At the Musikmesse in 1999 in Frankfurt/Germany there weren't too many real new things for DJs. One thing that was really new and was very impressive to me was the prototype of a new DJ mixer by Allen & Heath based on the Wizard series, called "Club Wizard".
In fact this prototype came quite close to my existing ideas about a perfect DJ tool. But like many other bigger DJ mixers there are some "little" things that can torture the DJ. One other mixers those are e.g. things like PFL- and other important buttons without control LEDs, PFL-buttons that are too close to mute-, crossfader-assignment- or other "dangerous" buttons. Gimmicks like a build-in subwoofer crossover for Master 1, but at the same time no XLR-outputs on Master 2 to make a proper connection to the monitor amplifier. Or things like missing phantom power on microphone channels...
The prototype of the Club Wizard featured many things that are new on DJ mixers. First of all an extensive aux section and probably a very interessting price, lower that many other DJ mixers. The mysterious fact that DJ mixers are much more expensive than mixers for recording or live purposes is ignored, because here DJ and stage mixers are members of the same family: the Wizard series.
If my thoughts and suggestions are titled the "ideal DJ mixer" that doesn't mean that I consider smaller battle-type mixers not as ideal for certain purposes. It is obviously easier to build and find a smaller mixer that fits into a minimal two turntables setup, but with a growing number of inputs and outputs - and connecting inputs to outputs is everything a mixer is about - the number of possible ways to connect them increases.
I wanted to start an "ideal DJ mixer" or "minimal changes that would make a good mixer ever better" page before. Now with the Club Wizard prototype in mind and hopefully the possibility to influence the changes that will take place between the prototype and the final version, I concentrate on the Club Wizard. Nevertheless all ideas can be transferred on other mixers and in a future version of this document there might be a more general approach.
There are 3 basic crossfader curves that could be precisely defined:
An adjustable variable crossfader curve can be found on the some mixers (e.g. PMC-50A, PMC-46MKII, PMC-07PRO, PMC-06PROA and PMC-05PRO) by Vestax.
If fed with identical signals on both sides, this kind of crossfader will always
produce the same output in any position. It's characteristic curve can
be compared to a constant loudness panorama or balance control.
In the middle position the signals on both sides of the crossfader are reduced
by 6 dB (level divided by 2) so that both sides added - if fed with
signals with equal loudness - produce the original level again.
A constant loudness crossfader is particularly annoying for DJs who usually don't
use the crossfade but who have to work on a mixer whose crossfader can't be
disabled.
A constant loudness curve is required when mixing two copies of the same track
together to get a individual, longer version of that track. When changing from one
to the other any other crossfader curve would produce a loudness change, so that
the fade can be heard even if the speeds of both copies are perfectly synchronized.
A constant loudness crossfader curve can be found e.g. on the Sclat by Ecler.
In the middle position no channel assigned to any side of the crossfader
is attenuated. When moved from the middle to the left, the channels assigned
to the right side are attenuated the channels assigned to the left side
are untouched. When moved to the right exactly the opposite.
This curve is used to do a kind of mixing that is usually done with the
channel faders:
The level of the channel with the new track to (beat-)mix is raised to
the maximum and only until that the level of the channel with the old track is
reduced.
A dipless crossfader is particularly important for DJs who usually don't
use the crossfade but who have to work on a mixer whose crossfader can't be
disabled.
But nevertheless this curve is very useful to do mixes with just one hand
on the crossfader than on two (or more) channel faders.
A dipless crossfader curve can be found e.g. on many Citronic mixers.
The "wider" version of the dipless crossfader.
The area where none of the channels assigned to the crossfader is attenuated is
now not only the middle of the crossfader but a more or less wider area
around the middle of the crossfader.
A "cutting" type curve is very useful for scratching and cutting
because during heavy crossfader action one couldn't always hit the exact
middle of the crossfader. Without a "Cutting" type crossfader
this would result in unwanted attenuations of the signal on one side
of the crossfader.
A "cutting" type crossfader curve can (should?!) be found on many battle-type mixers.
The characteristic curve of a "cheap" crossfader is the result
of the electric wiring.
A "cheap" crossfader is sometimes not so bad because it's behaviour
is often somewhere between a dipless and a constant loudness crossfader.
In that case it is quite universal without changing the curve though it
is not the optimum for special cases.
A "cheap" type crossfader curve can be found on many cheap mixers ;-)
Depending on what kind of effect is used each on of the following three Aux-routings has it's legitimacy:
The Pre-EQ+Pre-Fader routing is probably a variant that is quite unusual on most stage mixers, but it is a very powerful possibility on a DJ mixer. The user can pick a signal of an input-channel just directly behind the gain control an send it to an effect of his/her choice. The output of that effect is connected to another input-channel of the mixer, so the user can control levels and equalizing of original and effect signal independently.
If the Aux-routing would only be Post-EQ+Pre-Fader the EQ on the input-channel with the orignal signal could practically not be touched. Because of the radical things that can be done with a -24/+6dB EQ on the original signal, the effect signal couldn't be (re-)equalized with the EQ in the corresponding input channel.
