Abletonlife.com is a great little site. If you’re into Ableton Live in any of its forms, be sure to check it out. But for now, just check out this great “screencast” done by the folk(s) at Ableton Life: an intro to DJing in Live.

If you need help building a Live DJ rig, be sure to check out my article about the subject here.

Part 2 after the jump!

How To DJ In Ableton Live Part 2: Working With Clips, Setting Up Effects, Blending Songs from Ryan on Vimeo.

• Classic Compressors: Teletronix LA-2A, 1176LN, Fairchild 670, and a VCA VU compressor (based on the dbx 160). Link
• Precision Mastering: Precision Multiband Compressor, Limiter, and EQ. All work on UAD-1 and -2 cards. Link
• EMT Classic Reverb: EMT 140 and 250. Link
• UAD 4K Classic Console: 4K Channel Strip (including E Type EQs and filters) and 4K Buss Compressor. Faithfully modeled after the SSL 4000. Link
• Roland Classic Series FX: BOSS CE-1 (chorus stompbox), Roland Dimension D (chorus/spatial imaging), and Roland RE-201 Space Echo. All work on UAD-1 and -2 cards. Link
• Neve Classic Console: 1073/1073SE EQ, 1081/1081SE EQ, and 33609/33609SE Compressor. Works for UAD-1 and -2 cards. Link
• Neve Classic Console MkII: Includes all plug-ins from MkI, but includes the 88RS Channel Strip. All of MkII works for UAD-1 and -2 cards. Link

A lot of choices for your UAD cards. For further pricing info, please check out UA’s site.

Some features:

• 24-bit recording
• 48V phantom power
• On both input channels: XLR, 1/4″ TRS, and 1/4″ TS
• Balanced 1/4″ outputs for speakers
• 1/4″ headphone output
• MIDI I/O

The IO2 will be shipped with Cubase LE and is expected to drop during the second quarter of 2010.

The Babyface offers analog stereo I/O, SPIDF, ADAT, and MIDI I/O. The preamps are digitally controlled and the Babyface ships with TotalMix FX which provides some very common DSP effects – EQ, dynamics, delay, and reverb.

• TotalMix with DSP effects
• 192 kHz AD / DA converters
• Active jitter suppression
• 2 x Analog I/O
• 2 x Mic / Line preamps, digitally controlled
• 1 x Instrument input (alternate)
• 1 x Stereo headphone output
• 1 x ADAT I/O
• 1 x SPDIF I/O (optical instead of ADAT I/O)
• 1 x MIDI I/O
• 1 x USB 2.0

Perhaps the Apogee Duo and One will see some competition? I think so. Check out rme-audio.de for more info.

• RackPack 4: A smaller, more affordable version of their previous RackPack. Four spaces of awesomeness.
• Dual Band De-esser: A RackPack-friendly de-essing unit. It’s main feature is the fact that it reduces sibilance via phase and not compression like most other de-essers. Pricing and availability for both the RackPack 4 and Dual Band De-esser is TBA.
• SPL is also showing off M/S Master, a one-unit rackspace mid/side processor that’s designed to make mid/side routing much easier when it comes to mastering. Just like the above items, the M/S Master has no price or availability info yet.
• And last, but not least, SPL has announced Transpressor. Level independent compression and transient processing is the name of the game. Again, a single rackspace unit that contains all the familiar parameters and features (read: sidechain) that you would expect but on the SPL level. Pricing and availability TBA.

Check out spl.info for more info.

The X5 is a heavy-duty looking two channel mixer modeled after their popular NS7 setup. If you read my post about the new Numark gear being shown at Winter NAMM, you’d also see the V7 which has been released. The X7 was made to be paired up with a set of V7 decks and would compliment them nicely. That being said, you’re free to use your turntables and other CD players with the X7, too.

Just like the NS7, the X7 has its own built-in 24-bit soundcard (the V7 has built-in soundcards, too). The outputs include balanced analog and SPIDF and coaxial digital outputs.

