TASCAM
Jan 1, 2003 12:00 PM, By Erik Hawkins
Tascam has long been known for its quality pro-audio recording gear, so the announcement that it was getting into the DJ market came as a pleasant surprise. The company's first offering, the CD-302 Professional Dual CD Player, showed that Tascam meant business. It even went out of its way to hire pro players such as Simply Jeff and DJ Davey Dave of Überzone as design consultants to ensure its DJ gear was the real deal. The X-9, the industry's first fully digital DJ mixer, stands as the flagship mixer for Tascam's recently introduced line of DJ boards. From the looks of this unit, it appears to be equally as innovative as the CD-302.
Featuring two built-in effects processors, two independent samplers, programmable EQ, digital I/O, an external effects loop (for connecting outside effects units), four program faders and a host of other pro features, this is one jam-packed DJ mixer. If you're used to the streamlined controls of a typical DJ board, the X-9's busy front panel may be a bit overwhelming at first glance. But don't let this deter you from having a closer look; a purpose exists for every control — no space has been wasted. All of this technology and design innovation, of course, comes with a price tag.
PACKING HEAT
The front panel's uppermost section is dedicated to the board's built-in effects. Several of the controls and the LEDs do double duty as a data-entry section, providing access to the board's deeper, less-often-accessed functions (such as footpedal-control assignment and equalizer Q adjustment). The Program faders, the associated EQ bands and the master fader sit squarely in the front panel's center. On the left are controls for the mic channel and the external effects loop; the right side packs both samplers and headphone cue controls. The crossfader is centered beneath the program faders, and some additional crossfader-related controls are to either side. A generous number of LEDs and backlit keys are invaluable visual cues.
The X-9 is not a lightweight DJ mixer by any stretch of the imagination. It weighs in at a hefty 15.5 pounds — the heaviest DJ mixer I have ever encountered. It also has a good-size footprint: 12.6×13.9×3.4 inches. Power is supplied by a permanently attached, flimsy-feeling power cable — a board of this caliber deserves a heavy-duty, IEC Type II removable power cable. A rocker-type power switch located on the board's rear serves as the on/off switch. The electronics in this mixer throw off some serious heat, so it's extremely important to have space around its sides for ventilation. To avoid overheating in the confines of a snug, foam-padded DJ-mixer case, provided are raised fan covers that screw into the sides of the board (over the fan ventilation ports) to create an airspace between the foam and the mixer. Should you want to mount the X-9 in a standard 19-inch rack, some well-designed rack ears are also included.
CHANNEL SURFING
The program faders (as well as the master fader and crossfader) cut like soft butter — very sweet. They can also be set to operate in reverse. Each program channel has a big easy-to-see 15-segment LED meter running parallel to its EQ controls. (Once you use a board with meters on every channel, forget about settling for anything else.) There are no physical pan controls for the channels, but it's possible to adjust each channel's pan through the board's data-entry section. Using the data-entry section, you can also assign one of three amplitude curves to each individual fader and choose two of the four faders to operate the Fader Start jacks on the board's rear.
There are four input groups, each having phono and RCA line inputs, and two S/PDIF digital-input channels found on the mixer's rear. Each program fader can control its logical input (program 1 handles input 1, program 2 for input 2 and so on), with phono or line selected via a toggle switch, or a third source may be chosen using an adjacent select key. The source for programs 1 and 2 can also be digital input channels 1 and 2, respectively, whereas the source for programs 3 and 4 may be input groups 1 and 2, respectively. For example, if programs 1 and 2 are getting their signal from the digital ins, you can still control inputs 1 and 2 using program faders 3 and 4. Got it? The sum of this brain twister is, the X-9 provides lots of routing flexibility — very convenient.
The mic channel is fed by a standard XLR input jack. Level, high and low EQ knobs are present, as well as a Talk Over key that dims everything but the microphone signal by -20 dB.
The X-9's main outputs include balanced XLR and unbalanced RCA connections with attenuation control for each pair, and a S/PDIF digital out. The level of the output from the unbalanced outs can be set to be pre- or post-master fader. A stereo, 15-segment LED meter and a pan knob complete the master-fader section. Separate booth outs are available via RCA jacks, and an associated level knob is found on the X-9's face.
EQ CONTROL
Program EQ is 3-band, fully sweepable, and the Q for each band can be either narrow or wide. The EQ knobs are split into upper and lower controls, whereby the top knob handles the band's gain (cut or boost), and the bottom ring selects its frequency. Gain for all bands is from -40 to +12 dB; the high EQ is sweepable from 6 Hz to 20 kHz, mid from 200 Hz to 6 kHz and low from 20 to 200 Hz. The Q is set from the mixer's data-entry section. A channel's EQ settings can be stored and recalled to any other channel. Memory is available for creating a maximum of 100 EQ presets. It's like having a programmable parametric EQ right in your DJ mixer. This is handy for recalling EQ settings of different venues or doctoring a poor-sounding recording at the touch of a button.
The EQ knobs are rather small for hardcore live-performance, DJ-style twisting and turning. I wish that the gain portion of the knobs were larger and rubberized for a better grip. If you're used to more standard-size DJ-mixer EQ knobs, the X-9's knobs may be slightly tricky, but if you work regularly with Portastudio-like knobs (like those found on Tascam's old 4-track machines), you should feel right at home. However, no matter how you feel about the X-9's EQ knobs, there's no denying that this EQ section is darn powerful for a DJ mixer.
A set of band kill switches are found on either side of the board. Each set offers 40 dB of low, mid- and high cut via nice-feeling, quick-action throw switches. Band cut affects only those signals assigned to the crossfader. For example, if programs 1 and 3 are assigned to the crossfader's A side (left side), then the band kill switches on the board's left side will affect the crossfader's left program material. The same scenario applies to the crossfader's B (right) side. This setup is perfect for cutting a specific frequency band out of a track to ensure a smooth crossfade into the next track.
