Category: DJ Equipment

Your Vinyl Records Are Filthy. Review of The Record Doctor VI 20th Anniversary Vacuum Record Cleaner

Posted on by Dougie Boom in Analog DJ, Audio Equipment, DJ, DJ Equipment, New DJ Gear / Equipment, Pro Tips, Stereo Equipment, Turntable, Vinyl
For cleaning your dirty records is the Panagea Record Doctor IV 20the Anniversary Edition what the doctor ordered?

A record cleaning machine has always been on my wantlist, but (like many) because of the price and lack of surface space for a dedicated unit I put it off. Ok, it may have also been because I was buying records instead. Now that I am trying to record my records digitally, having clean records is paramount. With the Record Doctor VI, I feel I was able to get the best sound out of my records possible at an affordable price. Cleaner records = better recordings.

More DJ / Stereo equipment reviews:
• PRESONUS ERIS E3.5 SPEAKERS FOR A HOME DJ SET UP (REVIEW)
• REVIEW: QSC CP8 SPEAKER – A DJ’S LIL BEST BUD?
• REVIEW: IS THE SONY PS-HX500 THE USB RIPPING TURNTABLE WE HAVE BEEN WAITING FOR?

Personally, I have been in the process of ripping my records to digital copies for listening and DJing. During the process I have purchased a turntable specifically for this, changed its needle to something a little more respectable, and have tried various mats with varying degrees of success. However, the crackle created by deeply embedded dust always bothered me. Even records that seemingly looked brand new would have that intro / outro crackle and also intermittently throughout, especially in quite parts. Obviously this is the life you choose if you play records. It is not a CD, mp3, flac or wav file.

So, I did a little research and found that Panagea had recently released an updated version of their Record Doctor series. The previous version Record Doctor V had received a lot of good reviews, but the newest Record Doctor VI boasted notable improvements:

  • New sturdier aluminum chasis that is easier to clean.
  • New mold-injected turning knob, which is bigger than the Doctor V. Easier to grip and covers the whole label, protecting it from solution.
  • New fan and venting to keep it quieter and cooler during operation (now also on the V)

However, in Canada it was not so readily available during the summer, probably due to Covid. However, it has finally become available in Canada again, after a hiccup in production and distribution. Finally, I received the new Record Doctor VI, purchased at PC Audio from London, Ontario for $439.95 CAD.

Manual Cleaning on The Record Doctor IV “First Hand”

Like the monolith from Kubrick’s 2001.

My first impressions were good! There are two different versions, the ‘Carbon Fibre’ and the ‘Gloss Black’ (which I chose) has a sleek look, that would be easy to clean (with solution mishaps) and dust. The sides are a glossy black but the top is a black brushed aluminum (nice texture). It has good solid weight to it and was a good size.

All-vinyl mixes by Dougie Boom:
• NEW JACK SCHWWWWWING (A NEW JACK SWING 45 MIX)
• THE BEST OF WAX TRAX! ON WAX – A LABEL TRIBUTE MIX

Now, first hand, the process of manually cleaning records on the Doctor VI, is not that tasking in the slightest. You simply take your LP or 45 record, place it on the machine on the spindle (at first, the side up that you want to clean), put on the turning clasp. You put a couple of drops of cleaning solution on the record surface. Then, using your application brush you spread the solution on your record (running circular in the direction of the groove). You may be tempted to spin the record and hold the brush but Record Doctor warns not to spin records without solution. So, taking in consideration for the bottom side of the record, that is close to the vacuum strip, instead I do a 12-6 o’clock spreading of the solution followed by a light rotation of the record and another 12 to 6 to spread the solution to the other side. Being careful not to add too much solution, but maybe more for dirtier records.

“Let’s go crazy, let’s get dust…” on this Prince 45 using the Record Doctor VI.

The Record Doctor V includes Panagea’s own Record Doctor Clean Sweep Brush to apply the solution. I have always been weary of these types of micro fiber brushes, preferring the 70s-style velvet brushes. However, the Clean Sweep Brush with its 260,000 ultra-fine nylon bristles when used in conjunction with the solution feels more more like a squeegee, smoothly going over the surface of records and gets all that gunk in the grooves. Very effective and feels smooth.

I “choke” the vacuum strip with my thumb to make up for absent vinyl space when doing 45s.

Then, after the solution is applied, you flip over record, apply the clamp and turn on the vacuum. Next, you rotate the record, turning the clamp, as the vacuum strip sucks the solution off the record and takes all the dirt and grime with it. The speed and direction at which you turn the record is essentially up to you. That is the good thing about manual record cleaners. You can focus on problem areas of records or areas that have a lot of solution. Also, you can go either direction clockwise or counter clockwise, back and forth at will. The vacuuming process shouldn’t take much longer than 30 seconds or so. Remove and inspect the record and if it still looks saturated, repeat on problem areas.

