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
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).
100T-SCAN words: David Eserin
PRICE: 119 INFORMATION: WWW.BEHRINGER.COM CONTACT: +49 2154 9206 4144
THIS HIGHLY COMPREHENSIVE DJ-SPECIFIC CONTROLLER FOR HANDS-ON COMPUTER MIXING COMES AT A TRULY AMAZING PRICE. SO WHAT GIVES?
BEHRINGER BCD2000
INTEGRATED DIGITAL DJING PACKAGE
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.”
DJY414.100-1_TSCANbcd2000 13/4/06 7:28 PM Page 100
This results in an awkward, ill-timed fumble.
However, as with every piece of equipment, you
get used to its limitations and, better still, can
work these quirks to your advantage. Performing
a timely scratch 'effect' is by no means
impossible, but it takes some practice.
EFFECTS
The software has two effects banks that can load
custom plug-ins. We were pleasantly surprised to
see it had already listed plug-ins found elsewhere
on our machine, including SoundForge, WaveLab
and other DirectX plug-ins.
It was quite particular about which ones it would
actually work with, though. Oddly enough, we
could load up synths, such as Absynth and have a
play with that over the mix. Not many programs
can claim that!
There are two banks for each effect, which are
controlled with an on/off switch and a wet/dry mix
on the controller for each. Another cool feature is
that the deck inputs can also be processed in real-
time. There's no mic control, though.
YOUR CRATE
Managing and playing your record collection is a
piece of cake. In its favour, there's no laborious
importing process, but as a consequence there's
no option to view a whole track's waveform.
Importing tracks is easy too and playlist (virtual
crates) can be created in the left navigation pane
at the top of the interface. Simply click ADD to
add tracks, or ADD DIR to import whole
directories. These files are then displayed on the
right with customisable info on genre, album,
title, BPM, filename and comment. Nice and
simple, or a bit limited?
Some users might prefer additional fields such as
remixer, rating and so on, but it has the essentials.
iTunes support would have been nice too.
Once loaded up with tracks, simply drag them
from the crate onto the player and they're ready to
go. The software makes a half-decent attempt at
working out the tempo and lays a grid over the
waveform, which scrolls past as it plays.
This grid is usually in time, but not always on the
down beat. It restricts looping functions to its
markers, which means loops are pretty much
always in time, but you don't get to choose exactly
when they start. It's possible to create quite a cool
effect by continuing to press the loop out button to
slowly decrease the size of the loop, though.
The player is generally quite stable but there were
a few 'unexplained' crashes. We also had some
instances where the player would only play tracks
through the left speaker with a little faint rattling
in the right. A quick restart sorted this out, but in a
gig situation the crowd may be less forgiving.
THE PHAT CONTROLLER
The BCD2000 will control any MIDI software on the
computer it's connected to via USB 1.1. It's
labelled up to complement the included software,
but we gave it a quick whirl in Ableton Live, which
worked like a dream. The only complaint with the
controller is that there are no MIDI in or out
connections, plus it won't work on a Mac.
The only controls that don't output MIDI are the
mic, master and headphone dials. All other
dials (of which there are 13), buttons (37) and
sliders (five) work with MIDI. The only MIDI
controls that don't have much use in other
software are the jog wheels (used for scratching
in the included software).
The controller is about the same size as a laptop,
only thicker. It weighs very little though and can fit
inside the UDG laptop bag or equivalent.
Even though it's quite portable, we wouldn't
recommend just slinging it in a bag. It's quite high
at the back, which makes the controls very exposed
to damage from pressure. We'd highly recommend
flight-casing the unit for transportation.
Most of the controls feel pretty solid and smooth,
though some don't have a consistency of
resistance all the way around. The crossfader is
very smooth and works well with the software, with
curve control in the settings. The fader itself is a bit
too rounded and small, which makes some scratch
moves a bit tricky. It's a shame because it's almost
responsive enough to do the crab scratch.
Another oddity is the crossfader cut option, which
makes the centre of the fader the cut point, rather
than at the very edge as expected. The sharpest
curve is quite good though, but not quite a switch.
The volume controls are very long, which gives
accurate control, but some may prefer them
shorter for cutting tracks with the faders. They're
also all quite loose, which isn't really a good thing.
The pitch sliders are tougher, but increments aren't
very accurate in the software. The pitch range can
be changed in 4%, 8%, 16% and 24% settings.
The wider the pitch, the less accurate the pitch
increments are. At 8%, the increments are just
0.25 on average, which is just about enough for
creating decent mixes, but not so good for epic
five-minute ensembles.
SOUND CARD
The sound card works at 24-bit/44.1kHz, which is
above CD quality and is more than good enough
for home use. It's also fine for bars and clubs as
long as the music files are of decent quality. It's
only the software that suffers from dubious sound
when using the EQ and filters.
There's a control panel available to change audio
routings for the interface, which operates in two
modes - 'B-DJ' for the included software, and
'Advanced' to make it available to other software.
There are ASIO drivers for super low latency -
down to 4ms - and WDM/MME for any software
that doesn't support ASIO. Finally, latency
settings can be adjusted to match the
performance of your processor.
CONNECTIONS
The BCD2000 has inputs for two turntables, only
one of which can be switched to take line input.
These can be mixed in the B-DJ software or used
to record other programmes.
The inputs are quite low compared to the internal
audio in B-DJ, and required a fair bit of gain to
bring them in line with the MP3s.
We also found a weird occasional problem when
switching back to the software outputs. There was
a crazy feedback effect, which only stopped once
we'd loaded a track into the deck - one for the
software updates, no doubt.
There's a microphone input, which is of quite high
quality. It has on-board EQ, which sounds loads
better than the B-DJ EQ. Connection is via the XLR
input only. It would have been good to see the
Neutrik dual XLR/Jack connector for flexibility, so
just make sure you buy a mic with XLR connection.
As with the inputs, the RCA master output is gold
plated. There are no XLR connections here, but
RCAs are fine to go straight into your hi-fi, or plug
into the main mixer at a club or bar.
WINNING PACKAGE
The BCD2000 is the best value DJ package we've
ever tried. We don't think much of the B-DJ
software as it's too basic and suffers from poor
sound controls, but as long as you don't expect to
become a scratch-master and avoid boosting the
EQs, then it's good enough. We'd recommend
using another DJ package with the unit instead for
professional use, though. Just remember, those
jog dials won't work with it.
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, yet this
one's specifically designed for DJing and you get a
twin stereo sound card thrown in. Fantastic.
VERDICT
PROS
>> Incredibly low latency software control
>> Interface works with any MIDI software
>> Great controller layout
>> Fantastic value for money with
on-board sound
CONS
>> Awful filters and EQ quality
>> Scratch control is limited
>> No Mac support for software
>> No MIDI connections
VALUE FOR MONEY
FEATURES
EASE OF USE
SOUND QUALITY
BUILD QUALITY
OVERALL
T-SCAN101
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