Numark NS7 DJ Turntable Controller with Serato ITCH Software Review

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(More customer reviews)Coming from a turntable and vinyl background, I was and still am excited about this product. I purchased it and have been very content. The unit is about 35lbs. and VERY solid. I have to get use to scratching on it compared to turntables. The platter should have been made 9" but I'm taking it in stride. All crossfaders have a quality feel, no static and the scratch curves feel as good or better than my Rane TTM57sl.
My only complaint is that Numark did not future-proof this unit with effect buttons. I find the software (Serato iTch) and mixing is (CURRENTLY) a little more boring than Serato Scratchlive and my 57 mixer. Serato is supposedly working on effects and making iTch's software closer in features to Scratchlive.
I purchased the Numark case with the unit and REALLY love doing mobile gigs now. No more individual TT cases and mixer cases. No more RCA and ground wires and at least 15 minutes less setup time. I'm saving close to 70 lbs. in travel weight too. One bit of advice is to be wary of using PCs with this unit. I have a Unibody Macbook Pro 2.66Ghz but struggled making a Core2-Duo 2.2Ghz 4GB ram PC work "glitch-free" with the NS7 and iTch. It had quirky behavior while tracks were playing, random stops and various audio dropouts. Many PCs will (by default) have IRQ sharing which can hose up USB connectivity (the main source of NS7 communication to your laptop) if there are conflicts.
In troubleshooting, I had to insure bluetooth, anti-virus, firewalls, NIC cards, screen savers, wireless Network cards, on-board video and all sorts of services were disabled on the PC (a TOTAL administrative nightmare!) and still ended up having to run the latency at 5ms or greater for decent performance. My mic had major echo delay with this setting so enough was enough.
I purchased the MBPro and have not had a SINGLE glitch since. My latency is at 1ms AND I can run apps in the background while DJ'ing without problems. I highly recommend the NS7 (with adequately powered MAC) for any mobile DJ.

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Designed in collaboration with Serato, the Numark NS7 DJ Turntable Controller combines an all-metal chassis with adjustable torque, motorized, aluminum-turntable platters, vinyl, and a professional audio interface to deliver a complete performance solution that will satisfy even the most hardcore turntablist.
It offers a full complement of premium faders, knobs, buttons and the new Strip Search virtual-needle-drop control, which integrates seamlessly with the included Serato ITCH software. The NS7 delivers hands-on control of every aspect of Serato ITCH and sends data to the software more than ten times faster than standard MIDI resolution. And because it was designed for ITCH, NS7 setup time is the bare minimum--no tweaking, no mapping; just plug and perform.
The NS7's dual decks flank the mixer section. Its recognizable, professional appearance is supported by clean design in matte and glossy black. The entire unit is housed in a heavy-gauge, industrial-strength metal casing that is ready for the torture of travel.
Key Features
High-resolution controller built for Serato ITCH and compatible with Scratch LIVE libraries
Direct-drive, motorized turntable platters with classic and modern feel settings
Includes Serato ITCH DJ software, fully pre-mapped
Audiophile-grade audio circuitry with mic and line inputs, system and cue outs
Extensive loop, cue, and track-access controls
Strip Search (patent pending) virtual-needle-drop control
Controls most MIDI applications without requiring a mouse or keyboard
Rugged, all-metal construction
High quality, replaceable, customizable CP-PRO crossfader and D-TYPE line faders
Support for Whitelabel.net files in ITCH
Mix using either 33 RPM or 45 RPM speeds