After cleaning: Prince would approve. He could see his own reflection in these.

Although their quick manual does not include the extra step, I give the record a rinse after with some distilled water and then use the Record Doctor again to dry the record.

The REAL dirt on The Record Doctor IV (Verdict)

Hats off to the Record Doctor VI. Highly recommended.

If you have always wanted a cleaning vacuum machine for your records but haven’t because of price, Panagea’s Record Doctor VI may be for you. Because of its price point and functionality it is definitely your entry level cleaner, however I couldn’t see how it can get much better than this. It sucks and that’s a good thing. Sure, automatic record cleaners offer there own conveniences but ones that change the direction of rotation are more expensive. This you can manipulate the record to your heart’s content, much like the Nitty Gritty Record Cleaner but $400-$1200 cheaper.

I was really blown away by how clean the results were. Better than any other cleaning record method or solution than I have ever tried. You could see the individual grooves of the records come to life and appear more defined just by visually inspecting the record. Of course the records sounded better. It is hard to quantify but I would say dirty records were improved 15-25% and records I thought were clean were 10-15% better.

As far as the unit itself, the Record Doctor VI aesthetically looks good, takes up very little space and can be easily placed aside and brought out when needed. It was easy to operate. Panagea boasts since the Doctor V, they have improved the loudness of the vacuum and overheating with the inclusion of a new vent and fan (located at the bottom). This may be so but it is still pretty loud and can get pretty hot. This wasn’t so much of a problem as it changed my workflow of how I cleaned my records. I would clean one side using the Doctor, rinse with distilled water, vacuum the water off, then let the record air dry for a bit. After about 10 records I would stop, as the unit seemed hot to the touch and ready for a cool down. I would then record the newly cleaned records and do the reverse and

One thing that is odd is that I haven’t had to empty it of any liquid from the Record Doctor. It has a plug at the bottom which you remove to let the vacuumed solution and water drain, which they recommend after 20 -25 records. I have done at least a 100. I don’t know whether it is the dry Ontario fall/winter climate or the heat from the machine itself but there is never any access solution / water to empty. hmmmm?

Although, there is included solution you may want to get more solution (if you don’t have any). Panagea also offers concentrated solution, you simply add water to (distilled water over regular tap is probably a good idea). Also, the Record Doctor VI does not come with a cover, which is sold separately. If you have the skills you could probably even sew one with pockets yourself.

I’M A Doctor, Jim, Not A MAGICIAN…

As magical as result can be on the Record Doctor VI (it should be clear) it cannot completely alter what has already been done regarding the condition of your record. That is to say, don’t expect the Doctor to remove deep scratches. As far as I know there is no technique to repair a record. What you will get is the cleanest possible record with the dust and dirt removed. So, set realistic expectations, if your record is trashed you may just have to buy a new copy. And that copy the Doctor will keep as clean as possible for a long time.

REcord Doctor VI – Pros

  • More affordable manual vacuum record cleaner.
  • Sleek look that looks good and feels solid.
  • Comes with brush for application and a small amount of cleaning fluid.

RECORD DOCTOR VI – Cons

  • Despite the newly added vent, it is still pretty loud and hot, so you should moderate use. Think 70s vacuum more than hair dryer loud.

dougieboom.com

PreSonus Eris E3.5 Speakers For A Home DJ Set Up (Review)

Posted on by Dougie Boom in Analog DJ, Audio Equipment, Digital DJ, DJ, DJ Equipment, New DJ Gear / Equipment, Pro Tips, Serato, Turntable, Vinyl
A cheap (and cheerful) DJ booth monitor for your home DJ set up, the PreSonus Eris E3.5 Speaker.

Last year I was looking for a speaker monitor solution for my home DJ booth set up. I wanted a pair of small lightweight speaker monitors that offered relative good clarity for a small price. My intention was to hang the speakers over my DJ booth which sits close to a wall. So, I didn’t want huge speakers that jutted out too far (as to be too close to my ears), nor did I want the speakers to obstruct my DJ space. Furthermore, I didn’t want the speakers to be too heavy, as it would be harder to mount and didn’t want big heavy speakers precariously hanging over my gear. (I know, try mounting them properly). I do have a pair of QSC CP8 but even these for their small size seemed like overkill for this purpose, if I am just DJing in my small studio/dj room. Also, I didn’t want to have to dismantle the CP8 speakers every time I needed them for a gig. I was looking for in situ speakers that would be ready anytime I wanted to DJ or listen to records.

