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Allen & Heath XONE:92 DJ Mixer
Introduction
The Allen and Heath XONE:92 mixer is a culmination of years of research and development,
designed to fit many different styles as well as pushing the envelope of DJ mixers
in form and function. It is one of the first mixers to include MIDI functionality,
master tempo, start/stop, as well as several other assignable controls. Combining
great functionality, along with stellar sound, and the previously mentioned MIDI
functionality makes for an amazing DJ Controller/Mixer. I will refer to mixers
of this type from now on as DJ Controllers, because this really isn’t just
a mixer, it is so much more.
Input/Output Section
The XONE:92 has 6 total input channels. All your basics are covered here, RIAA
RCA phono preamps on each of the 4 inputs, as well as regular line level
RCA inputs. It also has two mic preamp channels with full 4 band EQ’s,
and auxiliary sends.
The Basics
The XONE:92 has 4 regular dj style channels, which can be used for any unbalanced
sound source, i.e. cd players, turntables, drum machines, etc. The other 2
channels consist of fx returns/mic preamps.
Each of the four main channels starting from the bottom(front) of the mixer,
has a vertical fader, parallel to this is the level meter, pushbutton cue switch,
crossfader (xfade) assignment switch, filter assignment switch, 4 band EQ,
gain knob, input select button (phono/line), and finally two auxiliary out
knobs.
The two Mic Channels on the left of the mixer starting from the bottom, has
a vertical fader, peak led, ducking switch, cue assignment, EQ section, input
level(gain) control, mic/return switch, and dual auxiliary send knobs.
On the right hand side of the mixer we have the mains section, consisting
of the headphone jack, which has both mini 1/8" and 1/4" jacks, case
you lose your adapter while you were plugged in to your ipod, headphone volume,
cue mix, cue options; post EQ, split cue, aux 1 and aux 2. Above the headphone
section we move to the booth controls and the main mix controls. Booth output
has a mute function as well as a mono function,. Lastly, but most importantly,
the main mix outputs, mix 1 and mix 2, with a volume pot for each, and at the
very top right, the output metering section.
Advanced Functions
There are two stereo state variable Voltage Controlled Filters that can be
used simultaneously, on any channel, as well as combined to work on the same
channel if desired. However they cannot be assigned to the mic channels. These
filters are specifically designed for DJ use, they are similar to what you
would find on an analog synth, but have some design enhancements for DJ's.
Each Filter can be assigned to the crossfader for advanced filter mixing of
the two sources. Using a high pass filter and a low pass filter on the alternate
channel can produce ultra smooth mixes between tracks. This can be accomplished
using the VCF to XFader Control. This assigns the xfader to the frequency control
of each filter creating a smooth frequency sweep between the two channels.
It is a really slick way of mixing between two sources, especially when they
may under normal circumstances clash.
There are three filter types.
Low Pass(LPF): Frequencies above the cut off point are rolled off at the slope
of the filter. This effect is great for bass sounds or for mixing purposes
where you just want use the bassline from one source and mix it with the other
song.
High Pass(HPF): Opposite of the low pass filter, frequencies above the cut
off point pass through and frequencies below the cutoff are rolled off in a
similar fashion. Often used to create sweeping and swirling affects.
Band Pass Filter(BPF): Frequencies above and below the selected band are rolled
off, and a narrow band of frequencies remain. Great for affecting vocals, lead
sounds or just isolating a particular sound in the source material.
The fun doesn't stop there, you can also combine filter effects for even more
interesting techniques.
HPF+LPF = Notch Filter: This effect creates a notch in the frequency range,
similar to the bandpass filter, but instead of boosting the particular range
it cuts that range. Also creates an interesting phasing effect with low resonance
settings.
HPF+BPF+LPF = All Pass Filter: An interesting effect that is similar to a
3 band EQ. The resonance creates ripples in the frequency response which can
be dramatic or subtle depending on the resonance setting.
As with all fx, experimentation is the key. Any variety of sounds can be filtered
and entirely new sounds can be created. Especially when the LFO is applied
to the filter. You can easily create rhythmic synth or vocal fxs by simply
assigning the LFO to the filter. Experiment, experiment, experiment. :-)
MIDI Control of External Devices
The XONE:92 can be used to remotely control external fx, sequencers, drum
machines, even lighting controllers. Most computer MIDI sequencers such as
Ableton, Logic, and even Reason can be easily mapped to receive input from
the XONE:92.
This allows new dimensions of control for DJs and live remix artists by allowing
them to sync up gear they would normally only use in the studio on stage with
vinyl, cd, or any other prerecorded material.
Basic Setup
Connect a MIDI out from the XONE:92 MIDI out connection to the MIDI input
of the device you wish to control.
Personally I used the XONE:92 to control Ableton Live Sequencing software.
This allows me to integrate what I often do in the studio in a live sense,
both using turntables and Ableton together. It has opened up a world of possibilities
for live remixing and performance. The MIDI control functions although fairly
basic are well thought out and provide an easy way to integrate pre-recorded
audio with a sequencer or drum machine. You can easily use the XONE:92 to integrate
a drum machine, tempo synced delay fx, or external filters such as their VF-1
tube filter. I experimented with a few devices in my studio; the Nord modular
G2, the VF1, Akai MFC42, as well as Ableton Live.
Once you setup your device to receive MIDI clock from the XONE:92 master clock
you can use the following method to synchronize your devices.
Set the tempo/data control (just to the left of the master volume led readouts)
to its center detente position. The lightpipe readout should be unlit for off.
Tap in the tempo of the track you are syncing to using the VCF 2 LFO tap tempo
button. This determines the BPM of the MIDI clock. Once you are satisfied with
your tapped in tempo you can use the start stop button to test your accuracy.
It takes a bit of mojo at first, but after a while it becomes very easy to
sync on the fly, or do double time and half time FX’s. You can also use
the knob above the start stop button to make fine or coarse adjustments to
the tempo. Always remember to return this knob to the detent position before
tapping in a new tempo!
There are a few more basic MIDI transmitting controllers, including the VCF
frequency control, and the crossfader. Both of these controls transmit 0-127
values, and transmit on their own cc#s. They can be used to control a variety
of functions of your external gear. Experiment, experiment, experiment!
This is the basics of setting up the MIDI control functionality on the XONE:92,
there are many ways to use it, and it can get somewhat complicated when using
several devices or controlling advanced functions. I end up using it in a different
way almost everytime, and I suggest trying your own setups. The beauty of computer
audio today is that you really can work any way you want.
The Xone series mixers are the cutting edge of DJ mixers today, they are the
first company to recognize and develop ways for DJs to incorporate the traditional
two cd player and/or two turntable and the new generation of DJ tools. Not
only is the mixer very well thought out and easy to use, it sounds amazing
too.
Please don’t hesitate to email me or call me at the office with questions
or comments regarding this review or any other questions you might have. I
am more than happy to talk production, DJ gear, or anything else you might
be interested in. I look forward to hearing from you all. Cheers!
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