Perfect Feel The NS7 has two seven-inch, motorized, high-torque aluminum turntable platters, and the turntable controls feature modern and classic settings that alter the feel to model the feel you prefer. Seven-inch, legit vinyl records with 45 RPM adapters sit on real slipmats--no simulation.
Solid, rugged, rubberized buttons and knobs compliment a high precision, replaceable CP-PRO crossfader and D-TYPE line faders for an unquestionably high-quality feel. The CP-PRO digital-VCA crossfader has a solid feel that is smooth and rigid. Like the crossfader, the D-TYPE digital-VCA line faders are replaceable. The crossfader offers contour adjust and reverse adjustment, enabling you to customize its operation.
System Simplicity Forget the mouse and the keyboard. The NS7 renders ITCH software perfectly simple to operate, with its click knob and large, backlit buttons navigating though your music library. You'll spend less time looking at the screen and more time enjoying performing thanks to the visual feedback you get from NS7's more-than 100 LEDs and more-than 100 hands-on controls.
A single USB cable between NS7 and your Mac or PC is all you need to send audio and data back and forth. The NS7 has onboard audio outputs so it's the only piece of gear you need to connect to the PA system or powered speakers. It outputs 24-bit, 44.1 kHz digital audio to the sound system on XLRs and RCAs. The front panel contains mic input, RCA line input, and both 1/4" and 1/8" headphone outputs with volume control.
The NS7 comes with an integrated laptop stand that supplies safe, secure mounting for your laptop. You can use an ultra-small space because NS7 elevates your laptop off the table.
Precision Control The NS7 sends control information over USB at more than ten times the standard MIDI rate. This innovative communication technique yields extremely high-precision, low-latency control.
There's nothing like dropping the needle on a record for quickly locating a point in the track, and with Strip Search--the unique virtual-needle-drop touch strip--you can locate a point instantly within the track using the on-screen waveform
Five hot-cue-assign buttons on each deck digitally mark your cues on the track. These marker points are recallable in ITCH and Scratch LIVE, and you can load Scratch LIVE cue points in ITCH.
Each deck offers an extensive Serato-style loop section, and you can choose between manual and auto-loop functions and an automatic BPM analyzer further assists loop makers. Creating automatic smart loops of any measure length is a breeze, and you can mutilate and modify to heart's content with a variety of controls such as Doubling, Halving, Shift, and manual controls.
Audio Quality The NS7 contains a host of professional audio connectors and a multichannel, 24-bit USB digital-audio interface. The high-definition post-mix analog audio output features a minimized circuit path with containing only one audiophile-grade bipolar capacitor. This optimized design maximizes phase coherence, ensuring that audio is tight and punchy.
Serato ITCH Software IF you use Scratch LIVE, you'll become quickly familiar with Serato ITCH. Because ITCH doesn't require a timecode interface, your system can be as simple as, say, NS7 and your computer. Since ITCH makes timecode a thing of the past, you won't need to worry about needles skipping or vinyl wearing out. You can load your Scratch LIVE crates, loops, presets, and cue points seamlessly in ITCH. The NS7 also works with most other MIDI DJ software and supports iTunes.
ITCH handles audio processing and mixing including channel fading, EQ, crossfading and track trim are processed for outstanding control and management of your tracks, ease of recording your set, clip-proof gain management, and BPM calculation using the power of your computer's processor.
The History function in ITCH keeps a comprehensive record of every track played and exports sessions from your history to 'txt', 'csv', or 'm3u'. ITCH also has a Loop Roll function that provides a looping effect where the playhead jumps back to normal time when you release the loop. Built-in key support ensures that ITCH reads key tags from MP3 files and displays them in the 'key' column in your library.

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Behringer EUroport EPA900 Ultra-Compact 900-Watt 8-Channel Portable PA System Review

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(More customer reviews)I wanted to write a review for this, because we were skeptical about buying it with so little reviews. It's awesome! It's just what it says, so far. We haven't used it on stage, yet, but testing it out has been a lot of fun. Since we're using it for children's entertainment shows, in gymnasiums, the vocal effects won't be very useful. It's very portable, and I love the way it packs up like a suitcase.
If I remember, I'll update this review once we actually use it in a show. Until then, don't be afraid of it, lol. I thought it was too good to be true, but not yet!
We were looking at a couple of different "portable PA" systems and I this one had more power, and less bad reviews than the other, more expensive and more popular set ups... which is why we risked it and went for this one.

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Looking for the ultimate portable PA system? The new EPA900 sets up in less than five minutes and delivers articulate, high-fidelity performance. With its twin 450-Watt amplifiers and custom-designed, 2-way loudspeakers, the EPA900 can fill a medium- to large-sized room or project your voice for an incredible distance outdoors. All the accessories you'll need are provided (including a microphone, mic and speaker cables) in a convenient, easy to transport and set up package--and the good news is you don't have to be a sound engineer to run it!

Superb Sound Quality Since we already make some of the best-sounding audio mixers, amplifiers and loudspeakers on the planet, it should come as no surprise that the EPA900 provides far superior sound quality than other products in this class. The two satellite speakers feature custom-designed 10" woofers and 1.35" aluminum-diaphragm compression drivers for incredible fidelity and clarity you might not expect from a loudspeaker system this small!
Control Freak Channels 1 - 4 feature our high-quality Invisible Mic Preamps (IMP), which have been praised for their transparency and headroom. A Level control is provided with a Clip LED, so you can dial in the perfect signal level. We've also provided a Pad switch for those occasions when you have to contend with "hotter" than normal input levels.
+48 Phantom Power Phantom Power is also available, so you can use studio-grade condenser mics. Overall system response is handled by a 7-band stereo graphic EQ, and our proprietary FBQ Feedback Detection System helps you track and eliminate those annoying mic squeals.
Two-Band EQ Additionally, each input channel has a two-band EQ (Bass and Treble), Balance (allowing you to place the signal wherever you want within the stereo image) and an Effects level control. It is important to note that while many of our competitors only provide a reverb switch, the EPA900 features an FX level control per channel with 100 state-of-the-art 24-bit digital FX to choose from. FX can be turned off/on via any standard footswitch (not included).
The Sweet Sound of Reverb, or Delay, or... If you're making a speech, chances are you won't need it, but if you're playing a musical instrument and/or singing, you might want to add some effects. So, we've included a 24-bit stereo FX processor with 100 great-sounding presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effects to sweeten your performance. And if you want to sing along with pre-recorded tapes or CDs, the EPA900's Voice Canceller function can remove virtually all the vocals from music played back through channels 7/8 with the simple flick of a switch.
It's All About Connections The EPA900 comes ready for your input, literally. Channels 1 - 4 accept balanced XLR mics, as well as balanced and unbalanced 1/4-inch line-level sources, such as electronic keyboards and the like. Stereo channels 5/6 and 7/8 accommodate RCA and 1/4" inputs, such as drum machines, keyboard sound modules, etc. All in all, there are enough mic and line-level inputs to handle a small band, and the RCA Tape Out connectors provide the perfect connections for recording your performance.
A Bonus Channel? Want to play some of your favorite tunes at the company picnic? The EPA900 comes equipped with a 1/8" stereo minijack for connecting an MP3 player. Additionally, the Stereo Aux In section features Left and Right 1/4-inch jacks for connecting even more professional audio sources. You don't even have to give up a channel, just control the volume from the player. It's like getting 10 channels for the price of eight!
Everything You Need The EPA900 is a complete system. Just use the built-in wheels to roll it from the car to the stage, set the main unit on a tabletop and deploy the speakers. Connect the high-quality dynamic microphone and hit the power switch--voilá, instant PA system! There is even an onboard storage compartment for the included microphone, accessories and cables. And if you need to add some serious bottom-end to your system, just connect an active subwoofer to the handy Sub Out jack.
What's in the Box Behringer EPA900 System (Mixer, Two Speakers), Behringer XM1800S Microphone, Mic Clip, 20-Foot Cable