More DJ Tech reviews:
REVIEW: QSC CP8 SPEAKER – A DJ’S LIL BEST BUD?
TRACK FREEZE PROBLEM WITH ROLAND DJ-505 & REVIEW

For years, I would practice DJing or listening to records in my headphones almost exclusively. I still do often but you are really limiting your experience by not listening to music or DJing on speakers. There is something magical and sound altering that happens once music is played through the air. So, it is really important to experience both for perspective. Also, I realized that once I wanted to start making DJ mixes on vinyl again (without computers or screens), you need speakers to do “old school” cueing: previewing the next track in your headphones before you drop it into the main mix. This makes only using headphones problematic. So, that is when I decided I needed speakers to make analog DJ mixes.

Listen to Dougie Boom’s All-Vinyl Mixes!

Alternatively, for speakers I looked at the Pioneer DJ DM-40BT DJ Studio Monitors (only RCA inputs), the Mackie CR Series CR3-3-Inch (wow, that’s some green colour) and the KRK Rokit 4 (that’s a lot of bass). However, after much consideration I went with the PreSonus Eris E3.5 Professional Multimedia Reference Monitors. Now, after a year of use I can say that I am happy with the purchase. The Eris E3.5 sound great! Good clarity and flexibility. I was worried that these speakers would not be much better than your conventional computer speakers. However, I was wrong and they have exceeded my expectations.

PreSonus Eris E3.5 Features

First off, these are not a bass heavy type of speaker. For that I would consider the KRK Rokits with its front ports are known to be a bassier speaker. If you are mostly listening to bass heavy music then you may prefer those instead. For me I was looking for something more neutral sounding. I own Yamaha Monitors for my studio and they are extremely flat but clear in their response (what you hear is what you get). That is not to say that the bass on these Eris do not meet my expectations. A smoother more subtle bass is delivered by the E3.5’s 3″ woven composite woofers. A 1″ silk dome tweeter offers clear highs that aren’t too harsh. The speakers are plenty loud at 25 watt/side power amplifier. Its more than enough volume, considering my use and its proximity. The E3.5’s are active (powered) so they don’t require an external mixer or a power amp.

The speakers have a low profile with a width of 5.6″ (141 mm), a depth of 6.4″ (162 mm) and a height 8.3″ (210 mm). The speaker cabinets themselves (I thought were plastic) are actually medium-density fiberboard with vinyl-laminate, so some of the sound is preserved.

The speaker with all the connections is powered and feeds to the other through speaker wire.

On the back it includes a stereo RCA input (unbalanced) but the real kicker is the inclusion of 1/4″ balanced inputs! A little bit unusual for a speaker of its size, most would use 1/8″ or RCA, but the choice to include them is so appreciated. I would say 60-70% of the DJ mixers or controllers out there have a 1/4″ outputs (for the booth outputs or otherwise), so hooking a DJ mixer with a stereo 1/4″ cable sounds great and is seamless. It includes two EQ controls on the back for highs and lows (-6dbs to + 6dbs). The AC port is a female C7 2-Pin style port, which is easily replaceable and non-proprietary.

On the front, we have the volume and power switch conveniently placed, making it easy to access. Most monitors usually have these controls on the back, but this works especially for our purpose of being wall-mounted. Also on the front there is the inclusion of a 1/8″ headphone jack and aux in jack, which both sound pretty good as well. The ‘on’ light, although not adjustable in brightness, is a soft blue and will not burn holes in your eyes.

“Your all I need to get by…..” The Eris speakers more than o-blige for your DJ room set up.

Presonus Eris E3.5 Conclusion

The Presonus Eris E3.5 have become more useful to me than expected! I use them now all the time: listening to my DJ blends, previewing finished mixes and songs, preparing for gigs, and listening and grading 45 records. Yes the Eris E3.5 are that discriminating in sound! You will hear vinyl records with pops and all. But most importantly I hear great balanced sound coming from my Pioneer S9’s booth outs. Once you get the eq-ing right (from its controls on the back), taking in consideration the room and how far they are placed from the wall, just as you would normal studio monitors.

I was worried that the speakers would not be able to take the signal from my mixer without overloading or sounding terrible, but I was and still am really happy with them. Some critiques complained that the rear ports allow the bass to be absorbed by nearby walls. However, mounting them away from the wall with speaker mounts, gave them adequate space from the wall and eliminated that problem for me.

For mounting them, I used Primecables Speaker Wall Mounts, which are another bargain and are easy to set up. Plus they are Canadian company. You can tilt them to almost any specification and they hold up to 55 lbs, easy for the Eris’ 3.5 lbs each.

