Can we see a show of interest

So it's been nearly 18 months since my last blog entry. Why? Because I've been doing a fair bit of time juggling and adding something to this blog has had to take a backseat. So you should realise that with the advent of this post that it has to be something I find very important that needs to be addressed.
Slowly but surely WooDz:Muzik is becoming a recognised name and I'm now currently the recommended 'in house' DJ for 4 very reputable venues in the local area. It means that I'm often being asked to perform on an already booked day. Now I do work with other DJs but they have their businesses too and together we are now finding it hard to meet our demands and offer another DJ service we have full faith in as an alternative. Well what's the problem? a DJ is a DJ right? Wrong!
Ordering a DJ is like asking for beef at a restaurant because as we all know, like DJs, beef is all the same. Yeah, exactly it isn't and there's a world of difference between being served fillet steak or a burger. This all entails the huge problem facing the industry. In the mobile DJ segment we have DJs who are taking pride in what they do, making sure their clients are happy, doing everything they can to get people on the dace floor. Making clean transitions between songs to even mixing songs together to keep energy and momentum on the dance floor. They use high quality equipment and adopt such a level of professionalism that if quality controls were enforced, most club DJs wouldn't be able to meet them. We then have DJs who whilst playing music at someone's party can be equated to flipping burgers. They take a very trivial attitude to the effectiveness of their song selection to the point they continue to play the same genre of music, even though nobody in the room has made any noticeable appreciation to the last 3 similar songs played before hand. The problem in this industry is that there are more DJs 'flipping burgers' than there are 'serving steak' so the chances of a client experiencing a premium service is minimal and if I were to take an educated guess I'd say clients and guests have less that a 20% chance of experiencing a really good DJ. What most people are experiencing is mediocre to poor performances throughout the year and this has now become the stereo typical representation of what people sadly now think is a mobile DJ service.
So you can see trying to find somebody I can trust, who has the same mental attitude toward the job as I and understands a wedding for 25 people is just as important as a party for 2,500 is going to be difficult to find.
In my last post I advised anyone wanting to become a DJ should work alongside an experienced DJ and learn the ropes before they take the huge responsibility of making someone's party a day that will be remembered for years. However; you must realise you're in the same boat as me. The chances of learning from someone who is very good at this job is going to be pretty minimal but you knew that anyway. Most starting out DJs I've spoken to, often talk about how bad that DJ was at that party and how bad this DJ was. Still, you can learn from them because everything you see them doing wrong, you can question why they done it. You may get to see a bigger picture and realise they are better than you've given them credit for. A good example would be if you asked,
"why did you play that really slow song, when you had everyone jumping around on the dance floor?" if the reply is
"I dunno, I thought it might work."
you'll have learnt not to make rash decisions that can ruin the flow of the event. On the other hand if the answer was,
"because they've been jumping around like crazy for over half an hour, they starting to tire and if I don't cool things down momentarily , they'll be exhausted and go home before the party is scheduled to end."
You'll have learnt that dance floor rotation is important regardless of venue or event.
However above all of that, is to show interest and this goes for the beginner to the those who have been djing for 15 years. look at who's on the dance floor, look at who isn't. Are they getting tired or do they need more? For those not dancing, do they look like they waiting for you to play something for them? And this is what I mean about showing interest. Be alert; don't spend to much time twisting effects and searching through your songs. Know what you want to play, keep an eye on your surroundings and pay attention to the energy levels on the floor. If you're not showing interest then this will transpire onto the guests and they'll not show any interest in you.

Wanna be a DJ?

I'm 37 and so I'm fully aware that my age goes against me in a club where I'm old enough to be most of the club goer's father. However maybe that maturity helped in some weird and wonderful way.
I'm just out to see how far I can take this DJ thing without treading on other people's toes and selling out. I've spoken to a few lads at parties and they tell they are DJs too. Yet what they really should say is "I have a pair of CDJs at home I mix music with." When asked what do you mix, they all say"electro-house." Why does it always have to be Electro-house? I wish some lad would surprise me sometime and say something else for once. however I digress...