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BBE DS-24 Digital Crossover and Speaker Management Processor, 2 Input / 4 Output Review

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(More customer reviews)So... for 175 bucks you get many options. Nice unit just remember to bring your laptop. Or create many profiles with slight variances to get the desired FOH sound.

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Behringer DJX700 Professional 5-Channel DJ Mixer with Digital Effects and BPM Counter Review

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(More customer reviews)this was my first mixer, in my DJ'ing Business. i use this thing ALL THE TIME! ive had it for over a year, and have nothing to complain about. great item! no problems!
so worth it!


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The PRO MIXER DJX700 is a professional 5-channel DJ mixer with great features for club-worn veterans and starry-eyed newbies alike.

Five-Channel DJ Mixer The DJX700 features four dual input stereo channels, and 1 ULN microphone channel with "on air" switch. A dedicated effects loop is ideal for connection of external devices (sampler, reverb processor etc.), and the adjustable crossfader curve lets you adjust for all mixing styles.
Three-Band Kill EQ Dial it in with a three-band kill EQ (-32 dB) and precise level meters with peak hold function on each channel.
ULTRAGLIDE Faders The faders are the heart and soul of every mixer. With their 500,000 cycles life expectancy, Behringer's high-grade 45-mm ULTRAGLIDE faders outperform standard faders more than twenty-fold. VCA (Voltage Controlled Amplifier) technology goes hand in hand with our faders--audio signal does not run directly through them; instead, the faders only provide a control voltage to the VCAs. The advantage: practically no audio noise caused by mechanical wear.
Built-In Digital Effects Your crowd will be astounded by the 47 breathtaking digital effect presets in 24-bit quality: delay, reverb, flanger, filter, panner, ultrabass, exciter, Vinylizer, voice changer and more. Your audience will be astounded, but they'll never have to know your secret.
Track-Matching Tools Matching tracks is an art in itself. It takes countless nights of practice before you can truly say you have it under your belt. With the intelligent BPM counter, Behringer take a lot of the guesswork out. Features like SYNC LOCK and BEAT ASSIST help you seamlessly align two tracks without having to rely solely on your ears.
Surround Function Behringer also gives you the awesome XPQ 3D surround function. It widens the stereo image and adds life and transparency to your sound--it's a great way to put a unique finishing touch to your sound and make it feel bigger and wider.
Low-Noise Preamps You work either with CDs or vinyl--sometimes both--and they all induce their own noise into the mix. The last thing you want is to pile even more mixer-originated noise on top of that. That's why all of Behringer's DJ mixers incorporate the improved ULN (Ultra Low-Noise) preamps: what comes in comes out, with nothing added. So you get maximum headroom, minimal noise and ultra-transparent sound.
What's in the Box Behringer DJX700 DJ Mixer, Power Supply, User's Manual

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Bose L1 Model II System Single Bass Package Review