CUE TO CROSSFADER
All of the program channels have their own easy-punch, backlit Cue key, as do each of the samplers and the master and mic channels. Two headphone jacks are simultaneously available, one at the bottom left corner of the board's face, and the other on its front right side. Near the headphone-level knob is a key that lets you select between stereo or split (cue in the left and master in the right) monitoring modes. Another adjacent knob gives you level control for the headphone mix of the cue and master programs. There is no dedicated cue meter, and you can't switch the master meters to monitor cue, but with all of the individual program meters, I didn't miss this feature at all. The headphone preamp gets the job done, though it isn't the cleanest I've heard, which is no big deal in a noisy club. All in all, the cue section is nicely designed.
Any program channel may be assigned to the crossfader and so can both samplers. The crossfader's curve is continuously variable between a smooth or a steep slope using the CF Curve knob and can be made to work in reverse at a flick of the CF Reverse switch. The Fader Start jacks can also be driven by the crossfader. And mentioned previously, the crossfader's action is supersmooth.
EFFECTIVE SAMPLES AND BEATS
The two independent effects processors (dubbed Effect 1 and Effect 2) each boast eight effects: reverb, delay, echo, flange, auto pan, pitch, lowpass filter and trans. The first effects processor can be applied to programs 1 and 3, mic and sampler 1 while the second works with programs 2 and 4, master and sampler 2. Each processor has its own backlit Engage/Disengage key that lets you quickly turn the effects on or off — very nice. The effects sound really good, the reverb is clean and clear, and the echoes and delay lines are quite tasty. The flange and auto-pan effects range from mild to total sonic mayhem. Tuning a signal without changing its tempo is always useful, and pitch does this nicely. I love the lowpass filter; it's present but not harsh-sounding, and the sweep's timing can be made to follow your program's tempo. If you don't have a hand free to transform, trans can help in a pinch. An infinitely rotating dial for each processor let's you tweak parameters in real time, and as many as 30 user-definable presets can be stored for each effect type.
Each of the two built-in beat detectors (one for each effects processor) reads the program that its respective effect processor is assigned to. Rhythmic effects — which are all of the effects except reverb and pitch — derive their timing from the beat detector. As with most automatic beat detectors, it works okay but doesn't perform miracles; it reads four-on-the-floor beats best. However, there is a good-size Tap Tempo key that can be used to manually capture a program's bpm (which is usually a more precise method of figuring out the tempo of rhythmically complex tracks). Each effect's timing can be set to a range of note values, such as 32nd, 16th, eighth, quarter, half, whole notes and so on. The ability to lock the timing of an effect to your program is powerful, and the X-9 realizes this feature well. If I had a wish list for the future, MIDI I/O would be on it.
The two onboard samplers have identical controls. The only differences are the program sources they can sample; the first sampler will record programs 1 and 3 and the mic input; the second sampler can record programs 2 and 4 and the master output. Each sampler has eight seconds of sampling time, and creating samples is a snap using straightforward record start and end keys (labeled In and Out, respectively). Those keys are used to play back the sample: In triggers the sample, and Out stops playback. The sample can play as a one-shot forward or in reverse, or loop forward or in reverse. A sample's start and end points are easily edited using the same infinitely rotating dials that are used with the internal effects. This is handy for adjusting a sample's start and loop, and by giving the dials a hearty spin during playback, you can cook up cool stuttering effects. Record start and end and sample play and stop can be controlled via the two footswitch jacks found on the board's rear. (Any standard momentary footswitch, such as Tascam's RC-30P, should work; footswitches can also be used to handle other functions, such as turning effects on and off.)
The X-9 is equipped with ¼-inch send and return jacks on its rear for hooking up an external effects unit. Your external effect can be applied to any of the program channels, the master output and the mic input. A good-size backlit key works to enable and disable the effect loop. The ease with which I could dial up a program and pop on my external effect was wonderful. I really love the way this feature is worked into the X-9's architecture. The only odd thing is that the signal from the external effects loop is not sent to the board's digital out. For example, if you are recording your set digitally to a MiniDisc or DAT recorder, you're external effects won't be recorded — bummer. There's always the analog outs.
WRAP IT UP — I'LL TAKE IT
The Tascam X-9 is certainly the most exciting and innovative DJ mixer that has come along in some time. It's a well conceived performance mixer that deserves serious praise for the level of professional features it brings to DJs. The critiques I have — the EQ knobs are small, and the external effects loop is not sent to the digital output — are minor when compared with all of the cool stuff this board includes. Clean and clear, the X-9 suffers neither from digital edginess nor analog dullness. The effects sound great, the phono preamps are solid, and the sound quality of this board is top-notch.
The price tag might seem hefty to some, but as the saying goes, “You get what you pay for.” The biggest compliment I can give a product is to put it in my setup (that is, as soon as I sell my other DJ mixers to raise some cash). If you want to do more than just beat-match records and if you expect your DJ mixer to be an essential part of your performance arsenal, you owe it to yourself to check out the X-9.
Product Summary
TASCAM
X-9 Professional Digital DJ Mixer
$1,375
Pros: Flexible routing of inputs and effects. Two great-sounding built-in effects processors with user-definable presets. Two samplers. Smooth-feeling faders. Well-designed crossfader and external effects loop. Programmable EQ with sweepable frequency and two Q settings per band. Digital I/O.
Cons: Heavy. Flimsy, nonremovable power cable. Small, nonrubberized EQ knobs. External effects loop is not sent to the digital output.
Overall Rating: 4.5
Contact: tel. (323) 726-0303
e-mail tascam@tascam.com • Web www.tascam.com
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