Once you've mastered mixing and you're mates think you're pretty fly on the decks, it's only natural to want to take it further. But how?
My advice is don't go straight to the clubs. All your friends know your a bedroom DJ so when it comes to their parties and their friends parties you should be there. Phone up local event companies and get the right PA system for the gig and they'll sort you out with some lights too and if you don't know how to set the stuff up, they'll do that as well. Yes this will cost money but that will get passed onto your client (mate) playing good music is only part of creating a good night, Having all the frequencies delivered to the dance floor is equally important, which means mp3 256kbs preferably higher and stick to no more than +3dB on the PFL. If you need it louder used the Master volume control not the gain control. If you reach your limit... Then you've reached it... tough tits, However; be aware that 95dB in the centre of the dance floor is bloody loud. After just an hour of exposure your ears will close to protect themselves and you'll be tempted to crank the volume. If you do then adjust it back down slowly during the next track. This will allow headroom again should someone ask you later to turn it up. Also a Birthday Party is a private function so you do not have to pay any broadcasting fees or worry about getting busted..

Why am I telling you all this? Playing loud music through a professional PA system is completely different to hearing it in your headphones or on a set of HiFi speakers or Monitors. As a DJ in a live setting you're usually behind the speakers which means all you will hear all night is BOOM BOOM BOOM. So either get a monitor or failing that elevate the satellite speakers above and slightly behind you, so you can use them as monitors.

Be as professional as you can about what you're doing. Don't get drunk because you're the one responsible for that gear which will be somewhere in the region of 6-8,000 Dollars,Euro or Pounds. And for god sake charge a reasonable rate for your hours of work,time and effort. You maybe living at home and not have the overheads of someone trying to make a living from DJing. Again; keep that in mind not for the sake of other DJs but the fact that because your overheads are lower, means you can make more profit. Meaning you'll be able to renew old equipment, buy new music, and keep your electronic and liability insurance in order.











Once you have a good sum of gigs under your belt,  you're now getting repeat and referral business and you're practically working every Saturday. Then you can start thinking about doing club work. You'll have to pick a weekday as you'll probably be booked for Saturday and believe me you'll be earning more on your private gigs than you'll ever going to earn in club until you've built an extremely big fan base.

The best advice I can give is, you need to think about what you can bring to the table. If you can just mix back to back that's not going to inspire anyone to book you. You have to have a theme a concept for a night that will likely bring a crowd. You may even have a good fan base already from your private gigs? Everyone is playing house, what makes you special, different? Where's your niche that the manager will be interested in giving you a slot.

For me; I First I thought about he music I wanted to play and it wasn't being played in clubs on any sort of regular basis.
Second I researched the clubs in the area that could accommodate that style of music. I didn't look for the best and trendiest clubs in town, I simply looked at whether it could create the right atmosphere and whether the regulars would be curious enough to come and listen. I went along one night to the club and very briefly got the attention of the resident DJ playing. I told him I knew he was very busy however; (and I gave him my business card) when he had time the following week, could he please give me a call because I had a concept that I thought would work really well in the club.

The following week nobody rang me... Unfortunately I knew that would happen. 4 weeks later I went back to the club, very early whilst it was quiet and approached him again. The good news... He remembered me. Again I said I had this idea that I thought could work for the club's Friday night event. I told him very quickly what it was I wanted to play and handed him another business card. He had a bit more time on his hands and I asked a few questions about how long he'd been playing there and so forth. I pushed the idea that the club was a great venue for the music I wanted to play. That I knew that it was only being played in a couple of clubs but maybe just once every couple of months, However; I was aware that people are wanting to hear it. So the following week the phone rang.. But it wasn't him, it was another wedding booking, Which was nice but again I didn't really expect a call from the club anyway. 6 weeks later I still hadn't heard anything, so I called the club and explained I'd spoken with the DJ and I was wondering if he had passed my card along. I was told that he had spoken to them about me but they were very busy but it did seem interesting and once things had settled down they'd look at their program and see....

As far as I was concerned that was it. 3 strikes. You don't need to pester that club anymore and it's not worth wasting anymore time on it. Time to move on to the next club. Yet; 2 weeks later I got a call from the club and they booked me for the whole night. Start at 10:30pm finish at 5am and just that genre to be played. Nothing else! The end result is that the bar took more that night that it usually does. I had 6 times as many people in the club than they usually have and I've been booked again.

I've been involved with music since I first got a synthesiser at the age of 11. I've learnt to play the guitar and made numerous mix cassette tapes with vinyl back in the early '90s. However a certain amount of occurrences in 2007 set me on a path to become a DJ and I've been professionally working for just over a year now. This month I did my 1st club night. It took me 3 months to get that booking. So you need to be patient but be keen. I will be honest though. I don't follow the club scene and other djs. With the private parties I get booked for, I don't get much time for clubbing. However; that doesn't mean I neglect keeping on top of new music. 