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(More customer reviews)I have worked as a mobile DJ since 1980 in the Pittsburgh area, and for most of that time, I used two Bose® 802 speakers (the pro version of the 901s) and the 302 acoustimass bass enclosure (which weighs 115 pounds). There was never a doubt that I had the best sound possible.
However, I tore a rotator cuff lifting the 302 into the car a couple of years ago; the system was just too much to load and unload, what with the speakers, two amplifiers, mixer, etc.
In January, I discovered the Bose® L1 Model II sound system. It is light, compact, and efficient, and it delivers incomparable sound that rivals the 802/302 system pushing 1600 watts but without the weight and clutter of cables, etc.
For DJ applications, I highly recommend getting two B1 bass units to deliver the kind of bass that carries into the room and which would be suitable for dancing.
If you are using the system as a single performer, then one B1 unit might be sufficient. However, my experienced friends have told me that this system does not work as well as some other systems with DRUMS. For that use, you might want to consider a different set of speakers, especially subs.
When I set up my L1 with two B1 bass units at a venue, the first "test" song I play is Billy Joel's "Innocent Man." If you're familiar with it, you know it starts off with dynamic bass. Then the high register kicks in, and the L1 system produces such spectacular sound that at every single gig I've done with them, someone--waitresses, bus boys, caterers, hall managers--comes over immediately to rave about the sound. One of the most frequent comments is "I can't believe how CLEAR the sound is!"
For what I do (weddings, corporate parties, reunions, etc.), it's the ideal system. Cocktail hour and dinner music, which have to be low enough to allow conversations to be carried on at tables, was always a problem. In the past, people near the speakers thought it was too loud, while people in the back of the room couldn't hear the music clearly at all. Now, though, I can set the volume, and that volume is pretty much the same if you're standing 10 feet from the speakers or 75 feet from the speakers. There is a very slight falloff in the sound volume after the first 100 feet, but even at that, it still carries well. Even though I've been doing this for several months now, I'm still amazed at how even the sound coverage is.
When it comes to the dance music, the volume doesn't have to be as "loud" as it had to be with the 802/302 system. When I fired those speakers up, there was always a "hole" on the dance floor in front of the speakers because the volume was so high it would make your ears bleed (OK, so it wasn't that loud--but it was loud!). With the L1 system, the sound carries so well that the volume doesn't have to be set at the "make their ears bleed" level. I can set it for the "right" sound for the dance floor, and it carries all the way across the room at the right volume. And people dance right next to the speakers. I was surprised to see that, to tell you the truth, and I even took a picture in May of the parents of the bride dancing about 2-3 feet from the speaker system.
A nice feature for me is the fact that the amplifiers are built into the pedestal base unit that holds the cylindrical tower (two speaker sections that fit together rather securely in a seven-foot high tower). The amplifiers are created by Bose precisely for these speakers. The cylindrical tower contains 24 matched speakers that are placed at specific angles within the tower to create that 178-degree horizontal "throw" of the speakers. The amplifiers sense how many B1 units are connected and properly direct sound and power to them.
Lots of "stats geeks" have trouble with Bose® speakers because they are into amplifier wattage, speaker capacity in terms of "power," etc. However, if you understand that Bose is engineering the sound of these speakers in a new way, then you'll understand that the sound is not directly reliant on some of the "old" measures of powering speakers. The bottom line is the sound your ears hear, which is the truest test of any speaker system.
If you buy this system, I recommend the Bose® ToneMatch® audio engine to go with it. It has three microphone inputs that have universal inputs (either XLR or 1/4 inch jacks), and a fourth input that accepts two 1/4 inch jacks (either balanced or unbalanced). Stereo sources can be connected here, so that solves the "stereo iPod" problem mentioned by another reviewer. There is also another connection, a direct USB connection, which will accept sound (either stereo or mono) from a computer. I use my laptop and a firewire drive, and all the music comes through the USB port into the ToneMatch® audio engine. Another benefit of the ToneMatch® audio engine is the large number of "presets." The presets will tailor the sound of the system to fit various microphones; a wide variety of instruments; and pre-recorded (DJ) sound sources. There is a "Low Volume" preset that is nice for dinner music, for example, and a "high volume" preset for dance music that eliminates the tinny highs and midrange, and the sometimes muddy bass sound that is often produced by sound systems when they are pushing the higher power outputs.
I recently did an outdoor venue for a Car Show and had to cover a huge area with sound. I used one Bose® L1 Model II with two B1 units and one Bose® L1 Classic system with two B1 units (I picked that up "used" as a backup for the Model II and for use in larger venues). I pointed one system up the hill into the wind and the other system downhill with the wind behind it. The "uphill" sound carried very clearly for about 70 yards, after which it was audible but not crystal clear. The "downhill" sound carried 120 yards with no hint of falling off. That answered my question, "Will this system provide enough sound for a large venue?" Last year I played that same venue with my Bose® 802/302 system (1600 watts pushing it), and the comments I heard this year were that the sound was much better this year and it was clear all over the area. Take it for what it's worth.
Bottom line evaluation for who should/can best use this system:
* For single performers, this is outstanding.
* For DJs, this is outstanding.
* For live bands trying to use more than one or two performers per system, this may not be your best choice unless you get one system per performer.
* For drums, this might not be the best audio solution unless you have four B1 units.
* For small venues, this system may have no equal.
* For larger venues, an additional system might be required to cover the entire area.
* While I have not had this concern, other DJs have reported that it is helpful to elevate the system to get better "throw" over a crowded dance floor. (Lots of bodies will absorb sound.)
Bottom line evaluation for the system itself:
* For portability, sound quality, and ease of setup, this is outstanding.
* For clarity and range of sound, this is outstanding.
* For bass reproduction at high sound levels in very large venues, this system is average with two B1s; below average with one B1; and slightly above average with four B1s.
Overall, I give the Bose® L1 Model II system (with TWO B1 modules) the top rating, 5 out of 5.

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JBL JRX118S Single 18-Inch 350W Continuous, 1400W Peak Passive Sub Bass Loudspeaker with Pole Mount Review

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(More customer reviews)I own two of these subs and are MORE than satisfied! The bass is tight and punchy, but they can go low if you want them to. Make sure you use a crossover with a 24db slope and a good sound processor. I use a Behringer DSP 1424P sound enhancer and a BBE Max X3 crossover...GREAT SOUND!!!!!!!! Also the JRX118S has a 4ohm impedance, so make sure your amp is stable at 4ohms stereo. If are using one amp and are running two subs on one channel and your full range speakers on the other, make sure that your amp is stable at 2ohms. I recommend QSC amps!! These subs are complete over-achievers for the price!!!!!!

