Allen & Heath Xone:3D

sound

allen & heath Xone:3D

products, sound, SEPTEMBER 2006, COMMENTS

The masters of retro and analogue turn their hand to futuristic virtual digital djing techniques with their hybrid djing console

Using a laptop can greatly improve your DJing, but no DJ wants to be sitting behind a laptop in a club. It looks boring for the crowd, and a computer keyboard and mouse is hardly a tactile interface for ‘mixing it up’.

Allen&Heath recognised these issues and did their best to create a unit that provides a more intuitive control surface for digital mixing - the humble DJ mixer.

The new Xone:3D is based around the popular Xone:92 DJ mixer, but what makes it different are the two MIDI control panels on either side of the central DJ mixing console.

They enable DJs to control every aspect of their DJ or music software without touching the computer; they just sit there as a visual reference on the side.

One of the biggest pains for any digital DJ is the amount of kit they need to bring along and wire up alongside their laptop, such as MIDI controllers, MIDI interfaces, soundcards, and all the wires and power supplies to go with them.

The Xone:3D solves all these issues with its built-in soundcard and MIDI interface. Simply plug a laptop into the 3D with a single USB port and it provides three stereo outputs that plumb directly into the DJ mixer.

On the back of the 3D there’s a MIDI port which can connect to keyboards, drum machines or any other MIDI gear for that matter.

The two MIDI control panels control the software on your laptop via the MIDI port, or any devices attached to the 3D’s MIDI ports too.

This all sounds quite complicated, but in practice it’s very easy compared to the current alternatives. It’s certainly not for the computer illiterate though.

One cable provides all the necessary control, audio and communication with any musical instruments between your software and the outside world.

UNDER CONTROL

The 3D also comes fully equipped to serve the most popular applications on offer, namely Ableton Live and Traktor DJ Studio. There are default MIDI map files for these programmes along with plastic overlays for the mixer. All the most popular controls are then clearly labelled on the 3D and mapped to the right controls in the software.

The 3D's MIDI controls include two large jog wheels which can be used to scroll through tracks, or even scratch audio and locate cue points; just like on an advanced dual CD deck. Press the jog dials down and you’ll discover a four-position switch.

There are four rows of controls on either side that are laid out similar to a channel strip on a studio mixing console, but each control can be mapped to any software control a DJ chooses.

At the bottom there are four illuminated buttons that respond to MIDI. So these could be mute, solo, or cue buttons in the software, for example, with the lights giving an instant feedback of their on/off status.
Further up are three banks of buttons, which can be used to launch tracks in Ableton Live, or set loop in/out points, etc.

Above these are four faders which feel top notch and are perfect for volumes, or effects parameters as they are used for in Traktor DJ Studio.

The only real complaint with the 3D are the rotary pots. There are eight on either side which have a limited range, but the problem is they are simply too close together to perform with comfortably.
The top row of dials are a little easier to use and are push-button rotary encoders. These are great for effects acting as an on/off button and parameter controller in one knob.

TICK TOCK

When it comes to integrating digital DJing into a traditional setup, it starts to show the cracks in software such as Ableton Live. This sequencer style application wasn’t designed to be performed with like a CD deck, or piece of vinyl. DJs can change the pitch, but mixing Ableton into a analogue DJ set can be a little clinical.

The 3D has a MIDI clock, a metronome which sequencers can latch onto. A tempo can be tapped in on the 3D, or it can be set to listen to the master output, or FX send channels. It actually works incredibly well and the icing on the cake is the push/pull buttons, which effectively a pitch-bend control for mixing your laptop like a CD deck.

DIGITAL SOUND

The soundcard is one of the biggest assets on the 3D purely because of its high quality. It pumps out a really hot signal so you’ll never be battling for gain, which is a common issue with soundcards. The quality is absolutely top notch and DJs can configure the number of outputs and configuration using a software utility. Record back to the laptop direct from phono inputs, the master, or FX sends. Use your laptop as an effects unit which is only limited by the plugins you have loaded. It’s truly versatile in this area.

INSTALL

The 3D is a wet dream for digital DJs, but they’re not outnumbering CD and vinyl jocks yet. So is the 3D suitable for installation in your club or bar?

It all depends on the complexity of the install, but the 3D is as good sounding as the 92, if not better. There are plenty of inputs on the 3D, which can all be set to line, phono, or a combination of the two for each channel. The only shortcoming is at the output stage. The master channel has XLR only and the only other output is the monitor, or booth which is on RCA. That’s the lot! This is more than enough for most places, but some larger venues will feel short-changed.

There is scope to take advantage of the two effects sends for playing different music in further zones of a venue, which is handy, while also be great for DJs using effects.

Finally, DJs can accommodate a single MC on the front panel mic section which features EQ and gain.

FINAL WORD

The 3D is very much a mixer of the future, but at its heart it is an uncompromised traditional DJ mixer.
The only major shortcomings are a lack of output options and slightly cramped controls in the MIDI panels. For the time being, the 3D looks set to be more commonly found in flightcases than being bolted down in clubs.

From: September 2006 Issue

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