For all those budding bedroom DJs out there that want to get into clubs (and I don't mean to be disrespectful) but you will learn nothing about what songs to play and when to play them in your own home. You are probably very technically skilful no doubt better than me. However; the road to club work is a long one which for me in reality took over 3 years. Once you're happy with your skill at mixing, etc, you'll need to learn how to work a crowd and there's no better training than private parties. It's easy getting 500 people to dance but it takes a hell of a lot more skill getting 30 people to dance. Speak with a well regarded mobile DJ and see if you can tag along and help out. Although you probably won't get to play the music you like, you will learn how to setup equipment, fault finding, working to a program, how to read a crowd, how to interact with a crowd, how to work in requests and how to use a microphone with confidence. If you do not have those skills in a club then be prepared to fail on your first night out.

VCI-100 MK2

First impressions:

As you know the main points about this unit has been the plastic casing. Well it is certainly lightweight and initial impression is "is it durable enough?"

Most people tend to look after their belongings and unless you're really going to go mad try and bash living daylights out of it then the VCI-100 Mk2 is sturdy enough.

The Aluminum top does make up for the underside and adds a certain mount of quality that is lacking on other controllers. The dials have a good solid feel and are no different to the rubber used by top brands like Allen & Heath. The Cue and Play buttons are better than the spongy things that Denon use but there's a certain amount of travel when pressing that initially doesn't feel right but you get used to them after a couple of hours of use. The pitch controls however are no where near the quality of the Vestax VCM-100 and although slide well are a bit wobbly and you can actually grate the stalk on the side of the housing slot if you deliberately push the slider to one side in order to find the centre indent point. The Jog wheels however are of very good construction and have a great weighted feel to them. The blue LED lighting doesn't make the unit look cheap and in the dark looks quite cool.

Quick sum up: On the whole ok in appearance and feel, some bits are spot on and far better than expected but a few areas could be better.

Usage:

When using a MAC life is as it should be; plug in switch on and load Traktor Pro.

In the 'setup wizard' you just select you have a MIDI/USB device, Followed by Selecting Vestax and the VCI-100 MK2 PRO option. If you have an Native Instruments Audio 8 device then you can select this too for the output routing. Otherwise you can just go ahead and use the onboard sound card.

Finding your way round any new piece of equipment isn't going to have you at one with the unit in minutes but with the VCI-100 MK2 the layout is so well done that you start to get into the flow of things with just a couple of hours of loading, cueing and tweaking. Another good note is that when playing decks A/B the LED's are blue. Flick the either switch to C/D and the corresponding LEDs turn green. So you can't not stop the wrong track if you just check what colour LED is lit first. If effects are your thing then the VCI-100 MK2 is a dream to use. I only had 2 FX banks running whilst I was testing it (Delay T3/Beatmasher/Phaser for FX1 and LFO:92/Reversegrain/Gater for FX2) being able to control the Wet/Dry and Intensity was a real pleasure. The effect that really surprised me was how often I engaged the extra Filter dial to exaggerate the end and beginning of a new phrase in a track. The jog wheels not only feel great but work great too. They boast 2400 pulses per revolution which give almost 2 and a half times more definition than Native Instruments own 4 deck controller. Be careful not to have the sensitivity to high of otherwise you'll start scratching instead of pitch bending. However; again once you remember not to press down at all then everything becomes natural. In practice the pitch faders aren't as loose or flimsy as first impressions suggest but a few times Traktor didn't respond to my + Inputs and I first has to slide the fader upward to see it copied in software before I could actually speed the track up; which is what I wanted to do originally. (I found out later this fader glitch isn't unique to the this unit and I've experienced it on other controllers recently. I'm starting to wonder whether this could be a TSP issue but that's for another entry). After a few hours of straight out the box mashing around I was adding all sorts of blends, tweaks, backspins and effects that far out weighed what I've been doing lately with my current setup.