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JBLJRX118S Single 18 Inch 350W Continuous, 1400W Peak PassiveSub Bass Loudspeaker in a Robust Black Carpet Covered Cabinet with Pole Mount.

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JBL PRX618S-XLF 1x18 1000-Watt Extended Low Frequency Powered Subwoofer, Single Speaker Review

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(More customer reviews)Anyone looking to add more bass to their professional sound system should seriously consider this product. The first time I tested it, I turned it up not even all the way, and the lights started rattling in their enclosures! I use this sound system primarily for parties, and the crowd loves the bass provided by this speaker.

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Bose L1 Compact Portable Line Array System (View amazon detail page) Review

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(More customer reviews)I am a professional mobile DJ in the Pittsburgh area, and I rely primarily on the Bose® L1 Model II sound system (with two B1® bass units) for my performances. When I need extra boost, I expand my sound by adding a Bose® L1 Classic sound system (the original L1 system) and two more B1® bass units to my Model II system.
However, there are times when I don't need the "muscle" of the full system, such as small venues for birthday parties, outdoor wedding ceremonies, etc. For that, the Bose® L1 Compact sound system is perfect! It will provide excellent sound for 100-150 people. It is an amazingly fast setup and tear-down, and it is light enough to be truly portable. Completely set up, it weighs just 29.2 pounds, so it is great for those tough small venues that have limited space, limited access, stairs, etc.
The sub-bass sound is built into the bottom unit, and there are 1/4" jack inputs for your sound source. The unit is designed to work with the T1 ToneMatch® sound engine (mixer with many presets that can contour the sound nicely). If you are using the ToneMatch, however, be advised that you will have to purchase a power adapter for the ToneMatch. (The ToneMatch is powered from the pedestal base amplifier of the Model II®, but the L1 Compact® will not power the ToneMatch.)
The midrange sound comes from a small, narrow enclosure containing six small speakers/drivers placed at precise angles to deliver sound at a 178-degree "throw" left and right. The sound WILL cover a large area evenly, which is great for those times when the sound has to be softer (dinner music, pre-ceremony music for weddings, etc.). Everyone in the coverage area hears the music at the same volume, which avoids the problem of traditional speaker systems (really loud near the speakers but diminishing volume as you get further away). I was very skeptical of this feature when I first heard about the even sound coverage, but a year and a half of using the Bose® L1 systems has made me a believer. It's sweet!
Another nice feature is that there is a 1/8" stereo input jack for iPods (also works well when sending sound directly from your headphone output of a laptop). This lends a great deal of versatility to the system.
Example 1: I did a wedding reception recently where the father of the bride had a DVD he wanted played after dinner and projected onto a large screen. The location of the LCD projector was quite a distance from my main table, and the hall had not provided for the sound of the DVD show. I brought in the Bose® L1 Compact system and set it up next to the projection table, connecting the sound directly from the laptop that was running the DVD to the Compact system using a 1/8" to 1/8" stereo jack from the laptop to the iPod input on the Compact. The sound was perfect! Far better than any portable speaker system I have heard in the past from photographers/videographers who bring portable sound with them for their PowerPoint shows. It was a simple one-cable connection without anything else.
Example 2: I did wedding ceremonies both outside and inside for crowds of about 150 people or so using the Compact system. I ran all the music from my MacBook Pro through the ToneMatch®. I also connected two Shure wireless mics through the ToneMatch as well (one on the officiant, and one on the groom, which picked up the bride as well.) Additionally, I connected my Sennheiser wireless handheld (for any "emergency" announcements that might have been necessary) through the ToneMatch. This was a more complex setup that involved power for three microphones, one laptop, and the Compact System®.
For both applications, the Compact® delivered great sound and covered the area perfectly. I could not have asked for better sound.
There are two "sides" for input. One side is for line inputs (from mixer, musical instrument, iPod, laptop, ToneMatch®, etc.), and the other side is for a microphone input. Each side has its own volume control, which is crucial if you're a single performer. You can set your voice and instrument levels perfectly. As a DJ, though, I do not use the microphone side, so I cannot comment on how well the two sides work for single performers.
There are two official setups for the L1 Compact®. One setup is to leave the speaker in the base unit (the way it arrives). You would have to put this on a table for good sound coverage. If you used it from floor level, the sound would be muddy. This setup would be perfect if you are supplying the sound system for a keynote speaker at a conference, as an example. The unit could sit on the table next to the podium where the speaker is standing, and the sound the audience would hear would be fabulous--VERY crisp and clean.
The second official setup is to use the two extender sticks to elevate the speaker unit about six feet off the ground, which is the way you would want to set up the unit for full-room coverage for music, especially if there will be dancers!
I saw the unit being used with only one of the extender sticks, which put the speaker unit at "head level" for a seated audience. I don't know why you would use that setup, but it works fine that way (the extender sticks are identical, so there doesn't seem to be any reason you CAN'T use this setup.) Be advised, though, that Bose® does not recommend this setup.
So let's get to the bottom line:
PROs: Compact, portable, sleek. Easy setup with a tiny footprint. Great sound for what it is, delivering full bass, midrange, and highs for up to 150 people. Excellent choice for small venues, whether you are a DJ or a single performer. Great system for speakers at business meetings, conferences, church groups, etc. The sound is crisp, clean, and clear. The bass is far better than anything of comparable size, and the quality of the unit is excellent. This system is what I use for my backup system (to the L1 Model II®). It doesn't take up much space in the car, and if something WERE to happen to my L1 Model II® system during a performance, then I have a better backup system than 99% of the DJs out there.
CONs: While the bass response is very good for the size of the system, it cannot really compare to using two Bose® B1 units with a Model II system. THAT system can provide a chest-thumping bass resonance, but this system would be hard-pressed to do that. Don't get me wrong here: the bass response is very good, but it isn't what you would want for a larger venue where the bass has to carry out all over the area. And, as one should know right up front, it is NOT a unit for larger venues. It is fine for small areas, but if you have a louder, noisier, larger area, the Compact system would not be up for the task.
BOTTOM LINE: If you want terrific sound from a light, portable unit for a small venue, this system can't be beat! If you want a high quality backup system for your main sound system, it would be tough to get a better system with a better sound. If you play larger venues with noisy crowds or if you need a driving bass sound to resonate throughout the venue, then consider another alternative. (And remember, if you use a ToneMatch® sound engine with this, you have to buy the power adapter.)
RATING: Four stars because of its intrinsic limitations. It cannot be a system for a larger venue for 150-200 or more people, but it can be your answer for smaller venues and smaller crowds.
For what it is, though, it is Super!
NOTES:
* Response to reviews: Another reviewer here has stated that there are plug-ins for only voice and guitar, but that is inaccurate (see above for input variety). And as for effects such as reverb, delay, and other effects, those can be created nicely with the Bose® T1 ToneMatch audio engine, as stated above.
* The bass response difference I mentioned above between the Model II and the Compact units is approximately one half octave at the low end, according to Bose. Many people cannot hear the difference, but trained ears can. The limited power and bass response are the reasons I could not give five stars. Still, all in all, a great product!

