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

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 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 bass heavy type of speaker. For that I would consider the KRK Rokits with its front ports are known to be a bass-ier 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 the record 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. $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 cord to connect between speakers could be longer (depending on your set up)
-EQ controls (pots) on the back feel cheap.
-Not a bassy pair of speakers, like the Rokits if you are going for a more club heavy feel but these could probably be paired with a subwoofer.

dougieboom.com

Step Into The New Year! with a New Jack Swing Mix by Dougie Boom

Happy New Year everybody! Now, between making plans for a new Cottage Country mix series and locking down dates for the rest of the new year. I thought I would put this mix together before the hits of 2020 start rolling and rewind it a bit. So let’s go back…back into time…back to the late 80’s early 90′ for this. I always wanted to do an ALL 45 / 7″ New Jack Swing mix.

What is New Jack Swing? New Jack Swing is a style of music that existed from about 1986 to 1992 that blended black R&B, pop and Hip Hop (with its origins in groups like New Edition and songs like Doug E Fresh’s “The Show” & Slick Rick’s “Children’s Story”). The name ‘New Jack Swing’ was chosen because the beats characteristically swung with almost a DC Go-Go feel (another musical form at the time). The sound became hugely popular with songs like “Poison” by Bel Biv Devoe and Boys II Men “Motownphilly” (which starts this mix) crossing over to broader audiences. Even across the world the sound was popular, in fact a lot of the 45s used in this mix were from Europe. In fact, a lot of New Jack Swing 45s are European only releases (as the US market began to move towards digital media).

Some of the defining producers of the genre are Jimmy Jam & Terry Lewis (particularly early on) and of course super producer Teddy Riley, who would eventually come “full swing” and define 90’s hip hop (pushing that genre into the pop stratosphere). So, whether you like it or not, we live in a post -New Jack Swing world (at least in terms of pop music and culture). Gangster rap would turn out to dominate New Jack Swing as hip hop’s wimpier cousin but pop music has never quite gotten over New Jack Swing. You can hear it into the late 90’s with “Backstreet’s Back” sounding exactly like Prince’s “My Name Is Prince” and more obviously Britney Spears’ 2004 cover of “My Prerogative”. I can remember Bobby Brown’s original being a favourite of my older sister and, in contrast, my Dad thinking it was hilarious (a sort of generational cry for independence).

So here it is Dougie Boom X New Jack Swing X 45s vinyl = NEW JACK SCHWING!

New Jack Schwing Mix by Dougie Boom

Tracklisting:

Boys II Men – Motownphilly
Another Bad Creation – Iesha
Joe Public – Live & Learn
TLC ‎– What About Your Friends
Wrecks-N-Effect ‎– New Jack Swing
Bel Biv Devoe – Do Me!
Redhead Kingpin And The F.B.I. ‎– Do The Right Thing
Bobby Brown ‎– My Prerogative
Father MC – Lisa Baby
Janet Jackson – Nasty Boys
Levert – Pull Over
Johnny Gill ‎– Rub You The Right Way
Tony! Toni! Toné! ‎– Feels Good
Jane Child ‎– Don’t Wanna Fall In Love
Cameo – Candy

Discogs: ‘Contact Form Disabled’ – How to Enable

contact-form-disabled-discogs-enableRecently, I had a Discogs user contact me that he was unable to send me messages to my Discogs store. He would get a red warning: “User ____ has their contact form disabled.” It is an easy fix (for the recipient), but is not worded as such and difficult to find on the internet. To enable your contact form on Discogs (the recipient must):

1. Log In to Discogs: https://auth.discogs.com/login

2. Go To Your Privacy Settings: www.discogs.com/settings/privacy

3. Click the ‘allow other members to contact me’ box.Enable-Contact-Form-Discogs

4. Save your settings by clicking the green ‘Save my privacy settings’ button.

5. You’re done!

 

The Best Of Wax Trax! On Wax – a label tribute mix by Dougie Boom

Cover for Best Of Wax Trax! On Wax - a mix by Dougie Boom
Available for streaming on my mixcloud: http://www.mixcloud.com/DougieBoom

Calling all closet goths, old/new wavers, tough guys and bomb gang girls! Here is a tribute mix I made of arguably one of the greatest labels of all time, Wax Trax! Records (Chicago). (www.waxtrax.com)