Lastly, it should be noted I would never consider the PreSonus Eris E3.5 as “gig” worthy speakers. These are more so for home/personal use, as inexpensive but great sounding studio monitors. However, they make a great powered speaker solution for your home DJ set up. It should be noted these do not have bluetooth, which keeps these lower in cost. Instead, you get great sounding speaker for your money and, alternatively, you could easily attach a bluetooth receiver instead, and let’s face it, wireless technology will always get better.

PreSonus Eris E3.5 – Pros

  • Powered small speaker solution, which will work for most home DJ set ups.
  • Excellent sound (no glaring highs and nice smooth bass)
  • Great value at $150 CAD price well worth it.
  • Proper 1/4″ inputs (which suits most DJ mixer’s booth outputs) but also has 1/8″ and RCA inputs as well.
  • Speakers this good could ultimately be used somewhere else if you upgrade (e.g. portable studio monitors).

PreSonus Eris E3.5 – Cons

  • The supplied stereo speaker wire to connect between speakers could be longer (depending on your set up). I had to get a longer one.
  • EQ controls (pots) on the back feel cheap.
  • Not an overtly bass-y pair of speakers, if you are going for a more club-heavy feel. Possible these could be paired with a subwoofer. However, it should be noted there are NO Subwoofer out ports.

dougieboom.com

Battle of The Bags: QSC’s CP8 Tote vs Gator GPA-TOTE8 for the QSC CP8 Speaker

Posted on by Dougie Boom in Analog DJ, Digital DJ, DJ, DJ Equipment, Dougie Boom, Pro Tips
Gator-QSC-CP8ppp
Side by side: The Gator GPA-TOTE8 & the QSC’s CP8 Tote for the CP8 Speaker

After my favourable review of the QSC CP8 speaker, I thought I would go one further and compare two options of tote bags to carry and protect the CP8 speaker. Since, the speaker is made of polypropylene (a hard plastic) and of some considerable weight, it is important to protect your QSC CP8 during transportation. The two most readily available options available to me (there are probably other options outside Canada) were: QSC’s own brand of tote bag, the QSC CP8 Tote (CP8Tote) or Gator’s Heavy Duty Speaker Tote for 8 inch speakers (GPA-TOTE8). So, does it make sense to buy the more expensive $100 (CAD) QSC CP8 Tote bag for your $600 CP8 speaker or will the $75 CAD Gator GPA-TOTE8 suffice?

More DJ Equipment Reviews:
• REVIEW: QSC CP8 SPEAKER – A DJ’S LIL BEST BUD?
• PRESONUS ERIS E3.5 SPEAKERS FOR A HOME DJ SET UP (REVIEW)
•  YOUR VINYL RECORDS ARE FILTHY. REVIEW OF THE RECORD DOCTOR VI 20TH ANNIVERSARY VACUUM RECORD CLEANER

QSC CP8 Tote

When I originally purchased the CP8 speaker, QSC’s own tote bag was my first choice of bag purchased. Functionally, it provided everything I needed in a tote bag. It was modelled for the QSC CP8, so the fit is snug. So snug, in fact, that it takes a little finessing to get it in. The outside of the bag is made of heavy-duty nylon / Cordura, which makes the bag light-weight but durable. The inside of the bag is covered with a soft lined PE foam padding which adds protection and is soft enough that it won’t scratch your speaker. The additional velcro pocket on the side provides enough room for the 9-foot power cable that the CP8 comes with, plus a little additional room (I was able to add an additional 6-foot TRS cable). The stitching is solid with straps that seem to take the weight of CP8, no problem. It has a convenient velcro flap on top to access the CP8’s top handle (as seen above).

QSC-CP8TOTE-side-pocket
The QSC CP8 Tote bag could fit the original 9-foot power cable for the CP8, plus a 6-foot TRS cable.

Gator GPA-TOTE8

Gator-GPATOTE8-side-pocket
The Gator GPA-TOTE8 could only fit the only fit the original power cable.

I was so impressed the CP8 speaker I purchased another. So, this time, I decided to instead purchase the Gator brand of 8 inch speaker bag to compare. The design is much the same as CP8 at a fraction of the cost (at a relative 3/4 the cost). It includes (like the QSC CP9-Tote): two straps, a side pocket, with access to the top handle of the speaker so it can be carried two ways (as a bag or by carrying the handle of the speaker itself). However, they differ slightly. The Gator is bigger in size and offers a little more room for the speaker, arguably this extra space could be to accommodate other models of 8 inch speaker. This extra space could be used to accommodate more chords perhaps, however this means that it’s not fitted specifically to the CP8 speaker, so its a little less secure with about an inch of space around the cabinet. Contrarily, the side pocket on the Gator is smaller. I was only able to fit just the 6 foot power chord (no additional chords).

