly fine for the accomplished DJ with a big CD or digital music collection, but DJ-man and I agree that a turntable -- or rather a pair of turntables -- is the logical first step. CD players are fine, but nothing compares to the mystique of vinyl.
OK, so what do you buy first. You really need dual turntables to mix your sound. Two turntables (like two heads) are better than one. As I already mentioned, the Gemini DJ Turntable Packages are a good dollar value as you start your DJing career. What you need to do is develop the key skill of beat mixing.
When playing music off records changing the tempo of the tracks is essential to keep the dance floor moving. One record's tempo can be changed to match the other and allow the rhythmical sections (the drums and the bass) to overlap. This pitch adjustment of the tempo, or beats per minute (BPM), is possible on an advanced turn table, such as the Pyle Pro PLTTB1.
Here's a basic shopping list (with a few suggestions) for basic DJ turntable equipment:
- two (2) turntables (Look for direct drive and beat mixing as key features)
- two (2) slip mats
- two (2) cartridges (needles or styli)
- one (1) mixer (AudioMan recommends at least two-channel stereo)
- one (1) pair of headphones (DJ-man recommends either Sony or Gemini as his personal favorites)
- one (1) portable PA system (AudioMan recommends SoundTech)
By the way, some DJ's recommend starting with a stereo system rather than a PA, but both DJ-man and I agree that if you are going to play a club you better be prepared to use a portable PA. Get started on the right foot.
All direct drive turntables offer better DJ performance than belt drive models and make beat mixing easier. You want your big investment in turntables to make your own sound. If you are just starting out and have a limited budget, go with high-end direct drive turntables and buy a cheaper mixer. Once you get a set of these turntables you won't need to upgrade and can expect decades of reliable performance. I'll let DJman take over here and say a few words about the most basic skill: beat mixing. Take it away DJman...
Beat Mixing:
Beat mixing is an essential technique, learned by using the pitch adjustment on your tables to match the tempo or beats per minute (BPM) of your next track, matched to the live track.
Matching the tempo is done by listening to the next track through the headphones and comparing it to the track currently spinning.
The best way to compare is to start the next track in your headphones and listen to see if the beats are out of synch -- getting ahead or falling behind. The trick is to have one track in one ear and the other track in the other ear -- technically called cross-fading (we'll get deeper into this subject in a later Newsletter). If the new track is too fast, slow it down on the platter using your BPM adjustment knob or pitch slider. If it is too slow, then speed it up by giving it a push round in the center of the record to keep the two tracks in time. The BPM will hold that speed once you boost it.
Each of these variations should be accompanied by a small change in the adjustment knob or pitch slider (faster or slower) so that the tempos of the tracks get closer together. At first it is difficult to hear if the tracks are out of synch, but with some practice, you can train your ear.
"Well, I'll keep working on that ear training", says AudioMan.
Meanwhile, let's move on and keep the dance floor thumpin' DJ-man. We'll get deeper into your expertise in later issues. Stay tuned.
For our next tune, I want to introduce some new instrument microphones...
 Introducing Samson Audio Wireless Instrument Microphones
It's simple to explain the difference between the many wireless guitar microphone systems currently available on the market: there's the more expensive system, and then there's the less expensive, no-brand knock-off.
Personally I don't like to worry about my sound cutting out in the middle of a career defining riff, or unexpectedly picking up the local car service dispatcher. So, I'll spend a little extra.
So let's talk about Samson.
These days virtually all full diversity wireless microphone systems are designed to eliminate extraneous signal-input or unexpected drop-outs, so the real question is: What else am I getting for my money? Now that we have become an authorized Samson dealer (and, more importantly, because I've always wanted to try one), we took a look at the AirLine series of wireless guitar microphones to see if their performance measures up to their price.
The Samson AirLine wireless microphone system for guitar has to be the most compact package on the market. Samson puts it this way "Say good bye to bodypacks!" The tiny pod-shaped AF1 transmitter fits directly into the guitar's output and even features a specially angled, gold-plated plug designed to fit the recessed Fender Stratocaster style sockets.
The AF1 features a soft, 3-inch antenna "tail", power switches and a 15dB range, in case your pickups are hot enough to set the amp on fire. The unit runs off a small AAA battery, which should provide about 14 hours operation, and includes a low power LED indicator.