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JBL EON 518S Portable 18-inch 500-Watt Self-Powered Subwoofer with Crossover, Dual Inputs,Loopthrough for Sattelite Speakers and Pole Mount Socket Review

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(More customer reviews)Pumps out a considerable amount of bass from an unbelievably small cabinet, it fits under my 5' folding table.
Highly recommended!

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Behringer EurOlive Vp2520 Professional 2000-Watt Pa Speaker with Dual 15 Woofers And 1.75 Titanium-Diaphragm Compression Driver Review

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(More customer reviews)While I did not buy them from Amazon, I have a pair of these speakers that I use for sound reinforcement for a country rock band. These speakers have amazing frequency and dynamic range and wide sound disbursement angle. Their bass response is excellent, much better than I expected. You would be hard pressed to find a better value.

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Behringer EPX2000 Professional 2000-Watt Light Weight Stereo Power Amplifier with Atr (Accelerated Transient Response) Technology Review

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(More customer reviews)After thorough research on multiple websites I determined that the Behringer EPX200 was the right amp for my situation. The applied situation for this amplifier is for a fraternity house sound system. So, I emphasize the word rugged in the title, haha. It's been almost a month now and this amp is put through its paces multiple times throughout the week. It's powering two Nady 500 watt speakers and they sound great. This amp puts out plenty of power, and the limiter switch on the back is great because it keeps people from doing harm to the amp or the speakers who don't know how to use it. Seriously, even in a large room, this amp pumps out the sound.

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JBL EON 510 Self-Powered Two-Way 10-inch 280-Watt UltraLightweight Speaker with 3 mix inputs Review

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(More customer reviews)My first audio recording job was in radio production for a university in 1957, and that job put me through two degrees. I have been involved to some extent in sound recording and reproduction ever since. I have been aware of the EON series since its introduction, and have wanted one since, after retiring, I began teaching ballroom dance. My frugal nature and presumed audio expertise kept me with more economical equipment until I was tired of hauling around so much stuff, such as mixer/amp, sub, speakers, stands, patch cords, wireless mic setup, etc.
I tried several less expensive powered speakers, some with integrated mixers. I was continually disappointed by both their bulk, weight, and quality.
I recently purchased a JBL EON 510 for use as a lightweight, portable dance DJ system and for dance teaching. I am pleased. It has clean lines, no objectionable protrusions, no sharp fins sticking out the back, and it sounds great.
I have used it with an iPod, laptop, and wireless microphone, and I have tried line level in both inputs. (Toggles provide lots of options.)
At first, I was disappointed in the lack of a master gain control, but the separate controls on the two inputs have proved adequate. It does have a bit of background hiss, which a dealer assured me was invariably present in powered speakers and at its minimum in JBL. I had to agree that it was not as bad as the others I had tried, but I had expected more from JBL. Even so, it is far enough below the music so as not to be noticed.
The handle was surprisingly uncomfortable, though tolerable. I modified it with a 3-inch section of plastic tubing, split lengthwise and placed over the edge of the handle.
Mine came boxed with only the speaker and power cord, which is longer than most, often not requiring an extension cord. I called the company about the lack of a manual, and they didn't even know whether or not one came with the speaker, even though the box indicates that one is included. They suggested I download one from their web site. I called the regional sales rep, and he didn't know either, referring me to a dealer or the JBL Pro web site. I gave up and downloaded the PDF, printing only selected pages; it is a relatively large manual.
For a 17 lb. powered speaker, the sound is exceptional, better than all the 12 inch speakers that I tried, and ended up selling. Financially, I would have been better off just buying the JBL years ago. I'm glad I have one, customer service, handle, and buzz/hum/hiss notwithstanding.