Gator-GPATOTE8-handle
Getting a handle on what is the better bag for the QSC CP8 Speaker: the QSC CP8 TOTE (on the left) or the Gator GPA-TOTE8 (on the right).

Other physical differences, the flap to access the speaker handle on the Gator is a different design. Instead of a dedicated flap (like the one on the QSC bag), on the Gator, you need to unzip the bag’s main zippers a bit to access the top handle of your speaker. This may be an annoyance to some. As far as the construction, the Gator does not feel as sturdy. The slightly thinner carrying straps combined with the weight of CP8, make it feel not as stable as the QSC bag when you pick it up. Finally, the foam inside feels cheaper and is not as thick and protective as the QSC’s foam.

QSC CP8 Tote vs Gator GPA-TOTE8 – Conclusion

CP8-tote-bag-open
The Gator is more “accommodating” but is an inch of space (front, back and side) around the speaker too much?

So, does it make sense to buy the $100 (CAD) QSC CP8 Tote bag for the $600 CP8 speaker or does the $75 Gator GPA-TOTE8 suffice? In my opinion, I am going with the QSC’s own brand of tote, the CP8Tote, on this one. The Gator does not feel as “heavy duty” as its title proclaims (especially for the CP8 speaker). If maybe you aren’t going to move your speakers all that much and you want to keep them mostly dust free this may be your option. However, if you are like me and want (and plan) to move them often or as much as you like, I would say go with the QSC’s tote bag. It’s emblematic of the QSC which is a little overpriced but indispensable. Furthermore, the price is almost negligible compared to keeping and preserving your investment. Between the Gator and the QSC speaker tote you can feel the difference in cost and it may make the difference. I had high hopes for the Gator as I have one of their other bags (The G-MIXERBAG-0909) and it’s great. This one, however, falls a bit short as a bag for the QSC CP8 speaker.

QSC CP8 Tote

Pros:

  • Made specifically for the QSC CP8 speaker so it’s a perfect fit.
  • Better quality build and materials (zipper, foam, nylon exterior).
  • Bigger side pocket.
  • More sturdy.
  • Better access to top handle of speaker.

CONS:

  • Such a tight fit, it takes a bit of finessing.
  • Side pocket (although bigger than the Gator) could be even bigger
  • More expensive

Gator GPA-TOTE8

Pros

  • Slightly larger interior, will fit more brands of speaker or more cables.
  • Costs less than QSC Tote

Cons

  • Padding is thinner, less protective.
  • CP8 speakers sits more loosely in the bag with about an inch of space on the side, top, and front, less secure.
  • To access handle of your speaker, you more or less open the bag.
  • Construction is cheaper.
  • Materials are cheaper (foam, nylon shell, zippers, velcro)

Review: QSC CP8 Speaker – A DJ’s lil best bud?

Posted on by Dougie Boom in Analog DJ, Audio Equipment, Digital DJ, DJ, DJ Equipment, Dougie Boom, New DJ Gear / Equipment, Pro Tips

Check out my review on tote bags for the QSC CP8

QSC CP8 Speaker Front
The QSC CP8 Speaker: Angelic glow and loud as…

Late last year QSC revealed a new series of speaker, the “CP” series, which touted the same QSC signature sound we would expect, in a more affordable and lighter incarnation. Now, plenty was written in anticipation but not many reviews have surfaced out there. Particularly, for my intended purpose, which is how does it perform as a speaker monitor for DJing (for mobile set ups) and maybe as a secondary solution to a full rig?

Now, I should not have to explain why a speaker monitor for DJing is important, but I find I have to all the time (lol) to: wedding planners, restaurant owners, brides and grooms, my girlfriend, sound-techs, and even other DJs (I thought we were in this together). The answer is simple: DJ’s need to hear what is going on, more than anyone else in the room in order to perform. It is not unlike any other type of musician/performer. Timing, volume, pitch, tempo are all factors that are important to DJs or at least should be. Digital DJing is definitely more forgiving in that respect, you can almost DJ with your eyes now but ultimately we need to hear what we are doing, no interpretation. That is why any DJ mixer worth its salt has at least one “booth out” output. Now, there are some cases, as a DJ, where you are positioned close enough to a speaker where you are, more or less, hearing it the same way your audience is. More often, however, you may not be near a speaker, it may be positioned away from you or perhaps you are isolated from your audience almost altogether. I remember playing an early gig with kQuattro (1/2 of the duo was Egyptrixx, now ACT!) and Crystal Castles (RIP) and I was playing in a closet (pretty much) before the kitchen with the speakers and audience in another room. Every time someone would come out of the kitchen I would get hit with the swinging door: how am I sounding? In a more recent example, I played the Design Exchange in downtown Toronto. Huge space! However, the audio vendor would not provide stage monitors. We are talking $300,000+ worth of equipment, but fair enough. Furthermore, the reality is DJs are often an afterthought to establishments. Their makeshift booths don’t consider the things that DJs need, including an adequate amount of space and a speaker close enough to hear what you are doing. In some cases, you may need to hear the music louder than your audience does to get the mix right, for example in a restaurant or playing a wedding reception.