You can expect to see the X7 in the third quarter of this year at an American price to be determined.

• XLR or 1/4″ mic input
• Metering on every channel (including master)
• Balanced XLR outputs
• USB option for Channel 3: stream audio from your PC/Mac right through channel three. Or, if you don’t want to play music through your mixer you can just record to your computer
• Replaceable, assignable crossfader

Check out numark.com for pricing and availability.

The CDJ-350 blows the 200 and 400 away. The DJM-350 is pretty awesome, too. Let’s take a look at the new features:

1. MP3, AAC, AIFF, and WAV playback. The CDJ-350 reads CDRs and USB devices (no DVDs, thought).
2. Includes rekordbox software. Not sure what that is? Check the video below.
3. Beat Display Function: You can now visually see what beat you’re on and how far you are into said song. Pioneer says this will help you in just about any DJ situation you can think of.
4. Looping Features: Beat Loop (4 bars), Loop Divide (change the loop ‘rhythm’), Hot Loop (return your loop to the beginning).
5. Auto BPM: Set a session BPM and all your tracks lock to that BPM (Ableton DJing, anyone?). I’m assuming that this is something that you’ll need to do in rekordbox (warping, marking transients).
6. MIDI: Connects to a computer and lets you control Traktor, etc.

The DJM-350 isn’t too bad, either.

1. Record your mixes directly to a USB device.
2. Four FX: Filter, Crush, Jet, Gate.
3. Three-band isolator EQ.
4. Completely digital.

The CDJ/DJM-350s were shown for the first time at Musikmesse yesterday. They’ll be available in June of this year and no US price point has been announced. For all the tech specs, hit up Pioneer’s site: http://www.pioneer.eu/eur/content/press/news/cdj-djm-350.html

With Live’s Audio Warping engine and friendly “Session” layout, DJing is a very real possibility. Whether you’re sidegrading from turntables/CDJs to an all digital setup or are an existing Live user looking to use it for all aspects of your musical work, chances are you’re going to need to build a type of live performance/DJ rig.

Intro

Like I said above, you can use Live for just about anything. In this article, I’ll be focusing on the live performance and DJ-centered world.

There are several things that I think you’ll need for a live performance with Live:

1. An interface with at least two outputs (this should be a piece of cake) or four outputs for a DJ set
2. A laptop running Live 8, 7, or what have you
3. Some type of MIDI controller – for either scenario
4. A mixer – two-channel or larger (not really necessary, but I like having a mixer)
5. Proper cabling (a no brainer)

Interfaces

The goal for this section is to provide you with an interface that will allow you to use Ableton Live as a replacement for CD players or turntables. To effectively do this, you’ll need an interface with at least four line outputs. If you have a four channel mixer and and prefer to do four “deck” mixes, then find an interface with eight line outputs. For now, let’s just stick with basic two deck mixing.

The interface I like the most for this job is the one you see to right left: the Native Instruments Audio 4 DJ. It’s $199, small, has four line outputs, and sounds about as good as you could hope it to. Alternatively, if you already have the Traktor Scratch Pro package, you’ll be more than at home with the Audio 8 DJ, the big brother to the Audio 4.

The other solid option is the Focusrite Saffire 6 – four line outputs at -10dBv, two 1/4″ line outputs at +4dBu. Two XLR combo inputs (for instrument or mic level), phantom power, and headphone output makes this slightly more than your typical DJ interface.

Conclusion: If you already own a solid recording interface that lacks the line outputs for a DJ set, go with the Audio 4 DJ. If you’re looking at grabbing an interface that will do equally as well in the studio and at clubs, get the Saffire 6.

MIDI Controllers

Oh boy. There’s a lot of options and lot of good choices. As a performer using Live for live PA style sets or for straight DJ sets, your controller can be something to set you apart from the rest of the crowd using CDJs and 1200s.

