Easy to use with killer features. Sounded great... for about 2 months. Then one by one the problems started. Channels started sounding muffled. The crossfader completely crapped out. The sliders got crackly. Channels finally stopped working at all. Every gig became a nail-biting experience to see if I would actually get any sound that night.
The solution?
2004:
3-band EQ isn't as responsive as I'd like, and I don't like the way mic input and master volume are set up, but damn this this thing is a tank and reliable as hell. Not a single problem in 2 years of use and it sounds great too. I can go to gig fully confident that if shit sounds bad, it's the club's PA, not the mixer.
BTW: those fancy 4-channel Pioneers w/ effects are awesome, but I've played on too many of them that have sticky & crackly upfaders and buttons that don't work after too much use.
that looks real cool. anyone ever use this? http://www.allen-heath.com/xone/3d.htm i use ableton for production work so i think this would be real cool to integrate into a set.
Oh man this thread brings back some bad memories, especially that blue Numark up there. I actually had this one, which was came out earlier and didnt have rotatable transform switches. What a piece of crap. I was never so happy to have a piece of gear crap out on me.
I also I had one of the original DMC mixers, the kind that was the official model for the DMC competitions back in 95 and 96 before they came up with that Technics thing. I had one of those too for a while, I actually really liked it, it looked really classy and the fader was so much sharper and smoother than anything I had used up to then. But the fader wore out too quickly and that glossy black finish attracted fingerprints like crazy. So I sold that and got the (now discontinued) Rane TM-52, which has served me perfectly for the last 6 or 7 years.
I really should correct myself. While all the mixers that I stated above were technically my "first" mixers because I owned them, I actually learned to play and spent most of my time playing on a Urei. To this day when I show up to a nightclub and they have a Urei, 99% of my dudes get heated when secretly I love it. The Urei was the mixer at the first nightclub I played in, so I ended up playing in front of a crowd 2 nights a week for years on it, and it honed my ear and hands quite well. Sometimes they switched out the Urei for a Bozak which was a comparable brand with different EQs. If I owned an original I would be so happy but even back then (15 years ago) they were like $2000.
bascially it adds harmonics to the signal. This makes the sound much richer and full. In digi recording you basically cut those signals off that come naturally, ultra sonic freq and subsonic freqs, so a device like this adds it back. But its just like a sound enhancer. It will improve the performance of the sound of your rig, or for recording and broadcasting applications.
yeah there dope. They are good for djing casue they make the bass more present and the overall sound more rich. and they are somewhat cheap too. heres a description of the aphex joint
Richer highs, deeper lows, and clarity all around!
The Aphex 204 Aural Exciter with Optical Big Bottom is one of those must-have processors that no rig should be without! The 204 delivers increased presence, depth, and clarity to your recording, mixing, and mastering projects and does it all with little or no increase in peak output. The Aural Exciter's patented processes restore natural brightness to your music through dynamic harmonic enhancement. In a mix, this creates more space and dimensionality and gives individual tracks room to breathe. The Optical Big Bottom adds density to the low end that increases presence and punch and dramatically enhances bass frequencies without overloading speakers or recorders.
If I owned an original I would be so happy but even back then (15 years ago) they were like $2000.
yea i basically got mine for 4bills. founda busted one that i resurected via my electrical dorkness. so much chin and head scratching, but the fidelity on theses suckers is SO WORTH IT!
(By the way, what is an "exciter?")
the aural exciter was actualy suppsta compensate the slight phase cancelation between the tweeter and woofer (if anyone is really interested in this boring convo, feel free to pm a dork). theres some bizzareness to the apex aural exciters too. if you ever get a hold of one, crack it open. apparently the desinger was so impressed by his discovery (accidental?) that he had every unit's circuit board laminated with some white plastic so no one could copy the design. apparently this is what happens if you remove the laminate
Comments
2001:
Easy to use with killer features. Sounded great... for about 2 months. Then one by one the problems started. Channels started sounding muffled. The crossfader completely crapped out. The sliders got crackly. Channels finally stopped working at all. Every gig became a nail-biting experience to see if I would actually get any sound that night.
The solution?
2004:
3-band EQ isn't as responsive as I'd like, and I don't like the way mic input and master volume are set up, but damn this this thing is a tank and reliable as hell. Not a single problem in 2 years of use and it sounds great too. I can go to gig fully confident that if shit sounds bad, it's the club's PA, not the mixer.
BTW: those fancy 4-channel Pioneers w/ effects are awesome, but I've played on too many of them that have sticky & crackly upfaders and buttons that don't work after too much use.
and this guy (just cause its around)
anyone use this before?
perks look hot... built in exciter?!?!
that looks real cool. anyone ever use this?
http://www.allen-heath.com/xone/3d.htm
i use ableton for production work so i think this would be real cool to integrate into a set.
I also I had one of the original DMC mixers, the kind that was the official model for the DMC competitions back in 95 and 96 before they came up with that Technics thing. I had one of those too for a while, I actually really liked it, it looked really classy and the fader was so much sharper and smoother than anything I had used up to then. But the fader wore out too quickly and that glossy black finish attracted fingerprints like crazy. So I sold that and got the (now discontinued) Rane TM-52, which has served me perfectly for the last 6 or 7 years.
STRAIGHT UP
(By the way, what is an "exciter?")
Richer highs, deeper lows, and clarity all around!
The Aphex 204 Aural Exciter with Optical Big Bottom is one of those must-have processors that no rig should be without! The 204 delivers increased presence, depth, and clarity to your recording, mixing, and mastering projects and does it all with little or no increase in peak output. The Aural Exciter's patented processes restore natural brightness to your music through dynamic harmonic enhancement. In a mix, this creates more space and dimensionality and gives individual tracks room to breathe. The Optical Big Bottom adds density to the low end that increases presence and punch and dramatically enhances bass frequencies without overloading speakers or recorders.
I kinda liked that mixer.
Fuck, I went through a lot of mixers.
In retrospect, it would of make sense just to stack up my money and buy a Rane.
Oh well.
*sigh*
I could go on and on I have used alo of mixers.....today I use the two channel Allen and Heath Xone....
Yeesh that thing sucked.
yea i basically got mine for 4bills. founda busted one that i resurected via my electrical dorkness. so much chin and head scratching, but the fidelity on theses suckers is SO WORTH IT!
the aural exciter was actualy suppsta compensate the slight phase cancelation between the tweeter and woofer (if anyone is really interested in this boring convo, feel free to pm a dork). theres some bizzareness to the apex aural exciters too. if you ever get a hold of one, crack it open. apparently the desinger was so impressed by his discovery (accidental?) that he had every unit's circuit board laminated with some white plastic so no one could copy the design. apparently this is what happens if you remove the laminate