So, having a monitor for DJing is invaluable. Personally, I kept holding out for a 8″ to 10″ speaker that was lightweight and could wedge (perfect for the urban DJ to jump in your car service with). You would be surprised how little options there are. For example, the Yamaha DBR10 and Yamaha DXR8 which sound great, albeit a more flatter-true to the sound response, do not set up as a wedge, otherwise they would have been a contender. The JBL EON610 is kind of ugly, if you want to use as a secondary P.A., and JBLs sound (in my experience) is just ok: loud but can get brash (convince me otherwise in comments). There is of course the QSC K8, which is not a bad option but because it is discontinued you may have to go secondhand (i.e. no warranty for an expensive item).  Its newer replacement the K8.2 are a good option, but they are  for many, a rather expensive indulgence for the main purpose of a DJ speaker monitor at almost double the cost of the CP8s. However, even in a city as “world class” as Toronto, being able to hear them in the flesh is tough, no floor models anywhere. So, I decided to take the plunge so you don’t have to.

QSC-CP8-Speaker-Size-Comparison
Compared to the universal DJ ruler (a milkcrate) The QSC CP8 is approximately the same size.

First Impressions

It is of small stature and width but has a good weight to it. That is, enough weight to feel substantial but an easy pick up. There is no side handle but a top handle. Although, it should be relatively easy to take on an and off a speaker pole. The hard plastic (polypropylene) outer shell feels nice and solid. When you hear “plastic” you fear the worst but it feels solid, hopefully it withstands the test of time and doesn’t scratch easily. It is the perfect size for a booth speaker where space is often limited. Being able to set up 5 ways is nice: vertically on a tabletop; horizontally flat on one side or as a wedge on the other side; on a speaker pole (35mm); or they have a yoke / wallmount kit for installing to a wall. For the audio we have 3 inputs: two (x2) mic / line inputs; one (x1) 3.5mm input for a mp3 player and one (x1) xlr output to link the signal (post gain) to additional speakers. That is enough inputs to do smaller demo size setups or perhaps for weddings, small ceremony or a smaller reception room. Is it enough power though?

QSC CP8 Speaker Back with Inputs
The QSC CP8 has lots of inputs: Two (x2) TRS 1/4″/XLR inputs; even a 1/8″ 3.5mm input.

The QSC C9 boasts a 1000 watt Class D Amplifier, the same as its larger version the CP12. It does not have full control of the EQ rather it has six (x6) different EQ presets. On the first power up I would say it definitely met my expectations and surpassed them! This thing is loud with good clarity! As a monitor, placed facing towards me, I put the CP8’s volume at 8 o’clock (2 clicks) and 9 o’clock (2 clicks) on my booth output from the Pioneer S9 mixer and it was comfortable room-level listening and it only went up from there.

As far as the EQ setting I preferred the default setting. I got really good clarity (highs, mid, lows) testing a vinyl record. The more I turned it up, in the confines of my small studio, the more it scared me how loud it got (hello neighbours). The dance setting added more bass but I felt it was a little bit muddled (your audience will probably not know). However, I don’t really see that as its purpose, as full P.A. solution. I think this is best suited as a monitor;  an additional speaker for filling up a room; or as tops with the addition of a sub (there are EQ settings that drop the bass on the CP8 to accommodate a sub). However, if your client is on a smaller budget maybe 2 of these in a small setting would be adequate.

As a speaker wedge on the floor by my feet, it performed well. It has a 90 degrees of sound dispersion, which makes it ideal for this use. I had this placed maybe a foot away from me on the ground and could hear it no problem. The speaker was more or less pointing at my lower torso but could still hear it. I would say ideally at around 2-3 feet away from where you are standing (depending on your height) it would be pointing directly at your ear.