The AG1 model transmitter fits all standard guitar jacks (also known as the "Gibson" style) and has all the features of the AF1. In addition, the transmitters can be purchased individually, should you need both models.
The AP1 receiver is not only the size of a standard guitar effects foot pedal but Samson has designed it to look like one, right down to the phony foot pad. However, this design contains some pretty serious electronics that offer wireless power equivalent to Samson's full size units.
The AP1 minimizes the risk of interference by operating in the less-crowded UHF frequency range and by employing diversity technology. The unit features two small antennas that sit in protective cradles for transport, then swivel into position for performance. There is also a power switch with a pair of dual-color LEDs that monitor power status/low battery and transmission/peak warning respectively. Plus the level control has a separate range for active and high power pickups.
The AP1 can be powered by the supplied DC adapter or with a nine-volt battery housed under the "foot switch." The battery bay also holds a small screwdriver for adjusting the squelch trimpot on the rear of the unit!
In use, the AirLine system performed flawlessly. It maintained a strong, clear signal at all times, with no detectable interference. Using the 15dB pad and high output level range, the tone of our hot humbucker-equipped Telecaster stayed fat but clear, with perfect reproduction.
Unfortunately, AudioMan doesn't get to keep the products he reviews. But for all you guitarists who are looking in the medium priced range of wireless mics, it is a strong recommendation that you buy, and keep, yours. (Someday remind me to tell you about that beautiful Fender bar stool I lent out to DJ-man about a year ago.)
And as for bass players, vocalists, speech makers and horn blowers, there is an AirLine mic made just for you. I can testify to the fact that Samson AirLine wireless mic systems live up to their motto: "Say good bye to bodypacks!"
Click Here to see the full list.
Do you have pro-audio questions? AudioMan's got answers!
Denis H. writes:
"I have a Fender Passport Deluxe PD-250 PA system and I was wondering if it would be a good thing to add a stage monitor to it, and maybe some extra speakers. Any help or suggestions would be greatly appreciated.
Hi Denis,
I spoke with the folks at Fender and they tell me that it is easy to hook up a POWERED monitor to your Fender Passport PD-250. Connect it via 1/4 inch speaker cable to the REVerb AUX/SEND and AUX/RETurn STereo jacks on your mixer and you will have a balanced stereo signal unaffected by the main speaker bus. And they recommend the Fender 1270P powered monitor as your best choice.
On the second part of your question, the simple answer is no. The Fender folk stressed that the PD-250 is not adaptable to extension speakers. It is intended for audiences of a size which do not require more projection than the rated built in capacity (an audience of about 500 people).
If you are looking for a PA system that takes extra speakers take a look at the Anchor Audio line.
I hope this is helpful!
Carrie B. asks:
"I was going to buy the Nady 20 watt PA and I saw the Audiolink Advisory. Can you explain why you have one on this item?"
Hi Carrie,
While this small area, low priced PA system is of very good quality, we have found that it is surprisingly complex when it comes to its proper operation. If the instructions provided are not followed correctly, the unit seems to be malfunctioning. Just so you know I still love Nady products --but this one is not my favorite.
Of course, all manufactured products are subject to random defects, and our return policy is pretty liberal, so if you are sending this item back to us, please follow these Return Authorization procedures.
Hope this helps!
Nick P. had this inquiry:
"What's the difference between the Williams Sound tour guide system and Listen Technologies, other than the price?"
Hi Nick,
Price seems to be the major difference, until you look into it a little further.
In a nutshell, you pay for what you get. Both systems are equally impressive for performance and reliability, but it's a bit like when digital PCS hit the cell phone market. Suddenly that beloved analog phone was on the way out. It's now happening to FM, and like every other segment of technology, digital is the here to stay, even if it's just the interface.
For a more incisive look at the issue, and all the pros and cons, read my review.
Keep those calls, cards and letters coming. Maybe we'll feature your question in an upcoming issue.
AudioMan
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Well, that's about it for this edition. In future issues we plan to offer reports and updates on different types of audio equipment, links to useful sites and to answer questions posed by you and other readers. We hope you will find this newsletter useful and we welcome your feedback.
Looking for something that's not on our web site? Contact Us and we'll respond as quickly as possible, or, visit AudioLink's product pages and see for yourself why we are known as: "The Home of Sound Solutions"
Until then,
That's sound advice...
Regards,
AudioMan
SiteManager@audiolinks.com
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