Obviously there are two major choices: the Novation Launchpad and the Akai APC40 (the APC20 will soon be an option as well). Both have their pros and cons, but I suggest reading my Launchpad review to see if maybe that controller is for you.

There’s a couple of new controllers that you should be on the look out for if you’re looking to grab a new piece of gear: the Livid Instruments Ohm64 and Block. While I’ve yet to have any hands-on time with these units, I don’t see how they WOULDN’T be able to fit comfortably into your Live setup.

Conclusion: There’s a lot of options as far as MIDI controllers go. I didn’t even touch on the scenario of using an MPD in your setup, but that’s an option to. Here’s how I break down the choices of controllers for Live:

• The Launchpad is cheap, built to be moved around, and so much fun to use. That being said, it takes a little time with it to really get used to all the page/mode shuffling. The User Modes are a godsend and Automap just makes everything a bit easier to setup.
• The APC40 has a slightly smaller grid than the Launchpad, but also has faders (including a crossfader) and encoders. It’s slightly less cryptic and a little easier to use. It’s also bulkier, more expensive, and therefore a little less “travel friendly.” In my opinion, while the APC40 is completely usable live, it’s much more of a studio utility.
• The Ohm64 and Block are amazing pieces of gear. If you want to distance yourself from the more cookie cutter/mass produced looks that are apparent in the Launchpad/APC, then the Livid Instruments controllers might be your way to go. I’m sure they map to Live just fine, but they do carry a more “boutique” price tag. Summary: If you want to stand out, be prepared to shell out some more cash.

Mixers

Mixers are another field that can get kind of crazy. There’s a lot of options, but for what I’m doing, I typically will choose from three brands: Allen & Heath, Pioneer, or Denon.

It should also be known that a mixer may not be entirely necessary. You could easily take your four line outputs (or two for that matter) and run them into the Front of House console. If you are using Live as a CD/turntable replacement, however, then an external mixer is absolutely necessary.

Let’s take a look at a few mixers, then. We’ll look at a couple of two and four channel mixers from each of the three above brands.

• Allen & Heath Xone:22 – In my opinion, you just can’t beat the A&H sound quality when it comes to DJ mixers. For $399, you get a beast of a two channel mixer that even includes a proper FX loop. The filters, EQs…the Xone series is legendary.
• Allen & Heath Xone:42 – Obviously the next step up from the Xone:22 and at around the same price as the soon-to-be-discussed DJM800 (around $1,300). The Xone:42 also boasts a USB port and the popular A&H filters and EQs.
• Pioneer DJM400 – For $599, you get a two channel mixer that sounds good and has a little more flash than the Xone:22. It has some pretty cool onboard FX (thus the lack of any aux sends/returns), and two 1/4″ mix inputs. Not much more expensive than the Xone:22, so if you really want/need some FX for your sets, maybe look the way of the DJM400.
• Pioneer DJM800 – Four channels, tons of FX, and the fact that this thing is found in just about every major club in the world make it the most popular option. It doesn’t have the USB connectivity of the Xone:42, but it does sport four digital (SPIDF) inputs as well as a digital out. Add to that an aux send/return and a ton of different I/Os and you’ve got one hell of a club mixer. At $1,699 it is slightly more expensive than the Xone:42, but it might be worth it.
• Denon DN-X120 – Denon don’t really have a lot of two channel options as far as DJ mixers. The DN-X120 is a two channel scratch mixer that definitely doesn’t look as club friendly as the Xone:22 or the DJM400. It will, however, do the job. At $199, it may be the best option if you’re on a budget.
• Denon DN-X1700 – Wow. What a club mixer. Two separate FX processors, bright LCD screens, and just about everything else the DJM800 has and a little more. Two different USB slots on the back are available. One for your flashdrive and the other to plug it into your computer. It’s got four digital inputs, one digital output, and the “world’s first” 32-bit DAC. It’s also got two different layers: MIDI and audio. It’s $1,799, but the extra money (versus the DJM800) seems to make it worth the money.