Last but not least:

From a DJ point of view; the VCI-100 MK2 gives you immediate control over Traktor from the go. It's a shame that Vestax doesn't offer a 2nd .tsi that also has hotcues mapped when pressing shift. I understand that some people might not want those particular buttons mapped as 4 Hot cues when shift is pressed but I would like to have had the choice. From a Non-DJ point of view I fear that some people might see the VCI-100 Mk2 as a toy. As I pulled the unit out of it's original boxing my wife said, "What; and you're going to do your gigs with that thing?" I've currently been using 2 DN-S1200 CDJs with a Xone:92 mixer. I've put them all in a carry case and at about 25/30kg it certainly doesn't look like a toy. You just don't plonk it on a desk and away you go. The surface area is the size of 6 VCI-100s put together, so in that respect scaling down from that to something I can quickly setup in a club with minimal fuss and disturbance to others in the DJ booth has it's pros and cons. The VCI-100 is great as what is does but there will certainly be more than the odd occasion where this little box of tricks will not make a convincing story for a professional DJ. It's not just this controller; I fear it is all of them except the NS7 and Xone:4D which puts on a very compelling act of "I mean business!"

Another important point is that in a very dim lit room you can't read the text under the buttons and dials. It means you're going to have to learn this unit inside and out before you take it on the road. Dials are not the problem but the LOOP section could well get you in a pickle if you haven't been practicing.

One of our biggest fear as a DJ is our gear not functioning. If you buy a van for deliveries you can, if required, hire another one in a few hours and carry out your duties. Yes; your a bit delayed but your customer received their goods. If your gear stops working at a gig then it doesn't matter how much money you have; the party is over! No music, no party; that's just the plain facts. I've not read one problem with the actual functioning of the VCI-100 Mk2 but unfortunately it did stop working and I could resolve the problem. Such a system failure can happen with all the 'top-shelf' brands of which personally I feel Vestax has a place but it does put a question mark over Vestax's quality control of this unit. I'm a bit fussy when it comes to things like this even though I do have a backup system.

The VCI-100 Mk2 is a lovely little controller and has had a bit of a bashing from the DJ media that has caused a wave of derogatory remarks from people who just take their word as gospel.

My recommendation would be, if you have traktor installed on your laptop then ask a shop if they have tester you could try out. Maybe you don't have to as critical as me on a system failure but one this is for sure the VCI-100 Mk2 really is a cracking controller that's been specifically designed for Traktor.

Anyone can be a DJ with Traktor

For those of you who don't know, Native Instruments 'Traktor' is a Professional DJ software program enabling control over digital music; whether it be mp3, aac, wav or aif. The program has a plethora of features from looping, cue points, effects units, to tempo control and synchronisation. It's this 'sync' function that has many thinking that just because there is now a program which people can buy for €300 including a high-quality sound card for the audio to be passed through your mixer, they think the program is going to do everything for you; that somehow the job has become easy and that anyone can jump behind a PC and start rocking a party like nobody has ever done before or at least just as good.

I'm not quite sure where this ideology has come from; maybe it comes from being around a mate's house who's got a bit of DJ equipment in their bedroom and enjoy's spending hours mixing tracks instead of watching the deluge of diarrhoea that gets splattered through the airwaves every night. They play what they want, when they want and to help them along they hit the 'sync' button so it sounds a bit more pleasing to the ear. We also have the Old school crowd who spent years perfecting their sense of rhythm in order to beat match two tracks in a blink of an eye. For some apparently; this new form of media is sub-standard to the traditional two decks and a mixer in many ways, from quotes such as "you're not spinning anything anymore". To "The audio isn't as Hi-Fi as vinyl". We have the new school CDJ Disc-Jockey's who also jump on the audio quality band wagon but also have the audacity to say "These new laptop DJs are just pushing buttons". Which  is exactly what the same DJ does with their CD player. The problem with DJ software is that public perception combined with the lack of knowledge and a new wave of lazy hobbyist DJs has created a poor impression of a DJ turning up to an event and opening up a laptop. Don't get me wrong I personally think that if you've booked a DJ for your event and they turn up with just an iPod in one hand and a Laptop in the other then that person shouldn't be charging anything for playing music at your party. Using DJ software so you're not breaking your back lugging CD's and Vinyl everywhere is one thing. Not using the right tools for the job is a completely different ball game and it is this principle that has generated such mixed views.

