Prodigy B-52 Bedienungsanleitung PDF herunterladen

THESCOOP

By Steve Sharp

The Prodigy FX from

B-52: a seamless blend

of players and mixer

echnology keeps pushing

forward in multiple

directions, sometimes

all at once, it seems. B-

52 Professional, known

primarily for a wide range of

speakers, including their Matrix

series of powered speakers, have

released an unexpected surprise in

the form of an integrated dual CD

deck and mixer workstation, the

Prodigy FX. While it is an integrated

“plug and play” workstation, do not

compare it to other basic CD-mixer

combo units. Although the Prodigy

FX is meant to configure easily, it is

also meant to offer performance far

beyond basic playback. This is for DJs

who want to manipulate and really

work “hands on” with their music. If

that’s you, read on...

Meet the Prodigy

The Prodigy FX is hefty, and looks built to last.

At first inspection, it’s clear that lots of thought

was put into creating this piece. The unit can be

used on a tabletop or from within the custom

flight case that is included, so you’ll have zero

accessories to buy. While it’s big in size, it’s not

so big or heavy that you’ll need several friends

to help you schlep it around. The entire unit is

fan cooled and the case designed to support

the airflow of the automatic and variable speed

cooling fans. Heat kills electronics faster than

any other single thing. The harder you work the

Prodigy FX, the harder the fans work to keep the

unit cool and fully functional. The mixer section

uses VCA components, which are known for their

durability and accuracy. Indeed, all the controls

have a high-quality “feel.”

The unit configures easily. I had it out of its

double boxes and “live” into powered speakers in

less than ten minutes. As a quick test, I turned the

unit off and on with the power to the speakers

still live and loud, and there was no pop at all, at

any time. Nice. Basic operation is totally intuitive

with the well-laid-out control panel. CD decks

and their controls are located to the left and right

symmetrically, with the mixer in the middle, so

anyone who has DJed previously should be able

to work with the Prodigy FX right away.

The CD decks are slot-loading from the

front, so there are no trays or door mechanisms

to break. There’s even a “forced” reset, which will

eject the disc and reset one side of the unit, in

the unlikely event a CD jams inside of it during a

performance. For longer laser life, the decks go to

sleep if left idle for too long (but you can disable

or change the parameters of this protection).

The decks can play audio CDs, as well as MP3

CDs natively; you don’t have to upgrade it to

make it MP3 capable and it is as feature-rich with

an MP3 CD as it is with a standard audio disc.

Oversampling and shock memory are included,

of course.

Control Yourself

Above the slots is the jog wheel, which is a 5”

replica of a standard 12” turntable “wheel of

steel.” Behind the wheel are the Digital Signal

Processing (DSP) controls that unleash a host of

effect options, allowing tons of creativity in live

performance; I found these to have a level of

quality and accuracy I’ve never seen before in an

“all-in-one” unit. They’re laid out logically; you’ll

only have to read the manual for the nuances

of operation—the basic operations are totally

intuitive. The effects can be stacked on top of

each other, up to four (one per “row”), and can be

beat-synchronized!

Three programmable hot starts are on

each player, as well. Behind it all is the large,

well-designed display, which reads well in low

light or bright sunlight, from a wide viewing

angle, with adjustable brightness (I found I could

generally read the Prodigy FX display better than

the screen on the notebook computer that I’m

using to write this, especially in direct sunlight).

The entire deck control area looks very modern

(like an iPod or maybe a Zune lCD display),

which shows CD text on standard CDs, or tag

information on MP3 discs, so you know what

you’ve got loaded in your player at all times.

Track number (or folder and track number, on

MP3 discs encoded that way), time (selectable

to elapsed or remaining), pitch (including pitch

lock), and BPM (automatically calculated, or

manual “tap”—your choice), are all shown here,

too. BPM calculates and recalculates in “auto”

mode, and if you alter the pitch (or tempo) in

either direction, the BPM adjusts accordingly, so

the current BPM is always displayed.

Finally, an oval with a slice missing,

representing a “needle drop” position, graces the

center, reacting to movement of the jog wheel,

to help you quickly find (without headphones,

even), the start point from where you might

“juggle” a beat or sound, in the same way a vinyl

turntablist might put correction tape on a record,

to find his “marks.” In regular mode, the top and

sides of the wheel simply slow down or speed

up playback with your touch. In either of the two

scratch modes, the top of the wheel scratches,

while the sides still speed up or slow down the

audio. The two scratch modes are: “blue” LED

indicating standard, where the “needle” sticks to

wherever you manually direct it to be, while the

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Inhaltsverzeichnis

Seite 1 - B-52: a seamless blend

THESCOOPBy Steve SharpThe Prodigy FX fromB-52: a seamless blend of players and mixer Technology keeps pushing forward in multiple directions, sometime

Seite 2 - 200 7jul y

aren’t enough for you, each channel has an effects loop, so you can use an outboard effect units, too. It’s as simple as the push of a button. The fir

Seite 3

this basic ability. In the unlikely event you lose an entire mixer channel, you can use “mono” and the remaining “good” side of the board to finish yo

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