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Peavey PV 1500, 1500 Watt Power Amplifier Review

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(More customer reviews)i really like this amp great price great product and i would buy from amazon.com again.

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VocoPro SV-500 (Pair) 10 3-Way Vocal Speaker Review

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(More customer reviews)i have high-end 7.1 surround speakers for my home theather. so when i bought a karaoke & equalizer & pre-amp units, i thought i was done. wrong.
you need these vocal speakers! period. loud yet clear and crisp. they bring out the vocal, and the right mix of mid and high . a little weak at the low bass, but im sure its by design, can be easily compensated with existing sub-woofer or by adjusting the EQualizer.
highly recommended.


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M-Audio Torq Xponent Advanced DJ Performance/Production System Review

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(More customer reviews)So after scouring the internet for reviews of the xponent, and having used its cousin the Torq Mixlab and getting down the basics of CPU based DJing, I am proud to say that I couldn't be happier with the Xponent. I got it a few weeks ago, have a Macbook that runs great with it, and have so far had no problems whatsoever. The software is fast and loads my itunes library (over 16k songs) in about 30 seconds. One of the best features of the Torq software is how it figures out (or you can override) the beat of each song and SAVES it. This means that when you're spinning, you can sort by BPM and see the 20 songs that are close in BPM that you have used before. This makes song selection a pleasure!
All the switches and knobs are very responsive, and as a person who basically started DJing (beatmatching, mixing, cueing) a month ago, I feel right at home here. The loop features are easy to use and drop in, and the sampler is very powerful and easy to use. I just spun a big house party with this thing a week ago and it went great! The effects are fun, and using the mouse pad like a Chaos Pad allows for some cool remixing on the fly. I find that scratching is easy to do and there are various settings to determine how sensitive the wheels are.
All in all, this is a great product for a novice or someone who likes to pick music and wants to get into real mixing. If you're the person always holding the iPod at the party but want more control, this is definitely a great place to start (and as far as I'm concerned, finish). As for all the haters of digital DJing, I don't really care, its much easier than bringing vinyl and remembering BPMs and you can plug in someone at the party's ipod and use their music in real time. I find that the Xponent is extremely versatile, perfect for a beginner or seasoned DJ alike, and it and its grandchildren will be leading us into the future of DJing. Hope this helps, there is a lack of people talking about the Xponent and its a truly great device that has allowed me to finally do something I've wanted to do for years, but I've never had the resources to get set up with vinyl and dj lessons.
Cheers!
-DP


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The professional-grade Torq Xponent system seamlessly integrates high-performance DJ software with a fully functional hands-on controller, representing a new era in digital DJ performance and production. The Xponent hardware combines the features of a two-channel DJ mixer with CDJ-style tactile controls, letting you cue, mix and manipulate digital files without touching the host computer. In addition to the essentials, M-Audio Torq 1.5 software delivers a variety of real-time creative tools to take your sets beyond the ordinary--and the Xponent hardware control surface puts all that power right at your fingertips. This integrated solution opens the door to new techniques that are simply impossible with traditional DJ setups.