Twenty years ago it was easy; vinyl, turntables, mixer. Then some guy got flashy and started to mix the records together so there was seamless music all night. Another DJ started to manually loop Two pieces of vinyl, then another DJ recreated a tape-echo effect by juggling those Two records. These were the pioneers of what the DJ is today, someone who pushed the envelope and set a new standard. Those who couldn't keep up fell by the wayside and their bookings dried up. Today we now have a program that will 'sync' Two or Four tracks together but won't do it for every single record. Anything produced using a drum machine has a constant tempo and providing you've done your homework and set your 'beat grids' correctly will 'sync'. Any music produced before 1985 has a strong chance of a real drummer and that means the tempo will waver. So unless you want to set about 20 beat grids throughout a song you can't sync it. You have to manually keep your mix in beat. So all those classic soul, funk and rock songs require the same amount of dexterity from the Digital DJ as a vinyl DJ if they want a seamless mix. DJ software can't tell you when to bring the next track in, it won't tell what track should be played next. Apparently Apple think they've  got it in the bag with iTunes Genius but let me just tell you that ABBA's 'take a chance on me' does not follow Kid Rock's 'All summer long'. The top DJs of the 70's and 80's weren't just ahead of the game just because of the new found skills they had. It was because they had those skills, knew what tracks to play when to play them in what order. Just because we have DJ programs, it doesn't mean anyone can be a DJ. It still boils down to the essentials of good quality music, reliable equipment, great songs and feeling what the crowd wants. No program will ever be able to feel the vibe; ever.

Hourglass by VVooDz

Hourglass by VVooDz

The future DJ

I've been pondering this for a while now and the more I think about it the more I feel Clubs are heading for a change.

Before I get on to my epiphany I just want us to take a short trip down memory lane.
In the beginning; stuffed in the corner of a club used to be a little booth where a guy would play a record and then whilst putting on the next track he'd talk on a microphone to avoid an eerie silence. Then someone thought; hold on if I had 2 record players I can keep a constant flow of music. The record players belonged to the club and the DJ would turn up with his carefully selected songs that he thought were going to have people dancing till they dropped.
Then someone worked out how to get 20 songs on a plastic disc the size of our hand. For years there were arguments about CD's being cold and synthetic and vinyl was warm and still retained that Hi-Fi sound that digital recordings could never match. However many DJ's pressed ahead and bought CD's because they could bring so much more music and had a better chance of even playing a request! Pressure was put on the clubs and so the booth grew to dominate the dancehall because basically it has to hold mixers, CDJ's, turntables and all the equipment for the Light Jockey.
Then came the revolution and again DJ's aren't happy with turning up with their precious vinyl, their wallets of CD's. No; they want to shove turntables and CDJ's out the way and plug their MIDI-Controllers into the mixer, they need laptop stands and somewhere to place their Audio 8 or SL3. This doesn't just happen once but the hustle of chopping and changing happens 3 or 4 fold during an evening. You name it the DJ Brings it. Xone:4D, VCI-300, Xone:92's with X1 Kontrol units, are then replaced with a DJM800 with Traktor Scratch wax spinning wildly on dusty 1200s.
It's a technical nightmare that could so easily be avoided.

If we wind it back to the beginning all a DJ needs is a medium to play music. Like it or not vinyl and CD will not be the preferred audio source for DJ's on a global scale. Backup CD's will be replaced with iPods just so the DJ can reboot the machine should anything go wrong, which just doesn't seem to happen anymore. In fact you got more chance of a Backup CD that looks like an iceskating ring jumping than a glitch in Traktor's software these days.

When I go to gig; I take a Laptop, an iPhone, an iPod, My main mixer, a backup mixer/Midi-controller, 2 CDJ's and about 40 Backup CD's that I've put together myself. The only way my crowd will not have music is if there's a power-cut. (which has actually happened and I still had order a bottle of schnapps for the guests)

So here's the deal; what does a Digital DJ actually need to play music?
The answer is simple; an available USB slot.
Would it not be the best thing in the world to just turn up, plug your USB stick or hard-drive into a laptop and immediately start playing your tunes?
The Club can have what they want in the booth, Allen&Heath, Pioneer, Numark, Denon, MACbook, Serato, Traktor. At the end of the day all a DJ needs is something to manipulate those naughts and ones. As a DJ they should be able to use Serato just as easy as Traktor. They should be able to use vinyl timecode just as easy as a CDJ or a jog wheel. We need to get back to the basics and that's making sure the crowd gets what the crowd wants and that my friends is good solid music that'll keep em dancing till they drop!

I hope it wasn't too long for you all...