On the first input channel there is a usual playback device (Vinyl, CD, etc.), the input of the effect device is connected to the aux-send of the mixer, the output of the effect device is connected to the second input channel of the mixer.
The required aux-routing is Pre-EQ+Pre-Fader - otherwise the use of the effect signal is limited and influenced by the equalizing of the original signal.
The effect device could be a pure delay with a bpm oriented delay-time e.g. half of a bar. A Post-EQ+Pre-Fader routing would be very unpleasent if the delay is used to create a "pre-delay" where the original signal is more quiet and probably more EQ'ed than the delayed signal which is now the "original" signal in the ears of the audience.
Another setup could be with a vocoder or phasing effect device.
In this case the following EQ setup is quite likely:
On the main channel input all EQs are set to the minimum except
the bass EQ(s). On the effect channel the setup will be just the other
way round. The aim is to combine the untouched bassline
with the mids and highs worked with the effect device.
This would also be impossible with a non Pre-EQ+Pre-Fader aux-routing!
The routing of the PFL-bus and the usual routing for the monitor auxes of a FoH-mixer. I just can't imagine an effect that requires just this setting. The only thing is really monitoring but for that we have the auxes 1 and 2 on the Club Wizard.
The appropriate routing for reverb effects and all other effects that are just "added" to the original signal. But as described above some "added" effects might require to work the original signal both in level and equalizing when used by DJs.
The Club Wizard prototype was equipped with 6 auxes. Auxes 3+4 and 5+6 were handled as stereo auxes by the six stereo input channels. Consequently the auxes should be handles as stereo on the mono microphone channels, too. So for the auxes 5+6 which were permanetly Post-Fader routed on the prototype the panning between 5 and 6 could be determined by the panpot setting of each microphone channel. For all pre-Fader routed auxes this handling is not possible as the panarama/balance information is not available pre-Fader. So it might be considered to change e.g the aux-controls for auxes 3 and 4 to a combination of level and panpot setting on the mono channels.
With this in mind a rearrangement (and renumbering) to 2 mono and 2 stereo auxes is the logical consequence:
| before | after | routing | function |
|---|---|---|---|
| Aux 1 | Aux 1 mono | Post EQ, Pre Fader | monitoring |
| Aux 2 | Aux 2 mono | Post EQ, Pre Fader | monitoring |
| Aux 3 | Aux 3 left | selectable | DJ effects |
| Aux 4 | Aux 3 right | selectable | DJ effects |
| Aux 5 | Aux 4 left | Post Fader | "conventional" effects |
| Aux 6 | Aux 4 right | Post Fader | "conventional" effects |
The aux control section of the mono channels could then look like this
| Aux 1 level |
| Aux 2 level |
| Aux 3 pan |
| Aux 3 level |
| Aux 4 pan |
| Aux 4 level |
As described in the "Aux routing" section above this flexible routing of the auxes raises the creative possibilities of the Club Wizard above other DJ mixers.
At the Musikmesse in Frankfurt someone of Allen & Heath said that there are considerations to remove the auxes 1 and 2 from the stereo channels and to use the unused area for a stretched arrangement of the EQ controls. Maybe/hopefully I just understood something wrong, because I think that is a bad idea. With four extensive microphone inputs well known from other Allen & Heath mixers and also more extensive than on any other DJ mixer, it would be inconsequent to cut down the monitor section. To archive more place for the EQ controls than there is on the prototype it should be enough to rearrange the aux and EQ controls, so that there is more area for the EQ and the aux controls are as close as on the mono channels.
The Club Wizard is as far as I remember the only DJ mixer that comes with an extensive aux section. With the also extensive mono microphone input section it is a logical consequence to reserve one or two auxes for monitoring permanently.
In this following section some thoughts why these auxes needn't appear as separate knobs on the stereo channels - just for the case that Allen & Heath really wants to remove the Aux 1 and Aux 2 from the stereo channels or even the whole Club Wizard.
The "conventional" monitoring method when working with singers or MCs is to provide the singer/MC with the main mix from the DJ mixer taken from a second, indepented master fader (Master 2, Booth or whatever - different mixers, different names).
The "conventional" method with stage/FoH mixers when
a live singer with playback show is done is to feed the monitors with a separate
mix from a Pre-Fader aux. This enables a different ratio of microphone and music levels
on stage and for the audience. With more than one aux even more different mixes
for different singers on stage are possible.
But this "FoH-type" monitoring is only the better solution
if the singer's show is separated from the DJ's show during the rest of the night.
A "FoH-mixer-like" monitoring is in fact very uncomfortable
for DJ and MC working together.
The MC needs to hear exactly the same mix of the stereo channels as the audience, otherwise outstanding results are very unlikely. Nevertheless a separate adjustment of the ratio between music (= stereo channels mixed together by the DJ) and voice (= MC's microphone) would make it easier to work with "two turntables and a microphone".
