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