Conclusion

Whether its performing your original material live or strictly playing other people’s music, Live is up for it. The setup discussed here is just the tip of the iceberg – there’s a lot more innovation to be had and a lot of tweaks you can do to set yourself apart from the rest of the flock.

Obviously, if you’re looking for next level stuff, check out controllers like the Monome, JazzMutant Lemur, and even the Apple iPad when it comes out. Also, don’t be afraid to leave your mark on your DJ sets: get a mixer with an aux send/return so you can use some outboard FX gear (Kaosspad, etc). Don’t forget that you can easily create your own loops, sounds and FX inside Live to lay over an otherwise dry DJ set.

Next I’ll be discussing how to actually set up Live 8 to work for your live set. Stay tuned!

Soundcraft M12

First up is the M12, the largest desk in the Soundcraft M series. Twelve mono inputs, four stereo inputs, and four stereo returns.

Looking at the raw specs, this is a nice sized mixer for small churches, smaller home/project studios, and anything that might need less than 16/32 channels.

S/PDIF I/O is available on all the M12 which makes this desk very studio friendly. The pres are low noise, low distortion, and also include RF rejection inside of them. Souncraft also boasts “great sounding British EQs,” which is something we see on just about every mixer on the market (including the Behringer line of mixers). I’m sure the EQs sound good regardless of where they come from. The EQs are three-band and, also included, is a HPF (at 100Hz) on all the mono channels.

The M12 has four available aux sends making outboard effects processors possible to include while also giving you the option for a couple (or more) monitor mixes.

100mm fader throw means you’ll have precise control over each individual channel. Direct outputs (pre or post-fader) are available on all mono channels which makes this board extremely viable for recording. Mute/PFL controls are present, as well as metering on every channel and the master bus.

The M12 isn’t lacking much (it’s even rackmountable), but it is missing a couple of things.

• No onboard FX. For me, this wouldn’t be a big deal. I prefer to use outboard processors anyhow. However, for someone running sound at a church or smaller venue, this could be a problem and could prompt a potential buyer to walk on by. While external effects are great, most consumer level engineers don’t have the budget for outboard effects and don’t want to deal with hooking up and running separate reverbs, delays, etc. Obviously for recording onboard effects aren’t typically used, so this mainly confronts people buying an M12 for live sound purposes.
• No groups. In my opinion, this is not a viable desk for larger sized clubs, bars, or churches. Mixing drums, vocals, horns, to a group keeps you from having too much gear and is also flat out convenient. Again, most entry/mid level engineers probably aren’t worried about mixing to subgroups, but your more experience engineers will worry about that.

Allen & Heath MizWizard WZ3 12:2

I’m a bit of an Allen & Heath fanboy. I’ve used the MixWizard enough to know I like it, and I drool weekly over their Xone DJ mixers. So how does the WZ3 12:2 stack up against the M12?

Eight mono channels and two stereo channels are available. The 12:2 has a four-band EQ (as opposed to the M12’s three) as well as a HPF on all the mono channels. The 12:2 also has mute switches and metering on the individual channels and the master bus, just like the M12. However, the 12:2 has two additional auxes compared to the M12 – six in total making it a little more live friendly. The 12:2 also has 100mm faders.

Where the MixWizard separates itself from the M12 is the onboard effects and computer friendly editing option that’s available with it. The MixWizard can talk to your laptop via MIDI making the effects tweaking a little more customizable. Once again, the 12:2 lends itself slightly more to live applications than the M12.

Conclusion

Both desks are plenty capable for studio or live settings. They’re both made from companies with solid reputations for sound quality and build quality. However, the major deciding factor for most people is price. The WZ3 12:2 sells for around $900 while the M12 sells for around $850 – once again proving that you pay for the Allen & Heath name. It’s not much of a price difference, but to most people $50 is enough to make a decision for them.

My personal opinion is go with the M12 for recording and the WZ3 12:2 for live applications. That being said, both mixers are solid and would do well in either application.