Update: Recently, I used the QSC CP8 as a DJ booth monitor for a wedding (250 people, 30 foot high ceilings, a pretty big room and it did a great job. When I arrived, being unfamiliar with the venue, I had to walk around for a bit to find the room I was playing in but I did not break a sweat or my back carrying it around. May buy another in the future to see how it fairs for a P.A. with a subwoofer.

Pros:

  • A more affordable QSC speaker that does not sacrifice sound.
  • Compact design that will fit most DJ booths.
  • Has a 90 degrees of sound dispersion, which makes it ideal for a wedge by your feet. Even at a foot away I could hear what I was doing.
  • Loud enough for small crowds.

Cons:

  • Very little
  • Warranty is only 3 years compared to their usual 6 for other speakers. *Be sure to register online to qualify, otherwise it’s only one (1) year.

Check out my additional review on tote bags for the QSC CP8

Can you teach an old dog new Technics with the new SL-1200MK7?

Posted on by Dougie Boom in Analog DJ, Digital DJ, DJ, DJ Equipment, Dougie Boom, New DJ Gear / Equipment

technics-sl-1200mk7
The new Technics SL-1200MK7, don’t ask how much…no one knows.

UPDATE: the Technics 1200 will be coincidentally priced at $1200 US dollars.

For many the Technics SL-1200 is synonymous with djing. What made it so appealing to djs was its rock-solid build, allowing it to be dragged out to block parties, installed at clubs; and its pitch control making it possible to mix records together with precision. Not to mention that its direct drive technology allowed for scratching and manipulation of the record. However, for a long period the Technics SL-1200 model was discontinued making it a much coveted (& heavily sold) item on the secondhand market. However, I digress though, because this not a history lesson. What we want to discuss is what does the Technics 1200 mean now with its new incarnation the Technics SL-1200MK7?

I first heard about the news from buddies Skratch Bastid & Pat Drastik (Thugli), both having previewed and contributed input into this new design. Both DJs are insanely good in their own right, so it makes me think that Panasonic (who own Technics) have the best of intentions in mind for djs and the new features included seem to confirm this: detachable rca’s and ac power, as featured on the rival turntables like the Pioneer; 2x speed button allowing you to double the pitch  to +16 / -16. As usual though, there are detractors, people already don’t like that its digital pitching instead of analog pitch; that the classic 1200 torque will not be the same; and most confusingly, that people won’t see it in the club because it is the black model and not the silver model.

However, what most are really concerned about is (always) the price point, something Technics is being candid about. A previous boutique model introduced in 2016 came out at a laughable $4000 US. If its not competitively priced with other models like the Pioneer DJ PLX-1000, I think it will not be considered by most as a viable option . They will either get second-hand 1200s, and since they are practically indestructible and Technics has sold 3.5 million historically they can be found.  Or most will go to a competitor or instead choose an entirely different path.

Its true, that for many years there was no competition in the analog dj turntable market  but ultimately music and djing is about expression. With the advent of dj controllers and midi controllers, I wonder if this generation will find it too limited and this is coming from someone who loves both digital and analog djing (still have my 1200s MK2’s). Its true things like doubling the pitch and allowing reverse play (another new feature) can allow for more expression but is it enough, when other turntable style controllers like the Rane Twelve have midi buttons for cueing or whatever (its midi)? I understand, however, purists would probably see the addition of buttons as a blight on the 1200s. Ultimately, Technics is calling the bluff on those who have longed to have new 1200s. Will those who have always wanted Technics 1200s and those who have older models splurge for this new model remains to be seen and heard.

Update: the Technics 1200 will be coincidentally priced at $1200 US dollars. Which makes me think there is definitely something psychological about making things a little too expensive (I see you Apple & Pioneer).  It is meant to set it apart from other companies. Usually, the outcome is that the company wins and people will splurge. However, I personally would have this way down on my list, since I already own MK2’s. Its true the addition of detachable (replaceable) rca and power is compelling, particularly for being mobile. Businesses, such as bars, restaurants and clubs, should definitely take note however. If you are in the business of having DJs play, who use turntables, this could definitely be what you need: A hopefully more easily maintainable, industry standard turntable with a warranty.

Track Freeze Problem with Roland DJ-505 & Review

Posted on by Dougie Boom in Digital DJ, DJ, DJ Equipment, Serato
Roland DJ 505 track freeze

[Updated: Sept 17, 2020]

This past summer I made my first foray into buying a DJ controller. I know its a crazy world: the same year Shure discontinues their needles, including the much loved N44-7, Dougie buys his first controller: these are crazy dj times. After a year of researching, I eventually settled on the Roland DJ-505 from their Aira series of Serato controllers (DJ-808, DJ-505 and the smaller DJ-202). This series of controllers are, coincidentally, Roland’s first foray into making a dj controller.