Rock-Solid Professional DJ Hardware The Torq Xponent hardware/software system delivers everything a professional DJ needs to perform with a computer. Xponent is both an advanced MIDI control surface for Torq software and a four-output USB audio interface that includes two stereo RCA outputs and a standard 1/4-inch headphone output for cueing. Every control on Xponent boasts the same rock-solid construction and rugged feel as traditional DJ hardware. So if you're ready to make the leap to the world of software-based DJing, you'll feel right at home with Xponent.
Get Inside the Mix Torq 1.5 DJ software makes it easy to go beyond basic beat matching and crossfading between tracks. With a 16-cell, tempo-synced sampler, easy looping capabilities and multiple cue points, you can chop up a song--on the fly--and reorder, remix and extend any section you want, all while staying perfectly in time. The QuickScratch feature lets you instantly scratch with any two loaded samples. Tempo Anchors remove tempo variations from your tracks--or cause other songs to adopt the tempo changes--making mash-ups and live remixes a breeze. Tempo Master synchronizes all tracks, samples and effects within Torq, while MIDI clock transmits tempo information to outboard hardware and other computers so you can collaborate with friends. And if you also want to produce, Torq is ReWire-compatible with Pro Tools M-Powered software and other popular applications.
Advanced Effects Processing Torq 1.5 gives you 10 essential effects right out of the box for dynamic manipulation of your tracks. Imagine the possibilities of stacking multiple distortion, filter, repeat, chorus or bit-reduction effects while mixing between songs. You can turn any track into your own original creation--and even record it on the spot with the integrated performance recorder. Torq also allows you to create recallable snapshots of your favorite EQ, effect and mixer settings, and even supports the vast world of third-party VST effects plug-ins.
Dynamic Control Over Torq 1.5 Software The best DJ tools allow you to get your hands on your music--from cueing to beat matching to scratching. M-Audio designed the Xponent control surface with full-size, DJ CD-player-style controls so you can get into the music and engage the crowd during each moment of your set. Xponent features 64 assignable backlit buttons (including Play, Cue, Seek, Loop, Key and Sync controls), two volume sliders, eight assignable knobs for effect control and two 100mm pitch sliders. The built-in touchpad/assignable X/Y controller allows you to control your mouse or the effects in Torq, so you never have to take your hands off the unit in the middle of a performance.
Made to Work Together Torq 1.5 DJ software for Mac and PC automatically configures itself to work with Xponent--every hardware control is pre-mapped to its corresponding function in Torq. It's easy to get up and running with Xponent because all of the hardware controls are located exactly where you'd expect them to be. The transition into digital DJing couldn't be simpler.
Plays Well with Others In addition to VST compatibility, Torq 1.5 software can interface with any ReWire-compatible host application. You can easily route the output of Torq to a program like Pro Tools M-Powered and explore even more performance, production and sound design possibilities. When ReWired to a host application, the tempo of Torq automatically locks to the current session tempo, so you never have to worry about syncing playback between Torq and your preferred DAW. In addition, the Xponent control surface can be MIDI-mapped to other digital audio workstation software including Ableton Live.
What's in the Box Xponent USB DJ Controller and Audio Interface, Torq CD-ROM (Torq Software, Xponent Drivers, and Documentation), USB Cable, 12VDC 1000mA Power Supply, Quick Start Guide

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Korg KP3 Kaoss Pad Dynamic Effects Sampler Review

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(More customer reviews)first thing, i am no where near a pro with effects and recording equipment, that said, i have a long history with korg, and know from exp they make really good effects and at good prices. this machine is addictive. i want to let potential buyers know what you can do with the kaoss right out of the box, with about 20min w the manual. so it is basically an effects processer, instrument(drum machine and synth) and a sampler(w 4 banks a-d) i have a 400 disc player, and ran the rca through the korg line in, and line out into a 8 track digital recorder. and its just fun. i hit random play, and rarely get past the first 30 seconds of a song. the kaoss makes it very easy to sample any line in, and loops them, you can use up to 4 at a time,and you can save your fav samples on sd cards (2gb max,which you can buy on amazon for 7$,i like kingston) thats just the beginning, once you get a sample or samples, you have a hundred dif effects(phaser, grain,delays, re-verb common effects and sounds in the korg library) so you get a sample, you loop it back and you can manipulate it in a infinite number of ways. it also has bpm, a feature that syncs the beats in the machine to music from the line in, so it does the timing for you, and the beats loop in increments(4,8,16} the touch pad(which is huge) act as the knobs on effects and synths. so the clip its playing changes with every move of your finger. , every time you change the effect it opens a new world of the same sample.
now the drum machine and synth, there could have been more banks here and less effects, but some i imagine would say the opposite. i very much like that it loops seamlessly, and you can change the measures, but not as versatile as traditional drum machines. the touch pad responds very well, though when you tap faster as in a drum roll, it will hold up, but the sound is more in the held position anyway.and its somewhat user friendly, i say that cause i hate manuals, i just like to play, so i have figured out about 20% of this machine, and still i cant help to smile just looking at it. i have been looking into samplers for 15yrs and this is the least expensive, most fun, and easiest to use machine i have ever seen. . i, you can be silly, serious, either way it will impress(it will process anything w rca jacks, so there is no limit, there is allot of rhythm in the most common tv shows, radio programs, even the worst lp has sumthing sweet korg gives one year warranty,
update drum machine and synth work welly well w my microkorg, play one w your right and other with the left hand, ,my guitar through the mic input is really cool, you press hold on the effects, and you can change the sound completely after each riff, not so good w my bass, distorts at low levels

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Embraced by DJs, musicians, and producers alike, the Korg KP3 Kaoss Pad Dynamic Effects Sampler is intuitive, immediate, and just plain fun to use. By simply touching, tapping or sliding your finger over the touchpad, the Korg KP3 allows you to control multiple effects parameters and manipulate samples in real time. On stage or in the studio, these gestures and moves can become truly powerful and expressive performance elements.
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DBX DriveRack PX Powered Speaker Optimizer Review

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(More customer reviews)WOW! Think about this thing as a magic wand for your sound system. Even though I only know how to work the wizards, I can already hear the difference. The sound is nice and tight, and I am able to get the bass I love out of my system (2x Mackie SRM450's and a Cerwin Vega CVA-115 sub, second one coming soon!). I started playing around with the compressor and the EQ and I'm amazed at how great my speakers sound. I can't wait to learn how to fully use all the features. I've already told some of my DJ friends to get this. Also, the feedback suppression system on this is great. I DJ weddings and other formal and corporate events. I don't have any complaints so far!

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