Wax Trax! is among the pantheon of select Chicago labels (I would include Chess Records, Trax Records, Touch & Go, etc.) that did more than simply put out records, they created a sound.  Charting unknown territory in dance, punk, new wave and alternative rock they created something much more interesting than the some of their parts. “Industrial” yes but, in retrospect and especially listening back to this mix, it just seems to narrow a definition: proto-techno, proto-idm? Simply put, they released some of the hardest dance music you could find then, in the mid 80s to early 90s. It’s no coincidence that many techno and house producers (e.g. Carl Craig, Jeff Mills, etc.) have noted Wax Trax! or their roster as a big influence. So, what more can be said about Wax Trax that hasn’t been said or probably won’t be covered in the upcoming documentary, Industrial Accident, The Story Of Wax Trax Records? I guess my own personal take here with the music itself. As a collector and a fan I was buying Wax Trax! Records as soon as I started buying records.  So, this mix is a labour of love, years in the making: an ALL VINYL to tribute to WAX TRAX!

The Best Of Wax Trax! On Wax – a label tribute mix by Dougie Boom

Tracklisting:

PTP – Rubber Glove Seduction
T.G.T. – Revo (The Continuum MIx)
Front 242 – Take One
Clock DVA – Sound Mirror
KMFDM – Godlike (12” Mix)
My Life With The Thrill Kill Kult – Devil Does Drugs
Ministry – Everyday Is Halloween
Acid Horse – No Name, No Slogan
1000 Homo DJs – Supernaut
Laibach – Geburt Einer Nation
Foetus – Butterfly Potion
Lead Into Gold – Faster Than Light
Front Line Assembly – Digital Tension
Front 242 – Headhunter V1.0
Ajax – Mind The Gap
My Life With The Thrill Kill Kult – Kooler Than Jesus
Greater Than One – I Don’t Need God
Front 242 – Welcome To Paradise
Meat Beat Manifesto – God O.D
Coil – The Snow (Answers Come In Dreams II)
The KLF – What Time Is Love (12” Version)
M.E.S.H. – Meet Every Situation Headon
Fini Tribe – I Want More (Row, Row, Row The Mix)
Revolting Cocks – Attack Ships On Fire
Ministry – Primental
T.A.G.C. – Broadcast Test (Transmission 1)
Front Line Assembly – Iceolate
A Split Second – Flesh
Jass – Theme (Dub)
Greater Than One – Utopia AA
Revolting Cocks – Stainless Steel Providers

 

Review: Is the Sony PS-HX500 the USB ripping turntable we have been waiting for?

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The Sony PS-HX500’s all black exterior will have you hearing in colour.

Recording your vinyl records (LPs, 12″s, 45s) to digital files can be a costly, precarious, time consuming task, where the results can often be underwhelming. I am by no means an audiophile, but a DJ who has collected thousands of records over the years, and I know enough that the better the recording sounds, the better it is for DJing and listening. Now that digital DJing has become so much a part of what I do, I still long for digital copies of those records in my collection that are unavailable elsewhere or, in some cases, they are not decent rips (e.g. YouTube rips, illegal sites, 128kb rips of yesteryear). So, my review is going to be looking at what many of the other reviews of the Sony PS-HX500 don’t cover. While focusing on the Sony PS-HX500’s ripping capabilities (not its phono stage or sound replication in a stereo set up, maybe for a latter post), I am going to be asking:

  1. How do “natural” recordings from the Sony PS-HX500 sound?
  2. Does the Sony PS-HX500 rip club records well?
  3. Is the Sony PS-HX500 kind to scratchy records?
  4. Does the Sony PS-HX500 rip 45s / 7″ records well?
  5. How does the Sony PS-HX500 compare to my current DJ set up for ripping records?

  1. How do “natural” recordings from the Sony PS-HX500 sound?

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First, I started with a “natural” recording. That nuance of live instruments seems like a reasonable first approach. For that, I decided to begin with a reissue Alice Coltrane ‎– “Journey In Satchidananda”. Not only does it have live instrumentation but the harp is a very vibrant instrument with sweeping highs and mids (probably hard to capture digitally I figured). For rock and amplified instrumentation, I used another reissue, here Black Sabbath’s Self titled debut.

The results across the board were excellent for the recordings. Alice’s harp rings through with great clarity, the double bass bumps, cymbals glisten. You could hear the reverberation from the room that they were playing, so there was great depth of sound. Black Sabbath sounded great as well. The rainy intro did expose a little surface crackle in my copy but as soon as the thunder kicks in it sounded great. The instruments (bass, guitar, vocals & drums) were allowed to play their respective roles and were easily accessible to my ears.