Why did I choose the Roland DJ-505?

I settled on it, primarily, because of its much toted low-latency platters and its sound card. For the most part it is the same layout and price point as your Pioneer DDJ-SR2. The Roland also comes with a free Serato Tool Kit license (which includes Serato Pitch ‘n Time DJ, Serato Flip, and all Serato DJ FX packs) for free. Which I hadn’t purchased yet, so that was a plus. But its most distinct feature, which makes it stand apart from most controllers, is the addition of the TR-S drum machine (Roland style step-sequencer/drum machine) on top.  When I first saw it last year, to be honest, I thought it was a bit gimmicky. Do I really need an addition of a drum machine? Will it sound monotonous, repetitious or worse shoes in a dryer when I combine the drum machine with the songs from Serato? And to be honest, my initial impressions have been really good. As long as your grids are lined up you can get some really good results. The drum machine features the sounds from Roland’s classic TR-707, 808, or 909 sounds or you can even use your own samples. But what really sold me was the inclusion of a midi out that send midi clock tempo (e.g. send midi out to a 303, Volca, MPC…).

More DJ gear reviews:
• PRESONUS ERIS E3.5 SPEAKERS FOR A HOME DJ SET UP (REVIEW)
• REVIEW: QSC CP8 SPEAKER – A DJ’S LIL BEST BUD?

Track Freeze Problem (THE BAD)

My first impressions were good….until a couple months into it. While using my DJ-505 with Serato DJ at home, I started getting this reoccurring error. This anomaly usually happened while I was manipulating the left platter (sometimes the right) and sometimes in conjunction with performance pads / play button. The track would “freeze” in Serato. By freeze, I mean the play button in Serato would be engaged (blue / active) but the track would not play. Even on the controller the play button would be engaged (green) but the track itself would not advance. You could hit the cue points or pads and it would respond normally: it would go to the cue point, you would hear the sound and could even hold them down to make the track play normally. But as soon as you release the button it would stop. You could switch to another channel (e.g. 1 to 3) but inevitably the same problem would occur on those channels as well, until both/all channels were stuck. The time frame for such an occurrence could happen from two minutes to three hours into DJing.

The only thing you could do to remedy the situation is to turn off the DJ-505 and turn it back on, which would take about 25 seconds. However, 25 seconds of silence might as well be an hour when you are DJing to a crowd. When the music or sound stops at an event, it feels like the air is being sucked out of the room. There will be booing, there will be chanting of: “turn it on!” Because of this I have been hooking up my laptop’s 3.5mm jack to an external mixer. In case it happens I can segue to something on iTunes. Not a perfect work around, believe me, but the only one I can think of. The only other precaution you can take is to limit the use of the platter altogether, however, a controller you cannot touch is a bit ridiculous.

So, after a bit of research I found out it was not an isolated incident with many owners complaining about this problem with not only the DJ-505, but the 202s and the DJ-808 as well. So, with warranty in hand, I contacted Roland (Canada) and currently, my unit is in the Roland shop being fixed for a SECOND time. The repairs people at Roland have been courteous and helpful. Its not their fault that Roland released this half-baked “concept”. But I am beginning to lose faith.

UPDATE: After having received my DJ-505 back twice from Roland it appeared to be working for about a year, then the problem returned. As it stands I would NOT recommend the Roland DJ-505. I highly enjoying using the DJ-505 features. Its light weight, platter response, soundcard, drum machine and midi output are all desirable features and a lot of fun to use. My recommendation: if you buy one make sure you hold your receipt tightly for warranty, in case you got a bad one. This defect (which I assume is due to the platter contacts) affects some of the units, however what percentage is defective is unclear. There is no remedy for this but I have found that lowering the sensitivity of the platter, has made it happen less frequently. Also, it tends to “snap out of it” with a spin of the platter and pressing play on and off. Keep in mind however the freeze problem still happens unpredictably and ever so often (not a complete fix).

Roland DJ-505 Review

Pros

  • Great soundcard (for Serato DJ) for an under $1000 CAD.
  • Low-latency platter (very responsive *when it works)
  • Roland TRS-808/909 style Drum machine/step sequencer
  • Midi Out (sends midi clock out)
  • Light-weight
  • Comes with free Serato Tool Kit license

Cons

  • Some units have a defect, that freezes Serato tracks.
  • Phono inputs do not sound good (might not be ideal for the centre of your set up)
  • Some tracking problems with certain needles when used with a turntable
  • No onboard effects (all in Serato)

dougieboom.com