To archive the correct monitoring levels of the stereo channels (controlled by the DJ) the monitor aux should be set to Post-Fader on the stereo channels. For a DJ & MC show this would mean that the monitor aux is routed pre-Fader on the mono microphone channels and routed post-Fader on the stereo channels. Furthermore all aux level controls on the stereo channels are set to exacly the same level... six knobs in six cannels at the same level! Why not combine them in one knob for all six stereo channels together?
This would lead us to a new aux control arrangment, neither found on DJ mixers nor
on FoH consoles so far: (this isn't quite surprising, as an extensive aux section
is something totally new on a DJ mixer)
All microphone channels have separate Post-EQ+Pre-Fader aux controls (here 2 auxes) and
the stereo channels have no separate knobs for these special monitor-auxes.
To add the stereo channels to the monitor mix the aux master section needs a second
knob beside the present aux send level control, so the aux master section of
the mono monitor auxes consists of two controls now:
The already present aux send master plus
a "stereo channels to aux"-control.
This routing also avoids all problems that could be caused by the crossfader and the associated lowpass-filters, because everything that is done with faders, crossfaders and filters appers on the monitor aux. The MC can allways hear what the DJ really does and not a combination of unworked input signals that has nothing to do with what the audience is dancing to.
With this "all stereo channels together"-routing monitoring in a club/disco situation would be possible very easy. The two aux controls in the stereo channels of the prototype could be removed just like suggested by someone of Allen & Heath and by adding just two knobs in the aux master section the functionality of the mixer is raised.
Because of the rededication of 4 mono auxes to 2 stereo auxes the total number of aux control knobs in the master section would even stay constant compared with the prototype. There are still six control knobs:
| Prototype | final version |
|---|---|
| Aux 1 send (mono;post-EQ;pre-Fader) | Aux 1 send (mono;post-EQ;pre-Fader in the mono channels) |
| Aux 2 send (mono;post-EQ;pre-Fader) | Stereo channels to Aux 1 (mono from mix of all stereo channels;post Fader, Crossfader and Crossfader-Lowpass) |
| Aux 3 send (left;post-EQ(?);selectable) | Aux 2 send (mono;post-EQ;pre-Fader in the mono channels) |
| Aux 4 send (right;post-EQ(?);selectable) | Stereo channels to Aux 2 (mono from mix of all stereo channels;post Fader, Crossfader and Crossfader-Lowpass) |
| Aux 5 send (left;post-EQ;post-Fader) | Aux 3 send (stereo;selectable;selectable) |
| Aux 6 send (right;post-EQ;post-Fader) | Aux 4 send (stereo;post-EQ;post-Fader) |
The area left by the aux control knobs in the stereo channels could be used for a balance control to satisfy all the DJs who find this feature very important.
Just a remark on the PFL-selection buttons on the right side of the
mixer:
The present arrangement of the PFL buttons for the auxes all in one
row is not very ergonomic. One might say the present arrangement
ist just the same like on many studio- or FoH-mixers but this is
a DJ mixer and the usage of the PFL functions and the headphones is
different here (and more intensive!).
To help the eye find the desired PFL-button it would be a good idea to arrange the buttons on the front plate like the auxes are grouped 1+2 (Monitoring), 3+4 and 5+6. That groups are already labelled on the prototype but the arrangement of the knobs doesn't represent these groups yet.
This will become invalid when auxes 3+4 and 5+6 are combined to stereo auxes. Then the number of auxes and corresponding PFL-buttons is reduced by two, so there is area left to make a space between the PFL-buttons of the two mono auxes and the two stereo auxes and the rest. These three groups (mono auxes, stereo auxes, other buses) should be enough to find every desired PFL-button intuitively.
This list only includes things that haven't been described and discussed in the sections above.
I couldn't remember every knob and switch on the prototype so maybe some things are obsolete (perhaps like the mono switch on the master outputs). And I didn't check one thing that leads to an interesting question:
One thing I didn't check out at the Musikmesse is how the crossfader and the associated lowpass-filters affect the signals on auxes that are routed post-fader. The question is: Does "post-fader" mean post-crossfader and post-filter, too? It is possible to make the post-fader auxes influenced by the crossfader and the filters but this means the all circuits responsible for mixing and filtering the main mix have to be installed for every post-fader aux, too. With both the aux routing on the prototype and the slightly modified routing suggested in this document there would be the need for three sets (main mix, stereo aux 3 and stereo aux 4) of VCAs (for the crossfader) and VCFs (for the filters).
Just like I said before, I couldn't check and remember every detail of the prototype. But nevertheless the Club Wizard comes very close to my idea of an ideal DJ mixer. And as soon as position 1 and 2 of my wish charts are granted you can ask me anything about the final version, because then I will get myself a Club Wizard as soon as possible.
Carsten Warnk
warnk@warnk.de
phone +49-531-34 15 82
mobile +49-177-2 66 33 66
Back to TOP.
Available pages: introduction, first page (current), version 1
Text created on March, 8th 1999
Changes: