Behringer B-Control Deejay BCD2000 Brochure

DJY414.100-1_TSCANbcd2000 13/4/06
100T-SCAN
words: David Eserin
INFO
T-SPECS
CONTROLLER:
>> >>
XLR Mic input with two-band EQ Dual
stereo full-duplex soundcard >> 24-
>>
bit/44.1kHz audio conversion Stereo
master output on RCA >> Stereo cue output on
stereo jack (headphone) >> Phono stereo input
>>
on RCA Switchable Phono/Line input on
RCA >> Gold-plated connectors
>>
MIDI controls: 13 knobs, 37 buttons, 5
sliders, 2 jog wheels >> USB 1.1 connection
>> Two-pin power cable
B-DJ:
>> >>
Two virtual decks Three-band EQ: -
36dB/+12dB >> EQ kills >> Two filters
>> MIDI and key mapping >> Crossfader curve
>> >>
control Auto beat mixing Scratch
control >> Cue points and memory >> Track
>>
beat grid and tempo matching Pitch bend
and range adjustments >> Looping and loop
out adjust >> Recording >> External input
>> >>
mixing DirectX effects support Cue
mixing
"The controller
outclasses other hands-
on interfaces like the
Hercules, and Ableton
DJs should note that
you'll pay at least the
same price for a MIDI
controller alone
anywhere else."
BEHRINGER BCD2000
INTEGRATED DIGITAL DJING PACKAGE
THIS HIGHLY COMPREHENSIVE DJ-SPECIFIC CONTROLLER FOR HANDS-ON COMPUTER MIXING COMES AT A TRULY AMAZING PRICE. SO WHAT GIVES?
PRICE: 119 INFORMATION: WWW.BEHRINGER.COM
THIS neat little package from Behringer
comes with everything a DJ needs to
mix digital audio on a computer. For a staggeringly
low price you get an expansive MIDI controller
designed specifically for DJ use, which is also
compatible with any other MIDI software. It has a
built-in sound card running at 24-bit, which lets
two decks and a mic be incorporated into the mix.
Additionally, there is some specifically matched DJ
software for the controller with advanced features
such as looping, scratching, effects, kill EQ and
loads more.
The controller and the software are essentially two
different products, but they're designed to work
perfectly together. The B-DJ software has all the
controls needed to mix music and to be a bit more
creative besides. On screen, it strongly resembles
the look and layout of the controller, with the DJing
7:28 PM Page 100
CONTACT: +49 2154 9206 4144
interface a combination of dual CD controller and a
DJ mixer.
The way the hardware works with the software is
among the most responsive we've seen. It almost
feels like you're operating the hardware and the
controls on the screen suffer from very little latency.
EQ & FILTERS
The EQ dials offer near cut control with -36dB
and a hefty boost of +12dB. For a complete kill
there are cut buttons below the EQ dials, which
light up when they are active - really handy.
The separation of the EQ is good too, especially
on the bass. The high frequencies sound a little
tinny when the bass and mid frequencies are
isolated, though.
Another problem we spotted is that virtually any
EQ boosting causes distortion - even when we
turned down the gain, volume fader and master
output. It seems that the EQ is processed pre-
fader, rendering it almost useless.
The filter is a nice addition and can be set up in a
number of ways. The best option is to have a low-
pass from the middle round to the left and a high-
pass from the middle around to the right. The
quality is entry-level but some great results can be
achieved. It also makes the high frequencies
sound a little tinny when moving through that
range. But this is only noticed when compared to
the likes of an Allen & Heath product and is a
decent attempt for the price.
Although it's not set up as default, the filter can
be linked to dials, and it's one of the most useful
mixing tools. There's also the option to map
controls to keyboard keys.
SCRATCH CONTROL
The scratch control is cool and we like the fact that
it's there. It's surprisingly good at keeping hold of
the scratch point mid-scratch and is easy to get to
grips with. The downside is that you can't actually
perform a scratch in the traditional sense. The
software only controls playback from the jog wheel
when it starts to move, so it's not possible to
scratch and then hold the (virtual) record. A
second after the dial stops moving, playback
starts again automatically.
When scratching a kick-drum and dropping it, your
instinct is to push the beat in with a forward
motion on the dial. But playback won't start until
around half a second after the dial comes to a
standstill. Only then will it clinically resume perfect
speed (without any analogue-sounding wind-up).