NICE & EASYlakeside edition · Alte Villa · Utting am Ammersee

A turntable's cartridge puts out a very low signal, so it needs a phono preamp to bring it up to line level. Records are cut with the bass reduced and the treble boosted (the RIAA curve, standardized in the 1950s), and the phono stage reverses this on playback. That's why turntables go into the PHONO input. Allen & Heath warns that plugging line-level sources into a phono input overloads the preamp and causes severe distortion.

Sources: audio-technica.com ↗ · en.wikipedia.org ↗ · support.allen-heath.com ↗

Turntables usually come with a separate ground (earth) lead that connects to a ground terminal on the mixer or preamp. Audio-Technica says this connection is often needed to eliminate mains hum. If you hear a lot of hum or buzz, Rane's mixer manual tells you to first check that the turntable ground wires are connected to the PHONO GND posts.

Sources: audio-technica.com ↗ · ranecommercial.com ↗ · support.allen-heath.com ↗ · help.na.panasonic.com ↗

A balanced cable such as XLR carries the signal on two wires plus a separate ground. Noise picked up along the way lands equally on both wires, and the balanced input cancels it out (common-mode rejection). Mackie says unbalanced cables like RCA are generally only good for runs of up to about 15 feet, which is why the main output to the PA uses balanced XLR.

Sources: soundonsound.com ↗ · mackie.com ↗ · support.allen-heath.com ↗

Many active subwoofers have XLR outputs for connecting the full-range speakers (tops). On Yamaha's DXS subs you can either pass the signal through unchanged or send it through a high-pass filter set to the same crossover frequency (80, 100 or 120 Hz), so the sub handles the lows and the tops get the rest. JBL's EON718S offers XLR thru outputs and the same selectable 80/100/120 Hz crossover.

Sources: c3.zzounds.com ↗ · jblpro.com ↗

The CUE button on a DJ mixer sends a channel to your headphones, so you can hear the next record before you fade it in. This works independently of the channel and crossfaders. On the Allen & Heath Xone:43, pressing Cue also shows that channel's level on the main meters.

Sources: ranecommercial.com ↗ · support.allen-heath.com ↗ · virtualdj.com ↗

The pitch fader changes how fast the platter turns. The classic Technics SL-1200 offers ±8% (newer models can switch to ±16%). DJs use it to match the tempo of the next track to the one that's playing, which is called beatmatching. On vinyl, faster also means higher: changing the speed changes the pitch too. Only digital gear with 'key lock' or 'master tempo' can change tempo without changing pitch.

Sources: en.wikipedia.org ↗ · us.technics.com ↗

Columbia's long-playing LP was a 12-inch record at 33⅓ rpm. RCA Victor introduced the 7-inch single at 45 rpm in 1949. 12-inch singles (maxis) exist at both speeds, so always check the label.

Sources: ethw.org ↗ · blogs.loc.gov ↗ · audio-technica.com ↗ · en.wikipedia.org ↗ · en.wikipedia.org ↗

Many 7-inch singles have a big 1.5-inch (38 mm) centre hole that doesn't fit the thin ¼-inch spindle. To play one, you put an adapter (puck) with a 1.5-inch outside diameter and a ¼-inch hole over the spindle. Singles with a small hole don't need it. The Technics SL-1200MK7 comes with an 'EP record adaptor' in the box.

Sources: audio-technica.com ↗ · en.wikipedia.org ↗ · help.na.panasonic.com ↗

Needles wear out, and the guidance depends on the model. Ortofon says a stylus can last up to 1000 hours, but in DJ use about 500 hours at most. Audio-Technica's rule of thumb for its AT-LP70X is to replace it after 300 hours. A worn tip sounds worse and can damage records. Carbon-fibre anti-static brushes lift dust out of the grooves, and some users brush a record before every play.

Sources: ortofon.com ↗ · audio-technica.co.jp ↗ · audio-technica.com ↗

Set each channel's gain so the meter peaks in the high yellow, then back it off a little to leave room for sudden peaks. Rane warns that once meters hit red, you risk clipping and distortion. Allen & Heath's Xone:43 guide says the meter should average around 0, with the loudest peaks no higher than +6.

Sources: rane.com ↗ · support.allen-heath.com ↗

The WHO estimates that over 1 billion people aged 12 to 35 risk hearing loss from prolonged, excessive exposure to loud music. Its 2022 global standard for venues and events recommends a maximum average sound level of 100 dB, live monitoring of levels, hearing protection for the audience, and quiet zones to rest your ears.

Sources: who.int ↗ · news.un.org ↗