Regards
WooDz

Allen & Heath Xone:DB4

Allen & Heath's first screen shot of the Xone:DB4 was a load of cables and the headline "Prepare yourself for the DOG'S B•LL••KS". With every new product there comes hype however; usually the end result isn't as ground breaking as the manufacturer would have you believe.

With the Xone:DB4 I'm not so sure; this is a 4 channel mixer but it's A&H's first fully digital application designed for the DJ. What it enables is up to 12 separate devices 4 analog, 4 USB and 4 digital. It's also MIDI mappable so you can operate software programs like Ableton direct from the mixer.

The EQ section is quite innovative in that it offers 3 modes. EQ-mode, which has a -26dB kill, with a gentle slope. Isolator-mode which comprises of -24dB drop out, with a sharp slope. Finally you have filter-mode which converts the EQ into filter channels to create high-pass, low-pass and resonance filters. Lowering the High and Low would ultimately create a band pass filter, so effectively you have 4 filters from 3 dials. As not to confuse the DJ the rotary dials illuminate in 3 different colours so you know instantly what mode your in. That's providing you can remember what color means what.

The Xone:DB4 also has a loop section but whereas most mixers on the market today loop a selected channel, the Xone:DB4 has a loop section on each channel. Once you push the loop button the mixer automatically records 4 bars, even if started at the smallest denominator of 1/16 of a beat, you can still extend the loop to a maximum of 4 bars; all beat synced from either the internal or external MIDI-clock.

A&H's next box of tricks is the effects unit which again is independent from the loop section and each channel has its own effects parameter setting. It means that you can set an effect to a loop or main audio signal, then add a different effect to another channel. You can even record various changes in those effects whilst playing a loop; for example filter and time on a delay effect and the loop will carry on playing your input changes. You don't just get one type of delay, you get a whole library of delays to choose from and the fun doesn't stop there either. The same goes for reverb, modulation, resonance which can give a sort of Beastie boys intergalactic style effect. Various flanger, phaser, distortion and bit-crushing effects are also thrown in for good measure. For all those DJs who just can't get enough bass and regularly visit Dubstep Anonymous you'll be pleased to know there's even an effect called infra-bass which adds a sub harmonic layer an octave lower for a very fat or phat bassline.  The effects unit itself is taken from A&H's iLive Pro touring console but has been optimized for dance music being played in a club environment as opposed to a live band playing in concert halls and arenas. Additionally there is a separate classic analog filter taken from the Xone:92 for good measure.

The Xone:DB4 has a dedicated mic input in XLR form shared with an auxiliary RCA input with a 2 band EQ. That channel can either override the other 4 channels as a talk-over option or can be assigned to channel 1 should you want to add effects to the auxiliary input or microphone. Once you go into the system setup you really get to understand how formidable the Xone:DB4 is. You can adjust the midi-clock, add or decrease the maximum headphone output, select between normal, split, pre or post EQ and effects. You can even record your mix either clean, without the mic, mixed and even a headphone mix. If you are getting some phase cancellation coming through your booth output you can invert the phase. The same goes for the master output too, except you can change the phase individually on the left and right channels. The beauty is that all those internal settings can be saved to USB so you won't have to re-calibrate everything if you go back to the same venue or another dj changes all the parameters.  The real surprise is the MIDI-configuration which looks like every single part of this digital mixer is mappable to software.

What's so Great:

For Allen & Heath's first attempt at producing a fully digital DJ mixer which can control programs like Abelton and Traktor they seem to have thought about virtually everything.

For me personally I need a separate channel for the microphone but then A&H have out done themselves by allowing me to assign it to an effects channel. This will save me a lot of money and space in not having to purchase an effects unit should I need to add a touch of reverb or delay to enhance the vocals for someone singing over a playback. I've been looking for the next step up from the Xone:92 for about 6 months and have struggled to find something that still retains that analog warmth in the EQ and filters but can also control various aspects of Traktor Pro.

How much am I gonna get stung:

When you consider that the Xone:92 still retails at over £900/€1400 and this unit is a Xone:92 plus a MIDI-controller, plus a multi-effects unit you know it's not going be easy to swallow.

If you live in the Eastend then it's going to cost an Archer but if you sweet talk your retailer you might just get a bit change back from that £2,000.

I couldn't categorically state my search is over but I've seriously started to consider what I'd get for donating a kidney.