2. Does the Sony PS-HX500 rip club records well?

In contrast, with the more “natural” sounds of real instruments, I wanted to compare it with more modern recordings with some bump, i.e. some “club” records. For this example I used Jay-Z’s  ‎– “Vol. 3… Life And Times Of S. Carter” .  The results in comparison to a digital copy I had, “Big Pimpin'” sounded remarkably close, taking in consideration the limitations of a 33 1/3 record with 3 songs on the one side. The recording had good low-end with the kicks coming through as they should without detracting from the vocals. The vocals coasted on top with good clarity. The stereo spectrum was a bit more narrow but I think that has more to do with the medium itself more than a fault with the turntable.

3. Is the Sony PS-HX500 kind to scratchy records?

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If your ghettohouse records don’t have the wrong sleeves send them back, “they ain’t ghetto enough”

 

For my scratchy record (which could also arguably double as another “club” record) I used a Dance Mania test of DJ Chip – “Ghettoslide” . The condition of the vinyl is probably VG with lots of scratches. It was a well-loved soldier of the clubs, hence the wrong sleeve. Furthermore, Dance Mania records are NOT world renowned for their quality pressings and I can’t imagine their white labels fair much better. However, the results of the recordings made on the Sony PS-HX500 were relatively kind. Surface noise from the scratches were heard but ultimately the music came through with good balance (lows, mids & highs). One thing that was remarkable, the vocals although maniacally stacked, were more discernible. I could hear all the nasty words clearly. With a little bit of post-production finesse you could definitely get a good usable digital file I think. Something like the Izotope RX7 editor software (which I will do a review of shortly).

4. Does the Sony PS-HX500 rip 45s / 7″ records well?

I am a 45 fanatic. In fact my LP/12″ collecting has more or less subsided. Whereas I still have to look when I see some 45s. However, 45s are often not the greatest in fidelity. When you DJ them they often need a lot of EQ-ing to get them right. However, needless to say, I still wanted to be able to rip those impossible to find cuts. So, I tried various 45s of varying condition: High Rollers – “Place Your Bets” a Canadian disco cut; Fuji – “Revalations” a psych blues funk cut; Errol Scorcher ‎– “Roach In De Corner” a Jamaican pressing (not exactly a quality pressing or condition); Bobby Marchan ‎– “Rockin’ Pneumonia” a rock n roll romp.

Across the board: really good results. A little tinniness you would expect from a 45/7″ and little crackle, but really good clarity, and good lows particularly from the “Roach In De Corner”.

5. How does the Sony PS-HX500 compare to my current DJ set up for ripping records?

Compared to my other set ups (and many DJs will have the same equipment): a Technics 1200 mkII; various cartidges (Shure N44-7, Jico N44-7, Ortofon S-120), various mixers (Pioneer S9, Rane TTM-57sl and Roland DJ-505 controller) using the Serato software (Scratch Live & Serato DJ), the recordings of the same records didn’t even compare. I would say 40% better or more. Every single time the Sony PS-HX500 outdid these setups. The clarity was not only apparent to my ears but when I would load the files in Serato (without any tinkering), you didn’t get these “all one colour” waveforms, like with Serato’s all red waveform vinyl rips, suggesting a wider spectrum of sound. The only thing I think would be required to make excellent “ready for the club” rips, would be an ounce of preparation (clean your records) and a bit of post production (gain, EQ). The gain on the Sony recordings were really low, but this could be seen as a positive in the sense that you can add more and it gives you ample wiggle room to do so.

Conclusion

I would highly recommend the Sony PS-HX500 as an USB turntable for ripping records. I got really good results that surpassed all the other popular DJ set ups I have. I think I will definitely change the cartridge it came with (something that I will cover in another review) to hopefully yield even better results. The cartridge it comes with is supposedly an unmarked $50 Audio-technica cartridge and needle. Because of this I am ripping my really scratchy records first before purchasing another cartridge. However, cartridges are not easily swappable on this unit and needs to be installed and wired with a bit of finesse.

Pros:

  • All in one belt-drive turntable with phono stage & USB that doesn’t actually suck.
  • Good price and value.
  • Recordings are excellent and are kind to all genres.
  • 33/45 switch on top means no belt adjustment required to play at different speeds.
  • Comes with recording software that is easy to use, available here.
  • Records 16/24 bit .wav files but can also record using Sony’s propriety DSD format.

Cons:

  • the stock needle it comes with is just ok.
  • Needle replacement may be difficult (I will find out later)
  • No height adjustment for the arm means only particular cartridge of a certain height will work.
  • Legs are not adjustable,
  • Arm is not automatic (I am going to look to see if an automatic lift can be installed).
  • For the best results you will probably need a better audio software editor to do a little bit of post tinkering, but there are free ones (e.g. Audacity).